This will certainly not be the most, but this was an odd mix for one orchestra concert:
Tuba (Finlandia)
Viola (Mozart, Concerto for Flute and Harp)
Mandolin (Ince, Symphony #3)
Several years back I was part of what could be described as a country/folk thrash band where I played tuba, mandolin and a Fender eight-string lap steel.
Tuba and bass trombone for a lot of church charts for the bottom low brass part. Often the "4th trombone" part is half notes three to five ledgers below the staff and screams tuba while the "tuba" part is on top of the staff with a lot of stabs and swells and much better suited to bass trombone.
The church band I am starting to play with now is much smaller and trying to do a BST or TOP thing with the horns - trumpet, sax, and myself on a small bore tenor. I am surprisingly having a much better time on tenor bone than I thought, partly because I am using a 12C mouthpiece on a .485/.500 straight horn - using the right tool for the right job.
On my BME senior recital I played a 6/4 BBb, 4/4 CC, and F tuba, but only had one on stage at a time. The others were back stage with a space heater pointed on them to keep them warm and up to pitch.
When I played "Pictures at an Exhibition" with the UCLA Symphony Orchestra one time I had my Yorkbrunner, Rudy F, and Tommy Johnson's little rotary (either Alexander or Mirafone) Bb tenor tuba for the Bydlo.
But the time that was really out there was when I fronted my own band. There was a gig we played (when the name of the band was actually "tuba") back in 1998 that was outdoors where I had both tubas (at that time the Yorkbrunner and the Rudy F) a tenor trombone, acoustic guitar, electric guitar, and an electric keyboard. And ALL OF THAT was really just backup to the main vocal mic, as I was lead singer of the group. We had actually set up 3 different "staging" mics in the front that I could move between as the show went on.
I have a poor audio recording of that show that I might post someplace sometime. hmmmm...
I am convinced that 90% of the problems with rhythm, tone, intonation, articulation, technique, and overall prowess on the horn are related to air issues.
Lessee. Senior year in high school, two of our four jazz band "trombonists" could make the trip to state. Me (1 each trombone player at the time) and Mark (state tuba champion, who was our bass 'bone player in jazz band). We took, and each of us played at least once: Tenor trombone, valve tenor 'bone, bass 'bone, Mira 186, metal shop worked over mellophone with the bell straigntened, old upright Eb tuba. We had our own storage bin on the buss.
I was the principal bassist of a small orchestra and the only piece
with tuba was the New World Symphony. The tubist could
not make the concert so I played the 16 or so tuba notes from the
slow movement on tuba and everything else (execpt the
slow movement) on the bass.
Mark
Mark E. Chachich, Ph.D.
Principal Tuba, Bel Air Community Band
Life Member, Musicians' Association of Metropolitan Baltimore, A.F.M., Local 40-543
Life Member, ITEA
When I played only trumpet, the guys in the band would hide my guitar. I had to get better-fast.
We had a four piece club band. The drummer took trumpet lessons from me and the bass guitarist loved trombone. They wanted to play horns on at least one song so I sat behind the drum set and played rhythm guitar and sang "Song Sung Blue" by Neil Diamond while stomping the bass drum pedal with my right foot and the sock cymbal with my left foot.
The guys got out front and played horn shots together. I was so bad it was good and we did that most every night because we wanted to.