Allen wrote:Can we consider a three-tuba method versus a two-tuba method for having a good variety of tonal colors and playing characteristics?
Jay Bertolet used to post his strategy of using four instruments to cover the range of musical styles. He used a large contrabass for earth-mover orchestral and band parts, a small contrabass for a more pointed sound (particularly in smaller groups), a large bass for orchestral use, and a small bass for chamber music and solos. Knowing Jay, it was never an issue of making the notes, and always an issue of making the right sound.
I use a large F for large ensembles, because the small F that I love cannot produce the volume and projection needed in large groups. I find that I use my large contrabass most of the time, but it's a reasonably versatile instrument. The greatest overlap is between the small contrabass and the large bass, though if the music spends a lot of time below the bass clef, the contrabass requires less work.
There is another aspect to this question, and that is how different are the approaches required for the various instruments. That's probably as much a reason for the compatibility of the Miraphone 186 and the Yamaha 621 F tuba--they seem to me to blow similarly. If I blow my B&S F tuba the same way I blow either one of those, or the same way I play the Holton, it loses focus instantly. It takes a much different approach. That said, those differences probably suggest needed improvement in the way I blow the big instruments more than anything.
Back to Jay's strategy: I have the instruments needed to test his theory, but I find that I use three rather than four. I rarely need a small contrabass, as it turns out. But that is more related to my playing opportunities than anything. I don't often play in a 20-piece ensemble, but when I do, I use the Miraphone or one of the other smaller contrabass tubas. Often, those are standing gigs and the need to have instrument that can be managed while standing is as big an element in that decision as anything. I played both the Miraphone and the York Master extensively enough in the past that I can never really forget their quirks.
Rick "who cannot stand while playing the Holton" Denney
Those two tubas have nice differing, but complimentary tones, both can be used with the playing stand the same height, for me work with the same mouthpiece (PT-90), are easy to switch between and generally make a great pair to cover all playing requirements.
I'll have to sit and play both when I pick up the 983 from the shop.