Czardas for a large CC Tuba

[itai]

Any recommendations for what key of Czardas I should purchase? I'm looking for a key that the fingerings (especially in the fast part) will be comfortable, and not too high in the register. Also, if you give me a link of a Czardas in the key that you recommend it would be great and highly appreciated.

Thanks

[imperialbari]

Just for a little busking:

http://imslp.info/files/imglnks/usimg/7 ... bbassi.pdf

There are minor considerations to be taken about clefs, reading the right octave, and how to handle multiphonics.

Klaus

[The Jackson]

Here is a (the?) version for violin/piano in D minor. To keep everything around the same range, you'd tranpose some sections down one octave and some down two octaves. Following rules like that, your highest note would an E above the staff and a lot of the fast runs in the upper half of the bass clef staff. This might be "standard" practice for this piece; I don't know. I think it would be just fine.

http://imslp.org/wiki/Cs%C3%A1rd%C3%A1s_(Monti,_Vittorio" target="_blank" target="_blank" target="_blank)

If you'd like to tranpose it, or change anything else, you can go by that publication. If you look around on the internet, you'll find some .MIDI files of this (or close-enough realizations of it) D minor piano+violin edition that you can work with in most music engraving programs (Finale, Sibelius, etc.). If you wanted to perform an altered version, you'd have to also appropriately alter the piano accompaniment, which may be considerably more difficult.

All of what I'm suggesting is provided that you want to create your edition of this piece. You can tailor it to your own desires, which you might want if any published edition doesn't have exactly what you want. I'm not familiar with any tuba transcriptions of this piece, but I'm sure other TubeNetters can give you accurate information on them.

[itai]

Thanks, but Jackson your link isnt working.

I'm mainly looking for a player with a large CC tuba that has performed this piece already to tell me what key is the most comfortable one.

[Bill Troiano]

I have never performed it, but I play it on my CC's. I use the Oystein Baadsvik arrangement in c minor. It sits well until you get to the cadenza, where there is a chromatic run up to the a flat above the staff. If you don't want to attempt that ( the a flat run), there are ways around it. It is a cadenza.

[imperialbari]

I have never performed it, but I play it on my CC's. I use the Oystein Baadsvik arrangement in c minor. It sits well until you get to the cadenza, where there is a chromatic run up to the a flat above the staff. If you don't want to attempt that ( the a flat run), there are ways around it. It is a cadenza.

If Baadsvik choses C minor because it sits well on his Eb tuba, then A minor would be the right key for a CC as large as a Neptune.

Klaus

[Toobist]

I performed this with orchestra a few years ago and I read straight from the solo violin part (in D). My treble reading isn't an issue but it wouldn't take too long considering how much repetition there is to plug it into Sibelius if it were. I tried it on F but it lies way better on CC. I also did the double stops with moderate success using multiphonics. It's interesting for nearly every wind instrumentalist on stage or in the audience but to the fiddle players and to those who otherwise aren't familiar with the technique, you might get some mixed reactions. I say do that section up an octave to impress rather than work you butt off on the multiphonics for minimal pay-off.

[imperialbari]

I performed this with orchestra a few years ago and I read straight from the solo violin part (in D). My treble reading isn't an issue but it wouldn't take too long considering how much repetition there is to plug it into Sibelius if it were. I tried it on F but it lies way better on CC. I also did the double stops with moderate success using multiphonics. It's interesting for nearly every wind instrumentalist on stage or in the audience but to the fiddle players and to those who otherwise aren't familiar with the technique, you might get some mixed reactions. I say do that section up an octave to impress rather than work you butt off on the multiphonics for minimal pay-off.

I don’t doubt your approach being right for you. The ability to read off treble clef concert is very practical, and should come rather automatically from being used to play the piano. This approach likely was the one used by Carol Jantsch when she played that violin concerto a few years back.

But the quite young OP recently acquired his Neptune. I find no reason, why he should stretch himself beyond the reasonable. When a name player like Øystein Baadsvik chooses the minor a minor third below the key of his tuba, then our OP should not be ashamed of doing the same.

Klaus

[Rick Denney]

"Portrait of an Artist" includes a self-recording of Arnold Jacobs playing this on his York. One might be able to listen for pitch on that recording and learn the best key for that sort of instrument.

Rick "leaving the work of that to the reader" Denney

[Toobist]

I performed this with orchestra a few years ago and I read straight from the solo violin part (in D). My treble reading isn't an issue but it wouldn't take too long considering how much repetition there is to plug it into Sibelius if it were. I tried it on F but it lies way better on CC. I also did the double stops with moderate success using multiphonics. It's interesting for nearly every wind instrumentalist on stage or in the audience but to the fiddle players and to those who otherwise aren't familiar with the technique, you might get some mixed reactions. I say do that section up an octave to impress rather than work you butt off on the multiphonics for minimal pay-off.

I don’t doubt your approach being right for you. The ability to read off treble clef concert is very practical, and should come rather automatically from being used to play the piano. This approach likely was the one used by Carol Jantsch when she played that violin concerto a few years back.

But the quite young OP recently acquired his Neptune. I find no reason, why he should stretch himself beyond the reasonable. When a name player like Øystein Baadsvik chooses the minor a minor third below the key of his tuba, then our OP should not be ashamed of doing the same.

Klaus

I would certainly change the key if I were using an EEb like that name player. It lies under the fingers better that way. I think the range expectations are quite reasonable for any first-year college student (I don't remember going higher than a D above the staff - or alteast, I didn't play anything higher.). If the treble clef isn't preferable, a couple hours on your favourite notation software will get you a very usable part - a part you can transpose on a whim should you choose. Also, if this tune's range is an issue and the relentless double tonguing is not - perhaps this tune should be put on the back burner for next semester or later? Sorry to shame anyone.

[eupher61]

sheesh...either work it out with whatever fingerings or write it out yourself!

Besides, this isn't a piece to be taken lightly. It's a VIOLIN piece, and is pretty characteristic for violin. It takes a high level of proficiency and artistry to make it work. I doubt most can get it to the level of Sheridan or Baadsvik. There are others, I realize, but please...don't perform it (on tuba or other wind instruments) in public if it isn't at that sort of level. PLEASE!!!

[wphstubaboy]

I have never performed it, but I play it on my CC's. I use the Oystein Baadsvik arrangement in c minor. It sits well until you get to the cadenza, where there is a chromatic run up to the a flat above the staff. If you don't want to attempt that ( the a flat run), there are ways around it. It is a cadenza.

If Baadsvik choses C minor because it sits well on his Eb tuba, then A minor would be the right key for a CC as large as a Neptune.

Klaus

Yea, my buddy at USF, Ryan Sorenson played a version of Czardas on F tuba and then just for kicks on his Thor CC, it was pretty epic, he switched it to A minor to make it easier after a few actually decent runs of it as written in C minor. Although, he is now a grad assistant at Northwestern so he is pretty much a beast. I do believe you are correct A minor is the way to go if your going to screw around with keys to make it much easier for a CC horn.

[Bill Troiano]

It really doesn't sit badly on CC when played in c minor. I play a flat on top of the staff 1st valve (for the e flat, f, a flat double tongue passages and the b flat arppegiated licks with the a flat, flat 7th.)

[imperialbari]

I pick A.

[Toobist]

I pick A.

Your point? The tune ends in D, my memory lapsed. Am I to feel that shame now?

[itai]

Hey guys! I chose to transpose the piece to d minor. I downloaded Finale and wrote it. It was pretty fun
I did a few changes from the original violin arrangement, some of the changes are based on mr. Baadsvik's performance, and some of the changes were by me. Tell me what do you think about it!

http://img200.imageshack.us/i/czardas.pdf/" target="_blank