Cameron Gates wrote:I think Mr. Bennett would only settle for the best.
This is the obvious choice in all situations. You should hear him on the band version of "Victory at Sea".
If we follow the troops and march trough the gates of Cameron, wouldn’t this then be the right instrument for playing the octave passages?
My bad. You, Sir, are correct.
BTW, my first son was born on Feb 11, 2002 (**2112**) and my second son is named Sawyer. "Geddy" did not fly with the old lady.
A friend of mine was Neal Peart's roadie for several years. You should see the Rush memorabilia he has...
To stay on topic:
When playing it alone I have always just played whatever made for the smoothest, most "melodic" bass lines.
Probably the best plan on this piece (as well as a legion of other pieces). I think a lot of the upper octave stuff is already doubled in the euph part as well. Since you are playing in a wind ensemble mode (1-to-a-part) in the low brass, I think that playing the upper octave poses a risk of being...I don't know...overbearing (for want of a better term).
SD
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.
My summer band has 5 or 6 tubas, all BBb or CC except for me on F tuba. I'm playing all of the top parts, as well as (sometimes) one of the other players. It sounds SO much more interesting to me to have that thick "section" sound from the basses, especially on divisi parts in the pedal range. (Pedal Eb octaves are *cool*!... and not such a huff and puffer on F tuba either )
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