elbow flapping: tuba and horn players

[Rick Denney]

Movement is either a result of music flowing through the musician's body, or an affection designed to impress the audience. In the former case, it does not distract from the music, but it also doesn't make the music. In the latter case, it's a symptom of a disease that usually manifests a range of other non-musical symptoms.

If the music moves me, I move. If it doesn't, I don't. If I'm thinking about moving, I'm not thinking about music. If I'm thinking about music and some part of my body moves without my input, well, I just let it be. Thinking about not moving distracts from the music as much as thinking about moving.

Audiences can usually tell the difference. And if they can't, it doesn't matter.

Rick "who doesn't think the movement of the members of the Vienna Philharmonic detracts from their sonic product" Denney

[tubainty]

If anybody has ever seen mark hetzler (trombonist with empire brass) perform they know that he moves a whole lot . But it is in no way distracting from the music. This summer I saw him do a concert and on one piece all he had were up beats and he was moving all around. But he made that very simple line into music, something most people have trouble doing (I assume )... Any way he is a GREAT trombonist and his movement not only doesn't negatively affect his playing but I'd feel weird watching him play sitting still. Sometimes the music moves, don't fight it.

[J.c. Sherman]

Is it because of the player, the music, or the musician?

I move a bit... I admit it. Mostly, I try to use it for humorous or pantomime purpose. It can be a great way to communicate with an audience. It's acting, and it can enhance the performance, at least the non-musical components.

My eyebrows are physically attached to my embouchure... no one is going to disengage them without destroying me as a player

"Proud elbows" are either going to be an affectation, or something effected by the music. An audience will know INSTANTLY which is which. Other tubists will as well. If it's a part of the music making, it will be ignored. If it's part of the physical performance of the work, it's a crutch and that will be transparent.

A little movement, with the right cause, will be accepted by your audience (you know, the only ones who matter). A great deal of movement with the same control as most flautists' or singers' vibrato will be abhorred instantly.

We should all relax and let the product guide us... all else is secondary.

J.c.S.

[imperialbari]

As long as everybody have fastened their seat belts during take-off, they will be OK

[djwesp]

All jokes aside, sometimes this choreography is necessary to help incompetent accompanists drudge through their parts.

When the pulse dissolves, on releases, to organize entrances. Literally, sometimes you have to conduct for the pianist. Even harder when there is a language barrier between you and this person.

[Wyvern]

I cannot see any harm in some movement if it helps the player with the pulse of the music. Does not worry me at all, as long as it is not excessive to be hitting other players.

What I really hate are loud breaths. I have been to solo performances when I have ended up listening more to the breaths than the music!

[MartyNeilan]

Does making farting noises with your armpit count?

I remember the time when Don Harry instructed me on the fine art of making fart sounds by squeezing your hands together. He suggested that would be a good thing to do on the NYC subways. Of course, due the the massive size of his hands, he achieved significantly more spectacular results.

Side note: I think more tuba teachers need to be incredible players and teachers, but still not take themselves and what they are doing so seriously.

[tubainty]

Side note: I think more tuba teachers need to be incredible players and teachers, but still not take themselves and what they are doing so seriously.

I think they ought to take what they are doing seriously, for if they don't neither will their students, but at the same time not taking themselves too seriously.

[toobagrowl]

I have to say that the elbow flapping kinda gets on my nerves when I see it. I think many tuba and horn players do it for affect like they are saying: "look at how musical I am playing". It's like a show off or something You can play musical without all the arm flapping.
Someone else mentioned the excessive deep heavy loud breaths during performances. Yeah.......that kinda gets on my nerves too

[Steven Noel]

The excess movements are about as needed as the pulling and pushing of slides all the time , pumping the tubas slides like playing an accordion .
looks foolish ! if the tuba is that badly out of tune the sell it !

[J.c. Sherman]

The excess movements are about as needed as the pulling and pushing of slides all the time , pumping the tubas slides like playing an accordion .
looks foolish ! if the tuba is that badly out of tune the sell it !

Yeah, Arnold Jacobs and Ron Bishop shoulda sold those pieces of crap they played on!

J.c.S.

[Wyvern]

The excess movements are about as needed as the pulling and pushing of slides all the time

I sometime wonder about the pulling and pushing of slides, as a tuba is relatively easy to lip into tune. At a masterclass I attended a few years back Steve Sykes demonstrated lipping over multiple tones. However, some top players seem to think slide playing is better to keep a good tone - so I am not going to argue!

Let everyone use the method that is best for them, be it slide pulling, or elbow flapping - all that really matters is the quality of music produced.

[J.c. Sherman]

Let everyone use the method that is best for them, be it slide pulling, or elbow flapping - all that really matters is the quality of music produced.

Amen! Sing it!