Question about "Eb basses"

[GC]

This looks as if it follows the pattern of Civil War brass band music. Usually the brass were Saxhorns. There were often Bb tenor, baritone, and bass parts, and they were all played on horns of the same pitch but with different bore and bell sizes. Eb bass was the lowest part written. The Bb bass part doubled it an octave above most of the time. The treble end was handled by Eb and Bb sopranos (usually cornets) and Eb alto horns. Occasionally a Db piccolo and/or a clarinet (in varying keys) would be used.

This was a common way to score music until the early 20th century. A fair amount of music in the Library of Congress collection up to about 1910 us scored this way.

[Wyvern]

In the early days of brass bands the euphonium part was often labelled 'Bb Bass' - before BBb contrabass tubas became generally established within bands.

Incidentally, I was interested a few years back playing a very early brass band piece (if I remember correct out of the Black Dyke Band library) to see the Eb bass part in bass clef. I wonder at what stage they changed to treble clef?

Regarding transposing bass clef parts - French and Belgium bands do use - very confusing!

[imperialbari]

GC tells the historical development in American band scoring. I presented the lowest part from an 1882 Sousa edition to display that the Eb bass wasn’t just used in American bands because of easy reading for players transferred from trumpet or from treble clef reading baritone. It was the traditional contrabass supplemented by a bass line played on an instrument in the trombone-baritone-euphonium range.

Very soon after after 1882 Sousa (or the edition company) named the tuba part Basses. Actually there is an overlap period of inconsequence on this matter.

From 1879, where the part is still playable on a 3 valve Eb instrument:



And from 1886, where the part takes at least four valves for an Eb instrument to play the lower line in the divisi passages, as the two steps 3rd valve wasn’t common in the US:



There were BBb basses known back around 1860, but I seem to remember the oldest Conn BBb tubas being from around 1885. The bug and Lew are better in their knowledge on that matter than I am.

The four parts for instruments pitched in tenor-baritone Bb were Tenors 1 & 2, Bass, and Baritone. All four parts in general came in treble clef as well as in bass clef notations. The Baritone part stays for that instrument through Sousa’s lifetime (and further on of course), whereas the Bb Tenor and Bb Bass parts overtime and with some double indications develop into trombone parts all in bass clef.

Regarding Jonathan’s British brass band observations, they are true about the Bb bass part being intended for, what Geoffrey Brand named a glorified euphonium. That part was on the staff above the Eb bass in the scores, and I remember it, therestill was a euphonium part quite similar to the solo type part also know today.

The French system was the one of Adolphe Sax:

Soprano: Eb flugelhorn
Alto: Bb flugelhorn like the one we know mostly today
Tenor: Eb altohorn, hence the odd British term
Baritone: the slimmer Bb tenor instrument similar to the British style baritone
Bass: the wider Bb tenor instrument slightly smaller than most present-day euphoniums
Contrabass: originally the Eb tuba (Contrebasse en Mi bemol), later on, post-Sax, the BBb tuba (Contrebasse en Mi bemol)

For the low brass the German system has the same concert/marching band parts as the American one. Only they also have two or three Bb Tenorhörner with wider bells than the British baritones. The 1st part often is the main tenor soloist. The 2nd and 3rd parts in some march arrangements double the off-beats of the 2nd and 4th horns, which are not always manned in amateur bands.

Klaus

[GC]

@Klaus: thanks for reminding me. I tend to see antique instrumentation through my Civil War band tunnel vision. The brass band tradition is definitely older in Europe (since the instruments were mostly invented there). The paths of development were similar in most cases, but the differences are interesting.

Also, thanks for putting up the old Sousa march parts. Rifle Regiment is a great march that is rarely played.

[Steve Marcus]

Perhaps this is slightly OT, nevertheless...

What étude books are optimized for the range of bass tuba (Eb or F) in bass clef without transposition necessary?

[imperialbari]

Arban’s trumpet book is my favourite for just about all brass instruments. On Eb bass (and on bass trombone) I read it as being in bass clef. I do not consider the imagination of key signatures a transposition.

For scales and intervals I find my own practice material better because it cuts every tonality down to its core element, presents 9 modes including 3 minors and 3 dominant scales, has a much wider range, and then the scales are adapted for the precise core range of instruments in Bb, F, Eb, CC, and BBb plus for all treble clef readers. Within the core range the progression is along the circle of fifths. In the outer ranges the progression is chromatic upwards and downwards respectively. With the intervals you choose one key in a comfortable range and progress upwards and downwards according to your range and to your reading abilities, keywise.

The main motto is: rather start with ranges and keys that you master than not working with scales at all. Swashbucklers like bloke probably don’t practice scales any longer, but be sure he has done so, when he was younger. If on no other instruments, then on guitar.

At some point you will get the point in any scale and start practicing without music in front of you.

My free material is available via the upper link in my signature.

Klaus

[Michael Grant]

I did a quick scan of all the responses and did not see the name and/or number of the etude in question. So, what was the etude that was marked "Eb bass only"? Are you able to scan the first page and include it?

[swillafew]

I ran into transposed tuba music once, a French publication of Le Deluge. Aside from that:

Bass clef music is not transposed, no matter how the tuba was described on the page. I know exceptions are possible, but it's a rule nonetheless.

[iiipopes]

Perhaps this is slightly OT, nevertheless...
What étude books are optimized for the range of bass tuba (Eb or F) in bass clef without transposition necessary?

The Rubank Advanced Method has alternate exercises in each of its units for BBb or Eb bass, reading concert pitch bass clef.

[peter birch]

Perhaps this is slightly OT, nevertheless...

What étude books are optimized for the range of bass tuba (Eb or F) in bass clef without transposition necessary?

I don't really believe that range is the point for these studies, they are all about technique, playing scales and arpeggios in crotchets, quavers, semiquavers and triplets in different keys and modes and tempos. I learned transposed treble clef as a boy and so the Arban for trumpet works perfectly well for me. If the range of an exercise is too extreme for a player( either high or low), then simply move it an octave and you will benefit from that exercise.
My advice (fwiw) is to decide what you want to get out of a study book (finger technique, tonging, tone, general musicality or even improved range) and concentrate on that issue. For me, the studies I am using at the moment are the Bach cello suites and Schubert songs