Alternate Dvorak "New World" tuba part

[tclements]

Why bother? Gig pays the same whether you play a lot or a little. I'd rather play my 14 half notes and go home.

[Wyvern]

Why bother? Gig pays the same whether you play a lot or a little. I'd rather play my 14 half notes and go home.

Lots of us play more for the pleasure, than money

I would also be interested in the new part.

[Biggs]

Why bother? Gig pays the same whether you play a lot or a little. I'd rather play my 14 half notes and go home.

+1

[CC]

Well, to each his own. I know that it's only 14 notes, but I think that I've got the best seat in the house without a doubt during this work. I can also say that I actually ENJOY listening to the piece especially when I can hear my friends and colleagues play some great music.

[wrobotuba]

Music- To Each is Own
Work- Marginal
Possibilities- Endless


Seek first to understand

[Todd S. Malicoate]

Well, to each his own. I know that it's only 14 notes, but I think that I've got the best seat in the house without a doubt during this work. I can also say that I actually ENJOY listening to the piece especially when I can hear my friends and colleagues play some great music.

This. I had this feeling whilst sitting for the majority of Dvorak 8 this summer. Best seat in the house.

Love the "Basie" ending of the third movement.

[Wyvern]

I played the Ryker tuba part at a rehearsal yesterday evening. I saw the conductor smile at one entry as we played through and afterwards he came over and said "Very nice - play for concert!", while the 1st trumpet commented she thought the extra tuba really enhanced the piece - nice to know it's not just a tubist's indulgence!

I am using my F tuba as I don't want to add too fat and dominant sound - it seems to work fine.

[Steve Marcus]

I played the Ryker tuba part at a rehearsal yesterday evening. I saw the conductor smile at one entry as we played through and afterwards he came over and said "Very nice - play for concert!", while the 1st trumpet commented she thought the extra tuba really enhanced the piece - nice to know it's not just a tubist's indulgence!

I am using my F tuba as I don't want to add too fat and dominant sound - it seems to work fine.

Yes, a 6/4 CC might be a bit much for this application, even when played with restraint. It worked well on a 4/4-5/4 CC last year. Love that final E Major 6th 2-octave arpeggio peaking on the E above the staff!

[akshatjain]

Im interested in the Alternate part too! Any word on the updated copy being finished yet?

[Ben]

The alternate part (Jobey Wilson edition) is in this thread that I linked earlier:
viewtopic.php?f=2&t=39781" target="_blank
http://www.dogandtuba.com/Dvorak9.pdf" target="_blank

Again, please send me your email address and I will send you the Ryker part where all of these are derived from.

[Ben]

The alternate part (Jobey Wilson edition) is in this thread that I linked earlier:
viewtopic.php?f=2&t=39781" target="_blank
http://www.dogandtuba.com/Dvorak9.pdf" target="_blank

Again, please send me your email address and I will send you the Ryker part where all of these are derived from.

[kathott]

uh, you can't just add a part because:
a) you play the tuba and the world ignores you
b) because you're bored
c) because you think that you can "realize" the piece as it "might have been".

The editing of parts is an insulated kind of thinking which gets out of hand,
and sets tuba players backwards 50 years in the eyes of their colleagues.
Orchestral players (of all instruments) have the same complaints about all
kinds of repertoire.

[UDELBR]

uh, you can't just add a part because:
a) you play the tuba and the world ignores you
b) because you're bored
c) because you think you can "realize" the piece as it "might have been".
This kind of thinking gets out of hand, and sets tuba players backwards
50 years in the eyes of their colleagues.
I'd like to "fix" the Dvorak 7th, but I won't.

Perfect! +1

[PMeuph]

The editing of parts is an insulated kind of thinking which gets out of hand,
and sets tuba players backwards 50 years in the eyes of their colleagues.
Orchestral players (of all instruments) have the same complaints about all
kinds of repertoire.

Correct me if I'm wrong, but hasn't Ryker not been a tubist for approximately 40 years and doesn;t this part date from his time with the MSO? (ca. 1965?-1973)

[Wyvern]

I don't know of any tuba player who has for personal gratification written added part for themselves to play. When part has been added, it has been the conductor has decided to add tuba.

Conductor of my orchestra has on more than one occasion added tuba (such as to Beethoven 9), not at my request, but because he wants the sound of tuba in the mix. Music should be living and not set in stone. If a particular conductor wants to add tuba to maybe boost the bass sound at particular points to suit modern taste, I cannot see there is anything terribly wrong. The original orchestration has not been lost and will no doubt be played elsewhere.

[UDELBR]

I don't know of any tuba player who has for personal gratification written added part for themselves to play.

Such as "Dies Irae" down 2 octaves? I can think of one.

[pjv]

Its not clear to me why this arrangement was written. Certainly not just to give the tubist something to do, I imagine.

As we know, in the beginning of the recording era tubists often doubled bass parts, assisting in cramming the badly needed bass frequencies onto the "acoustic" recordings. Might there have been a similar idea behind the NBC arrangement? True, radio broadcasts were made using microphones, but would the addition of the tuba have helped to beef up the bass parts being lost through the airwaves?

-Pat

[Agelaus]

Anyone out there have a recording of this piece with the alternative part. I would love to hear it and compare it to the original.

[Steve Marcus]

The editing of parts is an insulated kind of thinking which gets out of hand
...Orchestral players (of all instruments) have the same complaints about all
kinds of repertoire.

Not saying that you're wrong.

But simply another way of presenting orchestral music: think "Stokowski" and other conductors. Not just their out-and-out transcriptions, Stokowski, Ormandy, and other conductors of the 19th and 20th centuries often put their own stamp on the composer's score by changing the instrumentation, dramatic alterations in tempi, etc.

[PMeuph]

The editing of parts is an insulated kind of thinking which gets out of hand
...Orchestral players (of all instruments) have the same complaints about all
kinds of repertoire.

Not saying that you're wrong.

But simply another way of presenting orchestral music: think "Stokowski" and other conductors. Not just their out-and-out transcriptions, Stokowski, Ormandy, and other conductors of the 19th and 20th centuries often put their own stamp on the composer's score by changing the instrumentation, dramatic alterations in tempi, etc.

Also, Mahler (re)orchestrated the Schumann symphonies and the Beethoven symphonies....