Emptying the Human Spit Valve

[Mark E. Chachich]

I heard John Fletcher play the second movement of the VW Concerto live at the International Brass Congress at Indiania University back in the 1980's. I do not think that I have heard more sensitive music coming out of any instrument of any kind. I was not listening to a tubist that day, I was listening to a true musician that happened to be playing a tuba (much to my delight). OK, Mr. Fletcher did it and almost all of us cannot even come close to his level of musicanship. But musicianship on the highest and most moving level can be accomplished on a tuba (rarely) and I heard it one fine afternoon in Indiania!

Mark

[Chuck(G)]

I think you missed my point. I wasn't aware we were having a contest here.
MA

I wasn't proposing a contest, just pointing out that some instruments were developed for a purpose and that they perform best in that role. I think that we are more often blinded by our attachment to our chosen instruments than we are willing to consider cold hard practicalities Would I want to hear the Vaughan Williams tuba concerto done on contrabassoon? I don't think so--but it might be interesting on a clarinet.

Can something be played soulfully on a tuba? Of course--but the same thing could be said for piccolo, kazoo or slide whistle. That doesn't mean that any of those instruments is best used for playing emotional solos. Suitability for solo work has nothing to do with the "developmental maturity" of the instrument.

On the other hand, I suspect that some solo music may not be a complete mistake for tuba. Jeff Bradetich has certainly performed a valuable service with his "Music for All to Hear" and a tuba might just take its place as part of that tradition.

But as an all-around souldful instrument that turns on the spit valve better than anything else? I don't think so.

[jaredsan]

I agree with the "every instrument has it's purpose" theory.

The ride of the valkyries would not be the same played by a clarinet choir. And, the aforementioned barber adagio would be a joke if played by a tuba choir.

However, I think music can be specifically written to bring out the natural "soul" of an instrument. When this happens, the instrumentalist can truly put an inspired performance to the audience.

[tubatooter1940]

I can make you cry with my tuba.I can rip your heart out and stomp a mudhole in it.Mary Ann and Ames0325 are right.A tuba can sing .The other posts correctly state that the horn design and origional purpose was not particularly romantic.Also the material written for tuba traditionally has tubas in roles other than passionate solos. But that doesn't mean that a passionate player on tuba can't evoke any emotion that humans are capable of. This type of playing will never be common for us tubists but I believe more of this material will be available in the future-I hope.
To document my bragging in the first two lines of thus post,I submit cut 10 of my C.D. "A Bonified Social Club", an origional song entitled, "Just Once".If you get to listen to it,you better be packin' some Kleenex.
www.johnreno.com/

[Chuck(G)]

ITo document my bragging in the first two lines of thus post,I submit cut 10 of my C.D. "A Bonified Social Club", an origional song entitled, "Just Once".If you get to listen to it,you better be packin' some Kleenex.
www.johnreno.com/

According to your web site, the CD has only 9 tracks

If this were vinyl, I think you'd be tellin' us to listen to the run-out groove...

[tubatooter1940]

It has 11 tracks Chuck(G). Thank you for bringing that fact to my attention.

[Mark]

I wasn't proposing a contest, just pointing out that some instruments were developed for a purpose and that they perform best in that role.

History has a funny way of changing that as an example the piano.

Can something be played soulfully on a tuba? Of course--but the same thing could be said for piccolo, kazoo or slide whistle.

Slide whistle or tin whistle? I've heard The Chieftans play several very touching tunes with a tin whistle as the solo instrument and I once I hear Paddy Moloney play a slide whistle. And he proved that a good musician can touch you with an unexpected instrument.

http://www.music.vt.edu/musicdictionary ... istle.html

[Chuck(G)]

Slide whistle or tin whistle? I've heard The Chieftans play several very touching tunes with a tin whistle as the solo instrument and I once I hear Paddy Moloney play a slide whistle. And he proved that a good musician can touch you with an unexpected instrument.

Slide whistle--the thing with a plunger. I consider the tin whistle to be a legitimate solo instrument, as James Galway so ably demonstrates.


Even a nose flute can sound soulful in the hands(:?) of the right artist. That doesn't mean, however, that I want to listen to an evening of it.

[tubafour]

Joe Baker:

If your kid goes to Farragut, then I know what you're talking about. I saw that show in Greeneville, if I'm not mistaken. It definitely was moving. What a tuba section!

[Joe Baker]

Well, actually my son goes to Bearden (Go Dawgs!) -- arch-nemesis of Farragut!

But I saw Farragut's show this year also**, and it was very good. Theirs was a civil-war show.

If you DID see Bearden, it would have also stood out for a really swinging (NOT "really swinging for a marching band") Boogie-Woogie Bugle Boy, and for the use of some snippets of famous speeches.
_____________________________
Joe Baker, who is smack in the middle of some very excellent school music programs.

** Props to the football parents at Farragut, BTW. When we played them, I went over to the Farragut side with a camcorder. Their football parents have the 50-yard-line section reserved, but they graciously allowed me to move into their area to videotape the bands. More than I could say for our own football parents!

[Dickbob]

Iintensely emotion-provoking performances on cello are quite common, but no so on the double-bass. Thus, it would seem that we could admit to the euphonium having more potential in that department than the tuba.

A tuba is useful for sounding comical, however--as is the contrabassoon. At least that's something.

being a euphonium player, I am honored that you appreciate the superiority of our instrument *wink wink* however, I will grossly disagree with your statement about the lack of intensely emotion-provoking performances on double bass.

Last year our chapter of Phi Mu Alpha hosted our first All Louisiana high school solo competition*shameless plug*, and had a faculty recital for the kiddies at the end. Our Double Bass professor Yung-chiao Wei volunteered to play a piece for us, I forgot its name, but when she was over, everyone I saw in the room was crying. It was the first, and so far the only time I cried in a recital. So what does this prove? It is possible for low pitched instrument players to master their instruments and be true artists. Yes it may be harder, but If everyone thinks it can't be done..... then they will be right.

So don't try. Make it easier for us euphs!!! =)




....at least people know what a tuba is

[elimia]

I think there are many issues related to why tuba isn't the first instrument that jumps to mind when discussing soul wrenching performances. I think this discussion is good in that people are beginning to realize a lot of room for improvement in the instrument. I think really developing the solo repertoise is critical. The supporting role the tuba plays in classical music is pretty critical though. It was mentioned that tuba players spend a long time just working through long tones. That's true enough, but I think tuba players in general have a good understanding of balance. It is often the prime thing thye have to do in ensemble work.

Back to the repertoise issue for a minute. It's a big hurdle frankly. So many up and coming tuba players just never often encounter stuff that really cracks their chops (and I'm not just talking 30 second notes here). And given the technical aspects of developing as a player, there is only a handful of players that are capable of really transcendant playing.

Real emotive work comes from people who are musicians that happen to play tuba, not vice versa. A lot of players just haven't developed that understanding of phrasing and lyricism. A lot of band directors don't put their best potential musicians on tuba, in my personal perspective. In brass, our best musicians were on trumpet and french horn.

I think euphonium has a very special voice, unique among brass instruments. I like trombone and appreciate how valuable it is in a lot of orchestral and jazz music, but when listening to a phrase that needs to be rich and smooth and singing, or fluent technical passages, trombone isn't what I like to hear.

[Chuck(G)]

being a euphonium player, I am honored that you appreciate the superiority of our instrument *wink wink* however, I will grossly disagree with your statement about the lack of intensely emotion-provoking performances on double bass.

Again, you misread me. I'm a great fan of the double bass--I'll go out of my way to attend an Edgar Meyer concert or master class. I have a lot of admiration for the work of Jeff Bradetich. Joel Quarrington blows me away with his agility on his cello-tuned bass. I have more CD's of solo bass music than I have of tuba music. But a virtuosic performance on 'cello is not only more common, I submit that it's more possible. The size and other mechanical considerations of the bass limits its expressiveness. It isn't even built to the proper scale as the other members of the violin familiy (a bass built to the scale of a violin or cello would stand about 11 feet tall).

When I think back on really great stringed instrument performances that I've attended, Heifetz, Casals and Segovia stand out. While I've attended several perforances by Gary Karr, they don't stick in my mind the same way.

Let me put it this way; if Edgar Meyer and Yo Yo Ma were both in town giving concerts at the same time, which would you go to hear?

[Kevin Hendrick]

... So many up and coming tuba players just never often encounter stuff that really cracks their chops (and I'm not just talking 30 second notes here) ...

Holding a note for 30 seconds tends to be more a test of your vital capacity and breath control than a chop-buster; a run of 32nd notes, on the other hand ...

[Leland]

Let me put it this way; if Edgar Meyer and Yo Yo Ma were both in town giving concerts at the same time, which would you go to hear?

To which I would ask the question, "Who's Edgar Meyer?"

Of course, marketing & popularity is a whole 'nother can of worms.

[Chuck(G)]

To which I would ask the question, "Who's Edgar Meyer?"

Of course, marketing & popularity is a whole 'nother can of worms.

No argument, there, but I can recommend the following CD:

http://shop.store.yahoo.com/discerning/ ... emufo.html

[elimia]

"holding a note for 30 seconds tends to be more a test of your vital capacity and breath control than a chop-buster; a run of 32nd notes, on the other hand ..."

Kevin - I meant 32nd notes, not 30 second notes, sorry for the typo. Although I think holding that a note for 30 seconds is quite a feat!