Beautiful sound

[dwerden]

When I was in high school the recordings of Harold Brasch and Leonard Falcone did not give me the sound I wanted. When I heard Brasch live that did make an impression and improved my sound. But otherwise I listenedd to Tommy Dorsey, Doc Severinsen, and Rafael Mendez. A few years later I branched out into vocalists like Sinatra. Then later still I fell in love with Jascha Heifitz. Then I added Lynn Harell (cello). During those latter phases I learned to love the British sound in euphonium players. For me, there was no individual player I wanted to totally emulate. My sound concept is a blend of the above and probably dozens of others I have heard. All together they "put something in my head" that is always there. Not that I ever perfectly achieve what's in my head, but that's my target.

[tubapix]

First Post (YAY ME!)- When I was in HS (1980 or so), the band director gave me a tape of "The Eastman Brass Quintet - Renaissance Brass Music". I loved the sound of the tuba on that tap. I have since replaced it with the CD and the sound is the same - so full and yet delicate - that is who I patterned my sound after. I just don't can't find the CD right now but I do have it on my computer and mp3 but that doesn't help with the tuba players name.

[doublebuzzing]

I couldn't pick just one tuba player as so many of them are jaw-dropping in their musicality. As for brass playing in general, I have tried hard but have yet to find anyone who can match the individuality, musicality, and beautiful playing of Charlie Schlueter on trumpet. On the technical side there are many players better than him, no doubt, but no one can turn a simple phrase into more music that I have heard (not even Bud).

[deputysgttuba]

Chester Schmitz
John Fletcher
Michael Lind
Gene Porkorny
(These are in chronological hearing order)..

[jasoncatchpowle]

Player X is the best- no one comes close.

Bullshit.

[PaulMaybery]

I suppose I am the odd ball here, but to me sound is only one dimension in one's playing. Everyone has a sound. But by itself it is just a static phenomenon. I think a player's understanding of profound phrasing as we would hear from a Casals is ultimately more important that having a tone that sounds like some reputedly great player. To me, very few tubaists are worth listening to seriously - that is as a soloist. Symphony playing these days is so homogenous that rarely a player's individual sense of style has any room. I suppose brass players often worship the sound and technique of the great players (as many of them are amazing in that regard) and never really listen to or understand the elements of style in their performance. What makes an interesting player? In some cases it is their musical instincts, but I have to admit that without being an informed player with regard to the traditions of historic performance practice, a great musical athlete who simply plays what he/she feels offers very little for my taste. I want to hear a mature musical story not an olympic event. The great flutist and pedagogue Marcel Moise wrote a book several generations back called "Tone Development Through Interpretation." It was essential a collection of classic melodies. He expected that as one would discover how to interpret a musical line, the development of tone would follow naturally as a beautiful extension of that process. Arguably Moise's tone was not necessarily exceptional, but his performance was compelling owing to what he had to say interpretively. Food for Thought.

[windshieldbug]

How do you know how you sound in the hall anyway?

1. Ears you trust for feedback. Other tubists, low brass, etc.
2. The limited feedback you get from your own ears on stage.
3. If your orchestra does archival recordings, listen to them back to back when you've used different equipment (ignoring any recording issues, just the difference).
4. Feedback from the conductor/music director (but be sure you're playing well before you draw attention to yourself by asking... )

[toobagrowl]

All of my fav players have already been mentioned. I take concepts from them and apply them to my own playing, helping create my own sound & style.
Any "serious" player should strive for their own beautiful sound

How do you know how you sound in the hall anyway?

1. Ears you trust for feedback. Other tubists, low brass, etc.
2. The limited feedback you get from your own ears on stage.
3. If your orchestra does archival recordings, listen to them back to back when you've used different equipment (ignoring any recording issues, just the difference).
4. Feedback from the conductor/music director (but be sure you're playing well before you draw attention to yourself by asking... )

+1.

[doublebuzzing]

Chester Schmitz.

No one else even comes close.

I am not sure how this is possible. Warren Deck doesn't come close? Roger Bobo Doesn't come close? Gene Pokorny? Floyd Cooley? Arnold Jacobs? Etc. Etc.

[Dylan King]

Ella Fitzgerald

And I guess for tuba it would be Tommy Johnson.

[Jay Bertolet]

Any "serious" player should strive for their own beautiful sound

Bingo!

As an instructor, I almost never play during the lessons I teach. I do that quite on purpose because I don't want the student emulating me. While that would be flattering, it doesn't help the student find the best sound they can possibly make. Sure, I tell students about performances I do so they have the opportunity to come hear me if they like but I give them the choice. I feel like my job is to help them find their own "voice". With imagination as the driving force, there are no limits.

Another thing I have noticed: When I was in college, the discussion seemed to be centered around the concept that you can't teach a student musicality. I studied with several teachers who all seemed to believe this concept (except one inspirational exception). Today, it seems like most teachers are aggressively teaching musicality. However, I don't hear a lot of teachers teaching students about how to sound good or how to work on their sound. I encourage all my students to regularly spend time in a practice room working on their sound only. No music, no metronome or tuner, just playing notes and striving for the best sound you can make. I wonder how common a concept that is today in the best studios?

[hup_d_dup]

Rather than sound quality, we should be talking about sound control.
To claim that one sound is better than another is as ignorant as saying that green is a better color than red. Good music requires an infinite variety of sound colors.

[eutubabone]

For the person who listened to Eastman-Renaissance etc., I think Cherry Beauregard was the tuba on the Eastman recording. I studied with him in 1973 but I don't know when he retired. In 1980 I was in Columbus, Ohio teaching privately and free-lancing with my own quintet so I lost track of him.(I think he moved to Arizona?)

[eupho]

Bastien Baumet
Demondrae Thurmond
Martin Chochran
David Werden
David Childs(York)
Roger Berhend

[KevinMadden]

Who produced the tuba warm-ups titled "Beautiful Sounds"? I have three sheets of it but the author's name is not on any of the pages. Norlan Brewley maybe?

I know the Pilafian / Sheridan Brass Gym has an exercise titled "Beautiful Sounds", they attribute it to Arnold Jacobs. In the George Palton Daily Routines book, the same exercise is titled "Jacobs Turn Exercise"

[tubapix]

For the person who listened to Eastman-Renaissance etc., I think Cherry Beauregard was the tuba on the Eastman recording. I studied with him in 1973 but I don't know when he retired. In 1980 I was in Columbus, Ohio teaching privately and free-lancing with my own quintet so I lost track of him.(I think he moved to Arizona?)

It was indeed Cherry Bearegard. Here are 2 samples -

https://www.youtube.com/watch?v=zBdgwwYqyVw" target="_blank

https://www.youtube.com/watch?v=b68lEVHewaE" target="_blank

[besson900]

First was O.Baadsvik,next i heared Tim Buzbee and his piece for 3 tubas but know when I,m older i think the most beautiful soundtrack have Gene Pokorny(You have to listen Bluebells of Scotland played on CC tuba by Pokorny)

[besson900]

I think that Oystein have unpractical sound of u re not soloist.I cannot imagine this kind of playing in orchestra

[bort]

I think that Oystein have unpractical sound of u re not soloist.I cannot imagine this kind of playing in orchestra

But he wouldn't play that way in the back row of an orchestra. Tools, sounds, etc. all change based on need/use.

[roweenie]

People tend to "snapshot" other people based on seeing them doing one type of activity (or playing music in one type of venue)

Unfortunately quite true