When to Switch to a Larger Tuba?

[WC8KCY]

Why doesn't the concertmaster play a 6/4 violin?

And why are the double bassists all on 3/4-size basses?

[k001k47]

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[tclements]

Great question! My take on horn size: If I am playing in an orchestra with 10-12 celli, and 6-8 basses, I use a 6/4 tuba, depending on repertoire and the size of the bass trombonist's sound. I alternate between a BAT and a large rotary tuba. The last time we played Buckner 4, I used an F, and the conductor loved it, go figure! For most pit settings and reduced orchestra situations, where we use 3-4 basses and 4-5 celli, I use a 4/4 tuba, but since I am responsible for MORE of the bass sound, I use a 4/4 with a deep, rich sound. In this situation, I need a lot less projection, and more fundamental. As a band conductor, I want all of my tubists to use the largest horn they can get their hands on (key doesn't matter) because they ARE the bass section and they need less projection and a more blended, bassy sound. In chamber music, I use a 4/4 CC and a large F, I carry 2 tubas. For solos, it COMPLETELY depends on the repertoire.

In summary:
Large, loud orchestra, strong bass trombone (repertoire dependant): 6/4
Most other large playing: 4/4 - 5/4
Quintet: 4/4 CC, large F

Good luck!

[hup_d_dup]

Why doesn't the concertmaster play a 6/4 violin?

Good to have both. Pinchas Zuckerman plays 4/4 and 6/4 violins.

http://www.seattletimes.com/entertainme ... orchestra/" target="_blank" target="_blank

Hup

[toobagrowl]

IMO, the overall best tuba sounds I've heard in large ensembles (concert bands, orchestras, etc.) have been on 4/4 and 5/4 contrabass tubas. Most 6/4 tubas just sound too fluffy/diffuse for my tastes -- yes, even with "top pros" playing them...

[Alex C]

I'm not sure you should give this thought ANY attention, but Roger Bobo told a friend of mine - who'll remain nameless - that a much higher proportion of 6/4 tuba players ended up getting focal dystonia. If that's true, it is a bit worrying.

While that statement is close to being true (one notable F tuba soloist comes to mind), it is due to the way in which today's players approach 6/4 tubas. Arnold Jacobs was never in danger of FD-type problems because he did not play the York tubas in a visceral manner. He crafted a sound that would be heard rather than trying to play a dark sound at a very loud dynamic. Additionally, while the York low-register response is not terrific, it is better than most modern 6/4 tubas. The amount of time spent learning to play the low register of a balky horn, at a high volume level, repeatedly over a number of years, may well be a major cause of FD-like performance issues.

When should you get such an instrument? When you teacher says to you, "You have the potential to be an orchestral performer but you need a large tuba to play with a professional brass section."

Most people simply don't need a BAT, but if you do get one, make sure the low register speaks like the rest of the horn. I've owned 3 BATS over thirty years, and played on another for several weeks. Only one of those horns had a low register that responded without physical gymnastics.

[LCTuba89]

Most people simply don't need a BAT, but if you do get one, make sure the low register speaks like the rest of the horn. I've owned 3 BATS over thirty years, and played on another for several weeks. Only one of those horns had a low register that responded without physical gymnastics.

I've played several different horns over the years. Nothing I've played since responds like my BMB BAT in the lower register. It's quick and earth moving and I imagine the 4/4 BMB responds just as quickly. I love the graduated bore system. While I didn't need a BAT when I sought out to get it, I can't hear any other tuba providing the grandiose tone for the low note divisions now that I have one.

[Donn]

Only one of those horns had a low register that responded without physical gymnastics.

Were these all C orchestra type tubas? I know the big old US models of BBb tuba, like my Holton, various Conn models 20J, 36J etc ... intonation problems galore, but generations of average band duffers have been shaking the foundations with those things. (Or I guess I may be confused about what you mean by "low register".)

[cambrook]

Why doesn't the concertmaster play a 6/4 violin?

Then he'd be Principal Viola.

I do agree with Joe that often we use horns that are bigger than necessary, and sometimes bigger than is appropriate.

[Mark]

Why doesn't the concertmaster play a 6/4 violin?

Because the concertmaster is playing a $7 million dollar 4/4 violin.

[tubeast]

Why don´t You just sell those horns, get that Siegfried and be done with it ?

[ckalaher1]

Probably a different set of circumstances than most for "when to switch to a larger tuba":

I got back into playing after a three year layoff that was brought on by numerous abdominal surgeries that made for some interesting body changes.

When I started out a few months ago, I bought a small 4/4 CC (MW 2145), which seemed like more work than I was interested in, which surprised me because I had played one for some time in several small regional orchestras about 15 years ago. May have been because this example blows WIDE open (local pro tried it and said it responded so fast and took so much air that it felt like he was going to "fall into the instrument"), but regardless, everything seemed "hard", physically.

I switched to a small 5/4 (Miraphone 1293) a couple of months ago and it has made my playing time (basically just Snedecor, Bordogni, Kopprasch, and Arban at this point) much "easier". I didn't give much consideration to anything like a 6/4, because it wasn't the sound I was looking for, or the "playability" that I was looking for.

Anyhow, it made my time playing the tuba more comfortable, therefore, more enjoyable.

[southtubist]

Why doesn't the concertmaster play a 6/4 violin?

Because the concertmaster is playing a $7 million dollar 4/4 violin.

My 5/4 size (production model) tuba is the best one (in my judgment) that I could find (not $7M, but about $17K - including add-ons which contribute positively to its playing characteristics...and - b.s. or not - the "production run" of this instrument is thought to be particularly good as well), is one of the more expensive production model 5/4-size tubas offered for sale, and (I'm very skeptical that) any 5/4 size tubas I haven't yet experienced/tested probably (??) are no better. If there is one - and I stumble across it - I may look into acquiring it...but I'm pretty sure that I'm through "exploring" (I've owned several "very good" models, and thoroughly tested several other models) 6/4 size instruments.

The two EXCEPTIONALLY fine (available for sale...and not "so-and-so's particular _________") 6/4 tubas (which seem to overcome most all of my objections to typical playing characteristics of tubas in this size range) are
CC - Yamaha YCB-826S
BBb - Miraphone model 98

I played a few notes on one of them new fangled Yamayorks- this one owned by a professional. If I was a professional playing in a big ensemble I'd buy it. It's worth every penny.

I've played Bloke's Thor, it felt very similar to my old small valve 2145- very user friendly. I sold it to a professional chamber player, who (wisely) still plays it. In hindsight, I shouldn't have sold that horn. . . It took only 15 minutes of test playing to make the sale.