Specifically: What type of horn do you prefer for quintet?

[Dan Schultz]

Miraphone 183-4 (Eb)

[Rick Denney]

Jobey: D- 2/5 or 3...both work nicely

yup, 3 by itself is what has worked for me

Jobey: C- 3/5 is AWESOME!

About the same as 1-3, and with 5 being a hair flatter because that's what works on that low Eb, then I'm buying it.

Jobey: B- 2/3/5..Bam!

or 2-4?

Jobey: Bb- 1/2/4 is best sound and intonation...locks very nicely, 4/5 is a bit shaky on my tuba.

Same for me, because I can't get 5 pulled out enough to make it really lock in. I figured 1-2-4 should be flat, and if it isn't, I'm not playing correctly. That it works for you is most reassuring.

A- 1/4/5 AWESOME!

2-3-4 was always my favorite for the Yamaha, but it's sharp on the B&S.

Jobey: Ab- 3/4/5 AWESOME!

That's what I do on the Yamaha, too.

Jobey: G- 1/3/4/5 & in on 1st slide...ROCKS!

I was using 2-3-4-5 with 5 pulled out more, and hating it.

My hand is so used to the Yamaha that retraining this notes is going to be a mess, and even more interesting will be trying to switch back and forth to the Yamaha. I'm hoping the left-handed 5th will keep things unique enough so my fingers don't get confused.

Rick "printing this out" Denney

[Chuck(G)]

It depends on the type of quintet.

Are you using cornets and euphonium in the upper parts? Then I'd prefer a CC or BBb to match the darker sound a bit better.

If trumpets and trombone, an F, Eb or bass trombone would be just the thing.

[Chuck(G)]

Therefore, on a "blind" quintet church read-it/play-it gig, the B.A.T. always stays at home.

Joe (at the expense of cross-topic posting), you obviously need a tuba in D...

[tubaman5150]

For years, I used a CC and 3/4 Besson Eb in quintet. Though not very portable, this setup allowed me a high degree of flexibility. When I started my masters degree, I began playing F tuba for the first time. For some reason, I no longer could make the CC tuba work in quintet (partially because I bought a BAT ). The F tuba just kind of "took over" my playing in this regard. Now, I have a pretty great Miraphone 181 6 valve F tuba, so flexibility is not as much of an issue as my old method. But, I have always believed that my choice of tuba, if I were a full time quintet player, would be an Eb. For some reason, I can no longer make Eb work as well in a chamber setting as the F tuba. It's not range or comfort issue for me. I'm beginning to suspect its a tone color issue. Of course, the musicians have changed around me, but I feel its my taste as well. Others I have heard on Eb in quintet, including my teacher, sound great. I just can't make it "work" as well. I'm Eb handicapped!
Just my opinion for what its worth.

[CJ Krause]

***

[Rob Wilson]

EEb because of the ease of playing the higher parts and the fingering is generaly eaiser. Being a smaller horn the sound blends better. I use a Willson 3400.

[timayer]

I've played a MW 2155, a Conn 2J, and a B&S F in quintet. Out of these I think the 2J is the best all-around quintet horn because it's not an overpowering CC like the 2155, but it's also got a much stronger low range than the F. I would never use it in an orchestra or band, but for quintet, it's a very practical horn.

[Z-Tuba Dude]

I am glad I asked! Some very interesting results!

[ContraDude]

I use a tiny little weril 3/4 CC horn. It's confortable and there is (surprisingly enough in my horn) no real intonation problems I have hit yet (that one time with the pt-88 mega mouthpiece doesn't count).

[Gravid]

B&S Symphonie model F (easier to play in tune in the mid/upper registers but more challenging in the low register than a PT-10/15). I've dealt w/the aforementioned tuning challenges in the low register (see posts by Jobey and Rick D) by having the 5th v slide extended (Weril 3/4 tubing works great) and having a kicker added to the 5th v slide. Playing the F tuba in quintet has forced me to work on my F low chops, as well as overall dexterity/intonation on the horn. The payback is the timbre and ability to blend, esp on lighter works. The best sounding horn for most quintets in most instances, in my opinion? Probably an Eb or 3/4 CC.[/i]

[ThomasP]

When I was discussing this topic with my teacher last year, we went to his CD shelf. We began to look at all of his brass quintet CDs and found that most tuba players in brass quintets play CC tubas. Canadian Brass, Empire Brass (w/ Pilafian). Just to name two that I remember off the top of my head. With this on my mind I chose to play my CC tuba in my quintet and I`m glad I did. And its a Willson, not very small, but I made it work.

[Jeff Miller]

I'm currently using a Hirsbrunner 388 F (this is the smaller piston valved model). Both I and the guys in the group think it's the best horn I've used in the group. Previous horns have included a 4/4 Hirsbrunner CC and a Yamaha 822 F. Basically, the Hirsbrunner F can give the complexity of timbre that the C provides, but blends with the other instruments, as opposed to just sitting beneath everything else.

If my CC functioned as a double bass voice, the 388 definitely functions as a cello; it sits inside the group for the most part, but is so versatile in sound that it can be made to sound big when necessary.

The Stockholm Chamber Brass have used a similar instrument in the past (not sure what the current player uses) and it is not dissimilar to Oystein Baadsvik's Hirsbrunner Eb.

Jeff Miller

[Jobey Wilson]

Rick,
I guess the biggest point I was trying to make (which i apparently failed miserably at) is that I found that the 5th on MY B&S is MUCH more open than 1st...I'm curious to see if that is the case on most F's; or atleast on the B&S Symphonie F's. I've actually been tempted to use 5th for other notes higher in the register, but that calls for a little more experimenting. Yea, those fingerings are a bitch to get used to...I still get a little confused once in a while...especially A-Ab. Have fun!!

[tubacdk]

I use my RM-43 (3/4 CC) most of the time and everyone seems very happy with it. My quintet doesn't play particularly loud unless it's really necessary for the piece, but even if we did I don't think that the RM would keep me from keeping up. I've used my B&S F (pre-PT) in the past and I like the sound/weight, but the Rudy just seems to be a better fit for this group. And as good as the low register is on my B&S, the Rudy just takes any and all guesswork out of it.

-ck

[Rick Denney]

Yea, those fingerings are a bitch to get used to...I still get a little confused once in a while...especially A-Ab. Have fun!!

I experimented a bit over the weekend, and it will take some considerable getting used to. But I found your proposed fingerings work as you say, with the fifth slide pushed into to tune the low Eb on 5 alone.

But I'm not sure I'll be able to lock those fingerings in and still maintain any interchangeability with my other F. For a while, it's gonna be messy!

Rick "who played the other F for 13 years and who doesn't take to new fingerings easily" Denney

[Z-Tuba Dude]

I really like the CB 50. It covers different styles......As far as using it with a church gig, it matches well to a good pipe organ

How is it with a BAD pipe organ?

[Mark E. Chachich]

I like to use my Meinl Weston 32 for quintets. I like the smaller 4/4 CC tuba sound in quintets.

Mark