Walking bass line technique

[Donn]

Seems that large bore tubas (and I do think it is the bore) don't respond very well to this approach.

One theory people have is that you can balance some of the properties of the bore, with your choice of mouthpiece.

I was just recently thinking that a smaller cup diameter mouthpiece might put a little color into the lower range, in a way that adds definition and helps with this walking bass thing - maybe particularly with a large bore.

[ghmerrill]

I was just recently thinking that a smaller cup diameter mouthpiece might put a little color into the lower range, in a way that adds definition and helps with this walking bass thing - maybe particularly with a large bore.

This is one reason I'm using the quite small TU17 most of the time -- though the 981 clone is far from a large bore. And "color" and "definition" are exactly the terms in which I was thinking when comparing the sound between the TU17 and the 3XL on that horn.

[Mark]

The drummers in the fore-mentioned Louis Armstrong recordings always use a basic "swing" pattern which is fine for big band but totally inappropriate for dixieland. The drummer should stick to using the snare & bass drum and sometimes the hi-hat/crash cymbal but NEVER use the ride cymbal, as this was not the vogue in the 1920s.

Do I understand you correctly? Are you saying the Dukes of Dixieland are doing it wrong?

[Donn]

And "color" and "definition" are exactly the terms in which I was thinking when comparing the sound between the TU17 and the 3XL on that horn.

In the lower part of the range? That's what I thought was kind of surprising. We don't normally think of going small for the sake of low notes. But I guess we do indulge in some overly simplistic thinking, sometimes.

[ghmerrill]

In the lower part of the range? That's what I thought was kind of surprising. We don't normally think of going small for the sake of low notes. But I guess we do indulge in some overly simplistic thinking, sometimes.

It may also have to do in part with the shape of the mouthpiece. The TU17 is a German-style bowl-shaped mouthpiece. The 2XL, while very deep, is more Helleberg-ish. The TU17 slots extremely well on my horn and the intonation is spot-on, and the articulation is great. The 2XL gives a broader and more "booming" tone, but is harder to control (and not just because it's the XL variant, I think).

This evening I found that my section mate (with a 186) didn't show up, and I was therefore the only tuba. We played several pieces that required sustained walking bass parts (Glen Miller, for example) and also the third movement ("Burlesque") of Persichetti's "Divertimento". So a lot of time in the compensating register -- or in and out of it. There were times when I wondered "Maybe the 2XL would be better here," but I didn't switch. I think it would have required more effort and produced a less focused and interesting sound. My section mate is now using a PT 50 and it sounds great in the low register. But she doesn't like to venture to or beyond the top of the staff.

In a possibly related vein, I just today tried a Yamaha 60B on my bass trombone -- expecting it to not amount to much. It's not real deep and not real wide. Slightly wider than a Bach 1.25GM, but with (to me) a much more comfortable rim and a somewhat smaller backbore. Shallower, and slightly narrower than a Wick 00AL. Again, a German bowl-shaped piece. Very easy to play, and the pedal notes come out easier and with better tone than on the larger mouthpieces I've been trying. Slots perfectly and plays perfectly in tune. I think it may become my primary bass trombone piece.

[Donn]

Slightly wider than a Bach 1.25GM, but with (to me) a much more comfortable rim and a somewhat smaller backbore.

I believe there are many, many bass trombone mouthpieces that fit that description, particularly the part about the rim and backbore.

When I was fooling around with smaller mouthpieces leading to this observation, they were more funnel shaped, with varying throat diameters, but 30-32mm diameter and not deep.

[kontrabass]

I really think length is a matter of personal and group taste. And success or failure depends on execution, not style.
Here's an example I found on youtube that's quite short and snappy.
https://www.youtube.com/watch?v=He1IG8AlsNA" target="_blank

I dig it. It's buoyant and gives space for the other instruments. But if a lesser player tried to play this short and didn't have a firm sense of fundamental coming through, then forget it. Similarly, a longer "decaying" style works just fine as long as the rhythm is clear, but if the fronts of the notes are woofy or muddy, then it forget it!!

[DaveWright]

The main purpose of the bass or tuba line is to drive the band. To create a groove in which the soloists can express their ideas. I find that using a staccato tonguing technique (start-stop) is contrary to drive needed. I use a tenuto tongue that causes the notes to be driven into each other creating a seemless bass line but not at the expense of the individual notes. Use the pulse technique to distinguish the notes in the line.

[Timswisstuba]

The only rule on walking bass line technique is :
DO NOT DRAG.

[Rebel]

I have found that mustard and relish is really good on a hamburger.

[tubeast]

Some of this has been stated before. Sorry ´bout that.
- Articulation is important. Think of "in control on each note" rather than "exactly the same on each note".
- fool around with different variants in articulation, such pronouncing syllables like "Dough" vs. "Though".
- Be creative: techniques that You´ll receive a slap on Your fingers for in classical lessons might do the trick. Example: Check out setting Your tongue on Your upper lip rather than behind Your front teeth to prepare for a new note.
- Throw in skips and ghost skips as feels approprate.
They work well if played on "koh" or "goh" rather than "toh" or "doh". Even at slow tempi I prefer these double-tongue attacks, as they seem to faciliate keeping the downbeats in time.
- As in real life, it is always a good idea to walk with purpose or goal in mind.
The idea of purpose and direction can be conveyed by consciously developing volume, Your timing in relation to "the pocket", as well as the actual melody You´re playing.

Walking bass is a fun and joyous experience.

Hans