The Big Ben wrote:What do people think now?
It doesn't matter what you play, you will still have to be the most accurate, musical and compelling performer there that day to advance.
But I have this friend. He's a sub in a major professional orchestra, and he plays the 186 CC that he bought new in the 70's. I suspect there are few tuba players who are closer to their instruments, or who have higher regard for their instruments. But he felt that tuba was showing its limits when he subbed with his symphony orchestra, and a while back bought a bigger tuba to use for those circumstances. No surprise: The other musicians noticed the difference (in an extremely complimentary way).
So, I suspect that instrument choice could make some difference between Outstanding Musician A and Outstanding Musician B, assuming the accuracy, musicianship, and compelling performance hits the mark with both. Note that the standard of sound may be different behind the screen than in the full orchestra, but that subject has already been beaten to death. By my observation, it's a subject usually reserved for those folks who weren't quite as compelling in the musician department.
Different story, closer to the topic at hand: Last year, I had performances with two different groups on the same weekend. I had been asked to sub in the second group for a Sunday concert of mostly orchestral transcriptions, and had not had as much time for preparation as I usually have. So, I showed up early for the concert on Saturday with my regular group, and spent some time working through the excerpts for the second group while I had the room to myself. Playing it in that large room really helped me to cover a lot of ground quickly, sound-wise.
My regular conductor, a professional tuba player, showed up early and was listening to me while he was setting up his own stuff. He commented that I was getting a "C tuba orchestra" sound on those excerpts. That was using a enormous, typically vast Bb Holton 345. If ever there was a tuba that would get a woofy Bb sound, it would be that one. What elicited the (greatly appreciated) compliment? I would like to think that my tone concept leans in the orchestral direction, and my selection of mouthpiece, articulation style, etc., supports that concept, within the limits of my abilities, which my conductor knows well. At the Sunday performance, one of the ex-professional trombone players in that group looked back at the two of us and told us we sounded like a section of four. (I don't know if that was a compliment, but I took it as one.)
I still believe that the biggest difference between Bb and C tubas is their players.
(Another story: When I joined my main group, I brought the York Master to my first rehearsal. After the rehearsal--the same professional tuba player--asked me if it was a C or a Bb. I'm sure his confusion was not based on my meager abilities, but on the fact that they look almost identical, even to the trained eye, unless the specific instrument model is recognized.)
Paul Haugan's quote is a good one. But what would you expect from the founding member of the Sousaphone Artist's Preservation Society?
Rick "who does notice the increased agility of some C tubas" Denney
