Alexander Kaiser Report

[Ted Cox]

Three months ago, I received a five valve, CC Alexander tuba, model 164 - built in 2004. The only one I have even seen in person was half-built on the workbench at the Alexander factory in 2011. Never in my life have I played one of these instruments. When I was first learning F tuba, Indiana University had two Alexander F's, which is what I played until I bought my own. My main instrument in the Oklahoma City Philharmonic has been the Alex I bought in early 1992 - so nearly 30 years ago. My last performance with the orchestra was in February, before the pandemic. We played Bruckner 7 and I used both my Alex CC and my Alex F. I'd like to think I know Alexander tubas. In the second photo attached, you can see the size difference between my 164 and my brass 163. The first photo is another 163 along with my Alex F.

My plan was to wait and play the 164 at our 4th of July concerts before I wrote this today, but alas, the concerts have been cancelled. In early 92, when I switched from my Miraphone 186 to the Alexander, it was an adjustment - which didn't happen quickly. The Alex took more air, which exposed areas in my playing that needed work - air being one of them. Approaching the 164, I knew the experience would be similar. Air would be top priority - and if the air wasn't right, the weaknesses in my playing would be exposed. In my opinion, this is one reason - maybe the only reason - the 164 and perhaps the 163's and F tubas don't have such a great reputation. It isn't a lot of fun to not sound good.

My wife was home when I played my first notes on the 164 three months ago. All she said was, "wow!" At first, it was challenging to get all the notes to sound the same - but one note nearly took down the house - F# right below the staff. There is always going to be that one note that works really well. That's the model for the rest. Yes, we all know Alexander tubas make an incredible sound. But we also know the pitch on these instruments can be challenging. It takes time for everything to settle. At first, just like the sound - pitch will be everywhere it's not supposed to be. So picking up a 164 for the first time is going to be a trip - sound will be all over the place as will the pitch - which all relates back to air. If you don't use the right "Alex air" when playing any Alex, it's not going to work so well. That's especially true below the staff with Alexander F tubas.

This time off from the orchestra and now into summer has actually been ideal for learning the 164. Back to basics! My practice sessions include almost everything right now - and it gets better every day. But in the early weeks, it required some patience.
Every note on my 164 can be played in tune. Within a few days I realized the first slide was too long - so I cut an inch off. This tuba has a main tuning slide "kicker" - which is thoughtfully designed with a spring. (The photo doesn't show the spring) It moves as quickly as a valve. It makes me wish I had the same mechanism on my other tubas - it's incredibly useful.

This writing is for all the tubas out in the world that may be overlooked or looked down upon. Some instruments - all instruments - take time and patience. I was wanting "more" from my 163's. They couldn't produce what I was wanting (the same great "Alex sound", but a lot more of it) - I'm confident the 164 will produce all I want and need. Stay tuned!
Now, if you really want to know why I took a chance on the 164, you can read about an entirely new dimension in understanding instruments and nearly everything else on my website. dharma-strategies.com