Re: Re: Re: Re: Re: Horn advice


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Posted by Young Grasshopper... on April 17, 2003 at 10:59:27:

In Reply to: Re: Re: Re: Re: Horn advice posted by Rick Denney on April 16, 2003 at 15:16:08:

wonders if he needs to burn his arms with that pot of hot coals before he can be a true 6/4 tuba master?

We've kicked this around in some previous posts. The big BATs seem to generate a broader, more omnipresent kind of sound. But, at the same time, they can be suprisingly agile. As an artist, that opens up a different set of options, as well as requirements, than those presented by a bass tuba, for example.

My point is that tubists have used the 6/4 successfully in many musical settings beyond large orchestras and bands, and I'm concerned when an impression is given that it can't, or shouldn't, be done. I agree that, in doing this, they learned to master their chosen tool.

Speaking of Masters of the big horn, I recall Keating Johnson responding in an earlier post that the members of the faculty brass quintet prefered the sound of his 6/4 Holton over the bass tuba. I've heard him play his Nirchl Eb, and he's a monster on it. So, here you have an example of a player, who over a period of 30 years, truly mastered his playing on the big horn to the extent that it was the one people wanted to hear.

On to the quartets... the most common tuba quartet configuration is the one you describe...4/4 contra bass on tuba 2, bass tuba on tuba 1, and 2 euphs. But, as Sotto Voce is clearly showing to the world, 2 contrabass tubas and 2 euphs can be a great sound. No hint of a muddy sound. So, it's the connection that's being made that I'm questioning here. If you heard groups that were muddy and were using two contras...well, the problem isn't with the choice of instruments.

But, your general observation is right on the money...if your going to use a big tuba in a small group, you better learn how to play it!

Tony "young grasshopper" E


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