Re: Re: Re: Basses and Contra B.


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Posted by Rick Denney on May 24, 2002 at 08:47:14:

In Reply to: Re: Re: Basses and Contra B. posted by Frederick J. Young on May 23, 2002 at 16:43:45:

I would not presume to argue the science of what you say with you, particularly when it comes to how instruments should be scaled. I would rather listen and learn.

But I would like to make a musical argument. My own measurements, reported here often, demonstrate what you say about the relative absence of fundamental in low tuba notes. But I wonder if characteristic tuba tone demands such a strong fundamental component. I have listened to pure 58Hz sine waves (i.e. a pure fundamental low Bb), and it is almost inaudible even at high listening levels. Lower notes reach down to the boundaries of human hearing. It seems to me that characteristic tuba tone must have a strong and in-tune complement of upper harmonics. The spacing of these harmonics will define the a difference tone that the hearer will hear as fundamental. Therefore, I wonder if a tuba that played a strong fundamental with relatively little harmonic content would sound weak compared to a tuba that played a rich mixture of in-tune harmonics, even though the fundamental is relatively weak in the spectrum. I believe this is what professional tuba players call "color."

In short, do we really want to sacrifice upper harmonics in order to add true fundamental? Is that what would happen if tubas were truly scaled to cornets and fleugelhorns (assuming mortals could play it)?

Of course, it is true that the bass trombones in Holst, though playing a lower note, still sound brighter than the tuba because of the timbre. My argument was that the difference in timbre was his purpose. The tuba displayed depth, and even warmth, and the trombones evoked cold power. In that context, which instrument can play lower or which is "the bass" instrument really doesn't matter.

Rick "lightly armed and therefore very polite" Denney


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