Posted by Heretic on January 27, 2004 at 20:22:32:
In Reply to: Re: Re: Re: Re: Re: Re: Anyone knows this tuba? posted by Hermann on January 27, 2004 at 12:15:06:
I will out myself as a heretic:
Tubas come with rotary valves and piston valves, but the nomenclatura suffers so much, that the outcome is close to a profound falsehood.
I find the use of the term "euphonium" for the oval Czech/German Bariton only can have been coined by persons without musical ears and with next to none education in semantics. Baritone (German plural) Kaisersized or not are fine instrument in their own right, but they cannot fulfil the function of a euphonium as found in the British brass band style. The (non-)Kaisers are much leaner instruments than pro level compensating euphoniums like the best 10% of the Bessons and just about 100% of the Hirsbrunners and Yamahas.
The (non-)Kaisers can be extremely playable in the very high registers, but when it comes to the lower range and to expansivity of volume, they are several leagues behind the pro comping euphs.
Likewise with tubas: the difference is huge. I am only referring to the best representives of each type as experienced by myself. I am too old to find bad tubas relevant.
The rotary instruments generally are better slotting and have and outstanding, but not very wide cluster of higher overtones, which give these rotary instruments an excellent definition/clarity/responsiveness. Definitely good for some types of excerpts.
The piston instruments at their best have a much better balanced and integrated overtone structure giving a fuller and warmer sound, which excells in ensemble contexts by giving the basis for a much better ensemble intonation. Any ensemble member simply will find an overtone in his actual voice area to pick out as a solid reference note.
Oddly enough some owners of these superior piston instruments have an inferiority complex towards the rotary instruments. They display that complex by using ridicuously small mouthpieces on their hugaphones. I once heard a performance of Gurrelieder, where the tuba player by common wisdom (not only in my country, but on world level) was/is considered top notch.
But I came out very disappointed by experiencing his commitment to make his first generation Hirsburner (with the hand hammered bottom bow) sound like an auxiliary contrabass trombone. His Conn Helleberg certainly helped him in achieving that task.
But in my opinion one should take a cimbasso, if one would like to act as trombone from the tuba chair.
If one has to play composers like Brahms, who was accustomed to a fairly bright tuba carrying its own identity and at the same time being the bass of the trombone group, then take a German rotary F tuba.
And here we return to the original thread: There are several complaints outed about the ressonance of the low C range of rotary F tubas. Generally these complaints come from players having been started out on US made BBb tubas and sousaphones.
You, Hermann,are the first German, which I have heard complaining about the low range of the rotary F tuba. That makes me raise a serious doubt about the set-up of your tuba:
Is the 4th rotor properly aligned in the engaged postion?
Are all solderings (stays,joints of tubing etc.) affecting the 4th valve notes in proper condition?
Has the 4th valve tubing been investigated for obstructions? A trombone snake may create wonders if used responsibly. The same goes for the leadpipe and the main tuning slide with its receivers.
Sad for you Hermann, that you was the one, who triggered statements I long have wanted to out. Please don't feel embarassed by the avalanche coming over me.