Re: Ensemble balance and horn "adequacy"


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Posted by Matt G on October 12, 2001 at 13:26:49:

In Reply to: Ensemble balance and horn "adequacy" posted by Dale on October 12, 2001 at 12:49:25:

Good points Dale.

A ever continuing trend with many high school and lesser able college directors is to allow the group to play p's and pp's too loud for accuracy and tone's sake. Instead of enforcing the idea that a good player, regardless of instrument, should strive for a world-class sound at any and all dynamic levels. I recently praised a recording of Mahler 1 with the Florida Philharmonic because the dynamics are true to the marking and because of this fact, the inner nuances are much easier to hear, therefore better portraying the composer's ideas. A reason I traded in my 6/4 tuba is that I felt it was much easier to generate a quality projecting sound at lower dynamic levels on the 4/4 I now own instead of over-compensating for an overly big horn. Players forget that a good solid p or pp makes the effort required for f and ff far less in contrast and allows us to strive for musicality and sound instead of just volume.
The best examples of the horn to ensemble size ratio is Roger Bobo playing 184's and 186's in the LAPO. He managed to sound just fine. Also, most European orchestra's seemed content with the 4/4 and occasional 5/4 size tuba for orchestral contrabass stuff until the "American" ar "York" style horns influenced their thinking. I find that the only time I need or want a bigger tuba is when I am contending with 5 or more trombones and 3 or more euphoniums. Especially if I am still in a section of only two tubas (it happens). Then I do want a horn with a volume range shifted slightly to the louder end of the scale so that I can maintain a good clear foundation while trying to keep up with sheer volume of players as well as decibels coming from the brass section. I have been in situations with 8 trumpets, 6 trombones, 2 euphoniums, six french horns, and myself wishing I had more than the Yamaha YCB-822 I had at the time.
My ultimate solution is to either own only one horn or force yourself to only use one horn out of your arsenal for as much possible. This forces a person to streamline their practices to achieve the most effecient way of fulfilling our role in the ensemble. Then when we find the horn that covers the most ground, we can move onto the "specialty" horns that make life a little easier at the extremes. I think that is how most of the big name legit guys have gotten to what they use now, but unfortunately, a lot of younger guys feel they need all of the tools they can get without have the instruction manuals yet.

Matt G


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