Posted by Cazz on February 19, 2000 at 23:56:23:
In Reply to: Mutes: A different opinion posted by Paul Conrad on February 18, 2000 at 04:31:45:
IMHO:
Two things to be discouraged:
1. Multiple mute use for the sake of it... it's bad enough bringing slapstick to the orchestra as it is!
I agree with Richard, that some current composers make extensive use of mutes in an endevour to create "interest" in their works...if it ain't interesting without the mutes, the mutes will not turn the tables.
It may be all right for a commercial trumpet player's mute bag to have harmon, bucket, plunger, whisper, solo-tone, straight, cup, hat, etc., but we'd be more than making rods for our own backs if we, as tuba players, were to encourage (or is it condone ?!?) this as a possible trend.
2. Mute markings simply because it is thought that the tuba (or the brass) will be too loud.
I have several times just played open, quietly... sometimes I ask "permission", sometimes I don't :-) I've also seen "cup" and "harmon" markings in my orchestral tuba parts... once again I used MY discretion... and my Humes & Berg straight mute, or "veiled" open sound, if it was a quiet passage.
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I personally think muted tuba is often less effective than muted trumpet or trombone. It is not just an issue of tuba players spending less time playing muted, except for in apartments ;-), nor is it an issue of the quality of mute construction. I just feel it is part of the difference between the "forward facing brass" (the predominantly cylindrical bores) and us. Although I think French Horn "stopping" is very effective.
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Re: harmon mute/wah-wah. I've used a friend's bass guitar effects pedal connected to my horn (but we're talkin' electric gigs now) it's fun and effective and easier (and less visual) than creating the effect mechanically/manually, but only worth doing if you have "something to say" WITHOUT it first... and it would never pass muster in the orchestra!
I also know a friend who rigged up a large plastic salad bowl for some modern piece he was called on to play.
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When I was an orchestral newbie I used a second chair for my mute. How things change -- now playing is my full-time profession, I spend many hours in a very cramped orchestra pit where even the luxury of placing the mute on the floor beside my chair is NOT an option. It must go in front of my chair between chair and music stand. It is one of those Humes & Berg "Symphonic" mutes, which I find works well in my Hirsbrunner 4/4... I put little rubber "bumps" on its rim to ensure that it does not roll away. It stays with its side-handle perfectly poised for the quick grab. Once I was listening AND day-dreaming and left my mute insertion a little too late -- in my haste I clobbered one of my brass colleagues with it on my "upswing" ... ;-( -- as I said, our performance space is inadequate in the extreme.
The velcro cork idea is a truly great one... you don't want to have to own one (or more) mutes for every horn you own!