Posted by Rick Denney on January 27, 2004 at 11:09:30:
In Reply to: Horn trends 4/4's posted by Kyle Turner on January 26, 2004 at 20:35:30:
Playing as I do a Holton, and considering the source, this post caught my attention. I've been mulling it over since it appeared, trying to figure out why it is that I'm playing the Holton.
It could be that I'm just fooling myself, and playing the Holton is a pure testosterone trip. But I don't think so.
I've heard recordings of myself with my band playing the York Master (a large 4/4 instrument) and the Holton. The Holton gives me a sound quality lacking in the smaller instrument. The sound is more complex and carrying, without being strident or pushy. Yes, it's a deep sound, but it's also a sound that let's me express my little bit of musicianship more efficiently. The recording I'm thinking of was a quiet little solo, too; not the sort of thing one would usually think of a horsepower tuba to play.
Plus, it should be said that carpenters with weak arms use power tools. I have the efficiency and output of a hobbyist, and the Holton gives me more output for a given input. I don't feel like I'm straining like I did with the YM, especially on those occasions when I was the only player in the group trying to balance a bunch of other hobbyists who play too loud.
But, like with power tools that can only do one thing well, the big instrument has only one voice. For me, that's fine--one good voice would be an improvement. That voice can be expressed over a wider dynamic range than my smaller tubas, so the efficiency of the instrument works at both ends. It's responsive enough to whisper, and I can get a clear sound at a noticeably lower dynamic than with, say, my Miraphone 186 (yes, I've tested this notion with independent observers). But even though it's a clear sound at a low dynamic, it is still a broad sound that puts a floor under the brass. The big instrument doesn't work when the desired sound is trombone-like, and it works best when the tuba needs an individual voice. I've also found that individual voices can still blend, so it isn't a blending issue. It's more a matter of weight. Some works just need to lighten up, and for those, the Holton is sometimes too big.
And looking back at the history of instrument selections, I'm not sure it's fair to call the grand orchestral tuba a modern fad. Back in the 30's, when Jacobs was just starting out, professional tuba players were cutting ads for Conn endorsing their big tubas. Donald Stauffer talks about playing a Conn 36J Orchestra Grand Bass as far back as the 40's, and he oversaw the purchase of a set of 6/4 Martins for I think the Navy Band. These tuba players were using instruments like these when the other brass instruments were small and bright by today's standards, and in orchestras that didn't have to compete with brain-flattening amplification, so they must have had a reason that went beyond volume.
If I could own only one tuba, I'm not sure it would be the Holton. I'm extremely lucky not to have to make that choice.
In summary, I think we make a mistake when we assume that the only value of a big tuba is its horsepower at high dynamics. I think it has a sound character that works in other situations, too, and for players who need a little boost when the dynamics get loud. Of course it isn't for all situations, which is why I'm playing my F tuba for a Brahms transcription on our upcoming program, and why I played the F for a Berlioz transcription last year. And it is true that of the two of us now playing in our band, I'm the only one with a BAT, and we like the resulting blend.
When Jay Bertolet bought his Nirschl, he had used his previous large instrument only for the horsepower works. After getting the Nirschl, however, he reported here that he was using it for a much larger percentage of playing. Other tuba players of note have had the same experience. Mike Sanders has reported here that his plan was originally to have a Yorkbrunner and a smaller Hirsbrunner as a set, but I don't believe he ever bought the smaller instrument. He did buy another Yorkbrunner, however, so he wouldn't have to move them around as much.
Rick "who realizes that there's no way to compare the experience of playing in the NY Phil to a community band" Denney