Re: A relevant question


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Posted by Marty Neilan on June 18, 2000 at 00:31:25:

In Reply to: A relevant question posted by Jason on June 17, 2000 at 20:54:47:

Well...........it depends!
I have shown up with a 3/4 tuba, 4/4-5/4 tuba, and bass bone at times.

If you have had some basic theory and harmony classes, it helps in determining what musical part you are actually playing. Even if you didn't study these it is often easy to discern:

1. If you are playing very 'traditional' four part harmonies, and you can tell that you are playing the bass line (mostly roots, some fifths and a very few passing tones), playing it on the tuba in either the written octave or the octave below should work well, whichever 'sounds' best. You will more than likely be following the organ pedal note for note. Ending a piece on a pedal tone (your pedal tone) will either get the organist to smile or frown - after the first time you will know whether or not to do that again.

2. If you are playing a traditional type of music, but playing a middle (harmony) part, it is crucial to play it in the octave it is written so as not to disturb the voice leading. A smaller horn or bass trombone / euph will also work well.

3. If you are playing a contemporary piece that primarily uses the brass for a lot of 'hits' and 'swells', by all means follow Joe S' lead and get out your trombone / bass trombone /euph. It will fit in much better with the style intended.

An interesting note: I worked for a little while for a company in Nashville that printed the band and orchestral parts for a large number of Christian publishers. I noticed in many cases that the tuba parts were written almost entirely in the ledger lines below the staff, often hovering abound 5 ledger FF and EE. When I inquired as to why they were written so low in the register, I was told that certain arrangers would just copy the bass trombone part down an octave for the tuba. When the 'tracks' were recorded, there was usually no tuba, just bass bone playing. When regularly performing with one of the largest church orchestras in Nashville (Two Rivers) I would actually take some passages UP an octave while playing these arrangements, so they would not sound as muddy. The conductor and other brass players seemed to appreciate the increased clarity this gave to the bottom end.

And now for an irrelevant annecdote:
About a decade ago, when I was a stronger but dumber player, I played in a brass ensemble for a large (several thousand in attendance) church in northern New Jersey that also had a powerful imitation pipe organ. The first several weeks I played on my 3/4 horn and balanced the half dozen other brasses nicely, but was still completely covered by the organ. I then came in one morning with my 5/4 Mirafone 190 that projected like all get out. I decided to take on the organ. I won. The pastor was so enamoured with my playing that he mentioned the tuba several times in his sermon, and also said that when we go to heaven, EVERYONE would play the tuba. It is important to note that I was a regular member there and that the brass was not normally paid for regular Sunday services. I am no longer as cocky, and would highly suggest never attempting that. I now prefer a darker horn and the strange concept called blending.

I have also added a link to a lengthly diatribe I wrote on church gigs last year. Hopefully, some of it will be relevant

Lesson over, my bill will arrive 3-5 days in the mail.

Marty Neilan

P.S. Did I mention to have fun and enjoy yourself while playing there? Although some churches have a reputation for being stuffy, many now have very enthusiastic music programs.










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