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EEb bass (was Symphonic Sound)



On 24 May, Michael Solms <misolms@xxxxxxxxxxxxxxxxxxxxxx> wrote:

> John Fletcher used an EEflat at the beginning of his orchestral career
> and as his principal solo instrument throughout his career.  In an
> article he wrote for "Sounding Brass" he described his reasons for
> switching to a Holton CC.  This was first because he could not make "the
> kind of heavy sound needed for much of the repertoire, particularly in
> the low register" on his EEflat.  He also found himself a bit frustrated
> on the EEflat that so much of symphonic playing put him in 4th valve
> territory.   

This is the biggest drawback with the Eb instrument. In the very area
where the tuba is most needed, the Eb instrument becomes stuffy. This is
not surprising, as the air column at its longest measures about 25 feet
and has many tortuous detours through several valves, and then through the
same valves again. Add to this the fact that the 4th valve in combination
with 1st and 3rd is only partially aided by the compensating system, which
necessitates some lipping to stay in tune. Four ledger lines down, the
notes Gb, F and E concert (Eb, D and C# transposed) are much easier to
produce as open pedals on the bass trombone than they are on the larger Eb
instrument. In the brass band this is no problem, as there are two Bb
basses to cover this awkward register, transposed for them as Ab, G and
F#. Strangely enough, below this the Eb bass has the advantage of being on
open pedals, whereas the the larger Bb instrument is stuck with 4th valve
combinations again.

Having said all this, as a bass trombone player, I find the Eb tuba a very
useful instrument to use as a double. I would be interested to hear how
other EEb players overcome this stuffiness in 4th valve combinations.

Adrian

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