. Orchestration . Pig. [? Fig. 3.— BB[?-Bas y kind permission of Messrs. Boosey & Co. Facing p. 150. THE BASS-TUBA IN F 157 three semitones downwards are really not true notes at all whenplayed by a four-valved Tuba-in-F. On a five-valved instrument theycould, of course, be produced in a much better quality. It need not besaid that in all Tuba parts the actual sounds required are written, andthe bass-clef and true key-signature of the piece are employed. Bass-Troand Tuba EXAMPLE ^^T L- I I. 1 bonewsga 1,71H^: Elgar. Cockaigne. .ff dirt wb*#2 l3l3,z:3 #-# The upward com
. Orchestration . Pig. [? Fig. 3.— BB[?-Bas y kind permission of Messrs. Boosey & Co. Facing p. 150. THE BASS-TUBA IN F 157 three semitones downwards are really not true notes at all whenplayed by a four-valved Tuba-in-F. On a five-valved instrument theycould, of course, be produced in a much better quality. It need not besaid that in all Tuba parts the actual sounds required are written, andthe bass-clef and true key-signature of the piece are employed. Bass-Troand Tuba EXAMPLE ^^T L- I I. 1 bonewsga 1,71H^: Elgar. Cockaigne. .ff dirt wb*#2 l3l3,z:3 #-# The upward compass depends on the player to a great extent. Itmay be taken roughly as being m It is, however, just this fact that our orchestral players are continuallycalled upon by composers to play Euphonium (W) and Deep BassTuba parts (X and Y) within the limits of a single work that causesthe player to adopt an unsatisfactory midway instrument. It would be far better if he were free to adopt either a five-valvebig-bore modification of
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