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As has been mentioned in the past, low register capabilities on many of the typical rotary valved F tubas is fine provided the player has put in the work.



Per the link above, this gentleman, Florian Hatzlemann, provides an example of excellent low register playing on a rotary F tuba. This is one of many videos he posts on his channel, and I find them quite informative as well as entertaining. He offers a lot of good tips and insight.

"skeet shooting" (along with "mashing the correct buttons")

There are two things (I believe) with which the not-the-most-enlightened F tuba players struggle:
[1] trying to play an F tuba like a B-flat or C tuba (which proves to be just about as successful as trying to play an alto trombone like a bass trombone)
[2] assuming that an F tuba (embouchure-buzz-inaccuracy-wise) is going to be just as forgiving as a contrabass tuba, in that same pitch range

This person is obviously far beyond both issues, and has also come up with an exercise (played at any tempo) that helps a player self-teach regarding both of these issues. Further (as I probably recognize that model as being one of those that is actually a bit more forgiving), that tuba is a little bit helpful (though it's the player who - ultimately - does 100% of all playing). I've seen many people lay down more-in-tune and nicer-sounding/more sophisticated-sounding F tubas in favor of those which don't demand that the player actually "play an F tuba as an F tuba prefers to be played".

bloke "but I'm not the one demonstrating the exercise, and (my) talk is cheap"

What tuba is that?

I believe it's probably a 4250.

They feature a L.H. #2 slide trigger, so they are "almost" 6-valve instruments.

They play well, but - having played these - I would suspect that (after a quintet recital, or other long/non-stop session, etc.) I would feel as though I'd had a "workout" (needing a break) - rather than "ready to go work repairing fences", etc.

bloke "Thinking back, I find that I've had opportunities to play quite a few makes/models."

Everyone should grab this book. I love it, and at the end of 20 minutes... you will love the change in your sound/playing!
from the book „20 minute warm-up“ by @hipbonemusic , recorded by the legend himself #genepokorny
Features a very well-rounded quick warmup with tracks and Gene playing on one side... play along with Gene!

Get it!

Tim Jackson

Florian Hatzelmann is a tremendous player (Zurich Opera, Alpenblech , many other credits). Steve Rosse had a really nice interview with him.

I have the 20min Warmup, and it's worth every penny. @russiantuba and I have talked about it several times. It's a great warmup (takes me more than 20 min), and it can also be a great workout. That particular section with octaves will try keep you honest with accuracy, tone, flexibility, and intonation. I haven't done it on F tuba, but I can see how it could work.

To me, there is very little that's enjoyable about playing or listening to things like this. Huge respect to this guy and his abilities... but to my ears, it's just no fun.

Much like there is nothing enjoyable about lifting weights (blah) or watching people lift weights (gross!). Or for that matter, watching anyone else practice, train, or "doing the work." It all exists, and good for the people who are disciplined to make it happen regularly -- much respect to them, their work, and the results they gain above and beyond what I do and don't do.

That's what separates professionals (or at least "enthusiasts" from amateurs (and I am clearly an amateur at tuba, and professional at other things). [Sidebar -- I can guarantee you that NO person wants to watch me practice/train for the things at which I *am* a professional...!]

bort2.0 wrote: ↑Tue Jan 18, 2022 12:17 pm To me, there is very little that's enjoyable about playing or listening to things like this. Huge respect to this guy and his abilities... but to my ears, it's just no fun.

Much like there is nothing enjoyable about lifting weights (blah) or watching people lift weights (gross!). Or for that matter, watching anyone else practice, train, or "doing the work." It all exists, and good for the people who are disciplined to make it happen regularly -- much respect to them, their work, and the results they gain above and beyond what I do and don't do.

That's what separates professionals (or at least "enthusiasts" from amateurs (and I am clearly an amateur at tuba, and professional at other things). [Sidebar -- I can guarantee you that NO person wants to watch me practice/train for the things at which I *am* a professional...!]

Can you say, "Curmudgeon?"

Doc wrote: ↑Tue Jan 18, 2022 1:27 pm Can you say, "Curmudgeon?"

My son literally asked me the other day, "How do they make sausage?"

It's basically like that.

bloke wrote: ↑Sat Jan 15, 2022 2:45 pm I believe it's probably a 4250.

They feature a L.H. #2 slide trigger, so they are "almost" 6-valve instruments.

They play well, but - having played these - I would suspect that (after a quintet recital, or other long/non-stop session, etc.) I would feel as though I'd had a "workout" (needing a break) - rather than "ready to go work repairing fences", etc.

bloke "Thinking back, I find that I've had opportunities to play quite a few makes/models."

I played a Miraphone 1281 F for everything for a little over a year in the Army- concert band, quintet, strolling jazz and seated low and loud funk stuff (Play that Funky Tuba for example). It had a great low C but everything below that was a lot of work. I suspect it was designed to make a pleasant and easy low C rather than have a strong low range. Maybe it was just that specific horn but I wouldn't buy one.
I've played other F tubas, including rotary models, with better low ranges. The Cerveny 653 was a blast, and the MW 182 pretty decent.