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tudent tubists who hope to work professionally need to develop a good background in all styles of music, from the
classics to jazz in ensembles of all sizes. Once
you have formed a chamber ensemble, how do
you make it succeed? My advice to student tubists is to develop a focused and centered sound
in order to blend equally with colleagues. By
listening carefully for balance and trying to
make your partners sound good, you will all
sound better. Learn to color your tone to suit
the style of the piece, and when playing a
transcription try to imitate the qualities of the
original instrument. For example, imitate the
qualities of the flute during a flutelike passage.
Swing like a walking jazz bass player while performing a bass line in that style. Think of the
sound of Herbert L. Clarke when playing the
Carnival of Venice on the tuba.
Dynamics are softer in small ensembles when
compared to larger groups. You are often required to play lightly with the agility of a cellist
in a string quartet. Most professionals use
smaller equipment to produce this lighter and
more focused sound. These parts are usually
written higher, similar to the range of a cello or
bass trombone, so I use a large bore F tuba exclusively with the brass quintet.
When the members of Summit Brass first re-