#tuba duet

[tubatoad]

oh yeah my favorite Mariah Carey hit song, all i want for december is tuba

[saturday-eve]

Just when I’m having fun playing/performing at school spring break comes around.

Might fuck around and go to the park with my instruments and start playing. Only way I’m gonna get better at playing.

Also want someone to play duets with!!!

[noanomi]

Baby Matanga Walk (Baby Elephant Walk) arr. Noa Sov This is a duet for clarinet and tuba! Details to find the MIDI file for your own performances can be found in the video description. It's my first public arrangement, so I'm excited and a lil nervous to share it, but I'm quite happy with how it came together. Walk on, Ember!

[ghoulishtomato]

I can't wait for the Night at the Museum musical to come out and for Jedediah and Octavius' duet song to have western guitars or violins contrasted with march-style bold and brassy trumpets and tubas until both music styles come together flawlessly

[stormdragon23]

Orchestra Kid!Choi Jong-In vs Band Kid!Baek Yoon-Ho AU

Choi Jong-In plays the violin (I really want to see him play the viola or cello, but he seems like a violinist)

Baek Yoon-Ho plays oboe (I have little knowledge about band instruments, so feel free to make suggestions. I was also thinking tuba or another brass instrument but they don't seem to go as well with the violin)

Them being forced to play a duet together as the leaders of their respective sections

Both of them yelling at the other for being out of tune during rehearsals (when both of them are off)

Bonus (take these with a grain of salt):

Byung-Gyu and Eun-Seok playing percussion

Sung Jin-Woo playing viola

Cha Hae-In playing violin

Lim Tae-gyu playing trombone (some kind of brass instrument. I don't know enough about band-)

[artaxlivs]

Trick, please? (Only if there's still time 😄)

Okay soooo I did go to your blog to make sure I'd be in the right realm of interests (Even though its a trick and I get to pick, I still want you to like it) and I saw these two things...and couldn't resist the combo.

Drumrolllllll, a frog leans out of the skrim on the stage and wails, "It's the special Halloween Muppet Show with tonight's guest star, His Royal Highness Arthur Pendragon!"

"And cue the dancing girls."

Arthur looks over to the scrawny dark haired man wearing the headset. He looks frazzled and strangely cold because it's sweltering backstage but he's got on a jacket and a red scarf around his neck for some reason. Maybe he's sickly?

"Excuse me-" Arthur starts to say loudly, trying to get the man's attention.

"Shhhh!" A chicken hisses at him.

A chicken.

Arthur raises an eyebrow and glares at her but she's not cowed.

A scraggly looking bear in a neckerchief leans across Arthur and looks out to the distance, waving his hands cheerfully, and says "Wokka wokka!" Then he wanders away.

Arthur sighs, turning to get the man in the headsets attention again.

"Listen, Arthur? Is it? I'm gonna need you to move aside. The dancing girls are coming straight through here in a second and you'll get run over." The man whispers, nudging Arthur into the corner behind his podium.

Scoffing and bristling because how dare he, Arthur starts to step back toward the man but a line of kicking cancan girls dressed like witches all linked together at the elbows kick their way past him. They continue kicking, linked together well into the hallway. Arthur shakes his head and moves back near the man again.

"Now, see here. You may address me as Your Royal Highness-" Arthur starts to say but then a pig in a black evening gown and opera gloves pushes him to the side. He thinks she's supposed to be dressed as Mortica Addams since the frog was wearing a pin striped suit and had a mustache drawn on.

"Merlin, Merlin, where is my Ker-my?" She pouts to the man in the headset.

"He's dealing with that blown tuba in the orchestra pit, Miss Piggy." He cringes a little like he's preparing for a physical blow.

"I need to talk to him about my number!" She hurumphs; her facial expression morphs into anger and she's squeezing her hands...hooves? No she has fingers - hands - into fists.

"Well, I'm here and His Royal Highness is here if you wanted to talk about your duet," the man, Merlin, waves his hand toward Arthur. When Miss Piggy gasps and crowds Arthur, Merlin's whole body relaxes and he turns back to his work, keeping one eye on the stage and one on his call sheet.

"Ohhhhh Arthur, may I call you Arthur? We're going to make such beau-ti-ful music together." She turns her body so she can lean into him and gaze up, eyelashes fluttering.

"Uh..um, er...yes. I mean, yes our duet will be good but no, you're not allowed to call me Arthur, it's Your Royal Highness," She starts to shake like she's going to explode and Merlin inches away from her, though he doesn't look over at her, almost like he's afraid to make eye contact. "You know what, just for tonight, you may call me Arthur."

She melts instantly, leaning in again, eyelashes fluttering, "Oh Arhth-y, I'm so hap-py. I have to go warm up my voice but I'll see you soon, okay?" She makes an air kiss and turns away. A chicken run across her path and she growls, voice dropping low and gravelly, "get out of my way you stupid chicken!" But then she simpers back of her shoulder, "by-yeeee!"

He can hear her singing "I Put a Spell on You" By Nina Simone as she walks away and he gulps.

"What-" Arthur starts to ask but then a Muppet in a chef's hat mumbles by, knocking Arthur into Merlin who ducks his head and blushes. "Excuse you!" Arthur almost shouts and the chef doesn't looks him just mumbles gibberish as he pushes a cart with a bubbling cauldron on stage.

The chef immediately starts throwing in whole bottles that say "eye of newt" and "dragon's teeth." The impact splashes and slooshes liquid over the sides of cauldron and it hisses as it splatters on the stage. He continues to mumble happily the entire time.

"If you'd get out of the way, Your Royal Highness," Merlin says snarkily, "you'd stop getting pushed out of it. Sit here." And he points to a chair next to his podium.

For a moment, Arthur thinks about being difficult because this person, this stage manager, this Merlin, can't tell him what to do, he's royalty, dammit. But then he nearly gets bowled over by the chickens again as they run across the stage in the middle of the chef's skit for apparently no reason.

"Why did the chickens cross the stage?" he asks in confusion.

The bear leans in from nowhere again, waggles his jazz hands and says, "To get to the other side! Wokka wokka!" and then he wanders away. Again.

Arthur sighs, sinking into the chair. What is wrong with these people?

The entire show seems to drag on for an eternity but also is over like a whirlwind and Arthur finds himself sitting next to Merlin for all but the two skits he's in. One where he's afraid that Miss Piggy actually did put a spell on him and another where he fought a dragon to save Miss Piggy.

The dragon was actually just four Muppet monsters wearing a big shaggy pink rug with a hole in it where one of the monsters stuck his head out and growled at Arthur menacingly before he stabbed it with a rubber sword. When Arthur returned to his chair after that one, he found Merlin smiling down at his call sheet, the tips of his ears as pink as the shag dragon.

As the night wears on, Arthur has to admit that he finds Merlin rather charming, efficient and well organized. When Miss Piggy comes to collect Arthur for their skit, Merlin blushes again, nodding to Arthur and advising him to break a leg, "but not really."

It's endearing really. And even amid the loud chatter of a herd of Muppet monsters and a broken tuba that sounds like a foghorn, Arthur finds his eyes drawn again and again to Merlin, with his secret little smile and his ears that are just a little too big. But every time he goes to ask Merlin out for coffee, there's some calamity happening that can only be solved by the stage manager.

After the final bows, Arthur returns to the stage manager podium, hoping to find Merlin but instead he finds a note addressed to "The Once and Future King." It contains only one sentence, "Not yet, but soon." It's signed with a drawing of a wizard hat.

[thegreatmatpi]

project sekai but they're band kids

leo/need

ichika would definitely be in the woodwind section, very likely alto sax. she joined to be with the rest of leo/need who now need a high sustained voice (see saki) to jam out together. she's not the greatest but she has a very solid and grounded sound.

saki started on trumpet (like her brother), but she ended up moving to percussion because her sickness prevented her from playing trumpet properly (disclaimer i know next to none of the lore past the very broad strokes so pls let me know if this wouldn't work for whatever reason). she would specialize in mallet percussion!

shiho would be that one bassoon player who's absolutely cracked at their instrument and is somehow also very good at several other instruments as well.

honami is percussion (duh) but unlike saki she specializes in timpani! she also does drumset for pieces that need it!

more more jump

minori would definitely play french horn cuz she heard haruka playing a french horn solo with like a youth symphony or something. she was terrible at it at first but she kept pushing and steadily got better and better until she got second chair horn (aka sitting next to haruka)

haruka, like i mentioned, has played horn for quite some time, having played with youth symphonies and entered solo competitions as well. she was on the verge of quitting for good before she heard minori practicing outside, and they both joined band together!

shizuku plays flute and has a knack for playing very pretty. especially her higher range is much less shrill than her sectionmates'. she sometimes plays the piccolo parts on the flute just for funsies.

airi plays tuba specifically cuz she reminds me of this one tuba player from my high school band. she's a very strong all-round player and leader of the low brass section.

vivid bad squad

kohane plays clarinet. this makes so much sense to me. but her playing would have been very thin and very weak, then it became more full bodied and warm after she met an and heard her playing.

an plays tenor sax, although she also knows alto sax and can play bari sax decently well if needed. she definitely has a lot of street jazz influence growing up on vivid street. she has written several duets for herself and kohane that she has yet to show her.

akito plays trombone. i feel like this doesn't need elaboration but he would have been one of *those* trombone players starting off in middle school, but after seeing a jazz trombone performance, he started to take it a lot more seriously, ending up on vivid street.

toya started out playing the oboe cuz of his father, but switched to euphonium after meeting akito, kind of as a way to support him but also to explore a new avenue and carve his own path. he also benefitted a lot under airi's leadership, and of course from being under tsukasa's wing.

wonderlands x showtime

tsukasa, as mentioned earlier, plays trumpet because of course he does. he would have been one of those kids obsessed with hitting the highest note but eventually developed into an outstanding and very well-rounded player, exercising a very high level of musicianship. he's also strong leader in the brass section along with airi. obviously he continues to play at such a high level because saki can't play trumpet anymore, and you can hear how he almost plays as two for some passages.

emu is a percussionist, and she is very focused on unpitched percussion (especially cymbals) because they make boom and crash sounds but also a plethora of other very interesting sounds. this is also why she was so excited to find the rest of wxs because there is only so much you can do as a solo unpitched percussionist.

rui plays bari sax but one of those saxophones who spends way too much time with the percussion section. he repairs and maintains the percussion instruments but also sometimes makes new instruments with crap he has lying around. he's also the go-to instrument repairman for everyone in the band because his supply of spare parts seems to have no end.

nene started on clarinet but eventually fell in love with the bass clarinet. at first her approach was to achieve the best blend with the ensemble but now she's also looking for ways to really make the bass clarinet shine in its own right.

25ji nightcord de

kanade plays horn but also has a very strong understanding of how all the instruments in the ensemble work together. as a result, she's also composed a few pieces for the band to play (every single one has driven the audience to tears).

mafuyu plays the oboe, according to her mother's wishes, but instead of switching instruments, kanade's compositions helped bring out the oboe in ways that helped mafuyu's individuality shine through.

ena would play flute. she'd be a very good player at her best but her sound is very affected by how tense she is, more so than others. she's VERY good at technical passages and every note is crystal clear.

mizuki is definitely a french horn player. their playing is good, but they're really in band to have a good time. they can often be found chatting with those around them, specifically the rest of the brass section and the saxes.

---

anyway my knowledge of sekai lore is rudimentary at best so i'd love to hear more thoughts on these. i might add the virtual singers at some point as well who knows.

[drifting-pieces-blog-blog]

Just me live blogging WBN

Oh no. The Marvel opening is really good here.

Oh no his face is so wonderful.

I really hope that at my funeral I too can be a creepy puppet. I'd just sing a little song tho.

Fire tuba. That can't be good for the tuba. Can you imagine opening the spit valve on that thing? Where do they keep the fuel? 

I want his tie. That fashion.

Oh my god they have the cigarette burns in the upper right corner of the show before the scene changes! HOLY HELL! The callbacks to old school films is making my inner nerd scream. 

Oh the people here bleed. I wish there had been a little more blood in moon knight. Not just the blood on Marc’s face. Though he wore it well. 

Awwwwwwwwwwww

....explode our way out of here...

Little spin!

oh no my heart

Ted!

.....explode us out of here, huh. Yeah he's....he's off to a good start.

TED! A lovely name.

OH MY GOD. He's an idiot.

my heart

Oh the transformation scene is so beautiful. The flashing lights and wow

Oh no puppy...

The markings on his face in the transformation are amazing

The fight scenes are amazing and the gore is actually done so very well.

Elsa is a badass and I wish to know more about her

Sad Puppy sounds

Awww Ted here for his puppy

He made him coffee!

(Also that color transition was beautiful)

Ahhhhhhhhhhhhhhhh How do they only give us 54 minutes of this! WHHHYYY

Ending art is pretty

FEIGE GIVE US THE CROSS OVER WE DESERVE YOU MONSTER

Yup. Thanks. Thanks for that. I should watch moon knight next, huh? Is that what you recommend? You recommend that I watch Moon Knight since I enjoyed that, do you? YOU KNOW SO MUCH AND SO LITTLE AT THE SAME TIME.  Yup. Lovely Steven there inviting me right back in.

I AM EMOTIONAL AND THIS END CREDIT GUITAR IS WONDERFUL

I want him to play the guitar with Jake.

Sing a spanish duet. fuuuuck

[zpl1nt3r3d-b0n3-zhardz]

music themed pronouns!!

music/musics

beat/beats

ting/tings

melody/melodys

tune/tunes

tink/tinks

musicbox/musicboxs

radio/radios

voice/voices

cd/cds

disc/disc's

juke/jukes

jukebox/jukeboxes

sing/sings

song/songs

strum/strums

hum/hums

play/plays

listen/listens

pluck/plucks

sound/sounds

chord/chords

mic/mics

note/notes

tempo/tempos

piano/pianos

symphony/symphonys

lyric/lyrics

choir/choirs

chime/chimes

ballad/ballads

alto/altos

duet/duets

jam/jams

play/plays

pitch/pitchs

solo/solos

volume/volumes

soprano/sopranos

walt/walts

treble/trebles

trill/trills

drum/drums

cello/cellos

harp/harps

gutiar/gutiars

disco/discos

sax/saxs

trumpet/trumpets

violin/violins

flute/flutes

harmony/harmonys

acoustic/acoustics

carol/carols

base/bases

dance/dances

key/keys

clarinet/clarinets

accordion/accordions

tuba/tubas

cymbal/cymbals

banjo/banjos

bagpipe/bagpipes

bongo/bongos

fiddle/fiddles

horn/horns

gong/gongs

harmonica/harmonicas

synth/synths

flute/flutes

oboe/oboes

ocarina/ocarinas

organ/organs

piccolo/piccolos

trenor/trenors

recorder/recorders

record/records

rec/recs

ukulele/ukuleles

viola/violas

xylo/xylos

snare/snares

🪩/🪩s

🔇/🔇s

🔈/🔈s

🔉/🔉s

🔊/🔊s

🎼/🎼s

🎵/🎵s

🎶/🎶s

🎙/🎙s

🎤/🎤s

🎧/🎧s

📻/📻s

🎷/🎷s

🪗/🪗s

🎸/🎸s

🎹/🎹s

🎺/🎺s

🎻/🎻s

🪕/🪕s

🥁/🥁s

🪘/🪘s

🪇/🪇s

🪈/🪈s

🔌/🔌s

💽/💽s

💿/💿s

📀/📀s

📼/📼s

👩‍🎤/👩‍🎤s

🧑‍🎤/🧑‍🎤s

👨‍🎤/👨‍🎤s

[a-good-bagel]

Drawing a Delta Rune every day until Chapter 3 comes out. Day 451.

@fwugradiation I think I'll write a song. It's gonna be called something like Muddy Water and it's gonna be a cliche tuba and flute duet. I'm not very creative with this stuff. What's your favorite color?

[automaticfrenchhorn]

Today's study is an experiment in timbre. The piece is written as a duet between the trombone and tuba, where the trumpets and horn add colourations to the trombone's sound, by doubling its melody at various transpositions.

It begins with the horn doubling up an octave, but as the piece develops, other transpositions are used, such as the fifth and major third, not unlike common mutation stops on pipe organs (though not in these octaves). However, I also use other transpositions, not to alter the harmony, but to emulate certain common colour tones. More specifically, the melody can be seen doubled at the major 9th, major 6th, and major 7th.

When using mutation stops on pipe organs, the non-octave doublings are always done in high registers, to play the exact pitches of overtones of the 8' pipes, which helps them sound like colourations, and not new notes. Due to the limited range of these instruments, this was not possible here (especially the major 7th, being the 15th harmonic). My solution was to have these parts play significantly quiter than the trombone, in an effort to "hide" behind the trombone, bringing little attention to themselves while still affecting the overall timbre.

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!

[euph-freak]

Anddd I'm back to posting

So we got a decent low brass section for the advanced band!! We had 3 tubas (the other low brass kid from beginning band, my director, and one of my drum majors), 3 euphs (me, another kid in my section, and an 8th grader), and one trombone

I got a solo for one of the songs!!! We did a Disney Pixar thing and I got a solo during Ratatouille 😁

I briefly got a tuba duet and then they took that part from me :(

The concert was super hot and I'm pretty sure I had heat exhaustion afterwards but we've recovered. It went super good and I played my solo really really well!!!!

Now we're on to marching season. We already had marching band camp, which was a little brutal. We had three hours outside, one hour of break (thank god), and three hours inside. We have no new euphs or baritones but we have three new trombone freshmen (only one showed up).

The freshmen are interesting for sure! One made the other piss himself during sectionals! They aren't too bad though. The music for our movements is really easy for low brass, so that shouldn't be an issue. We haven't been able to start drill, though, because we don't know who all quit and who all joined (I'm Euphonium 1 😎).

School starts Wednesday and I just need to get my orange card. They're withholding my physical from me because of some health issues. I have to wear a heart rate monitor for two more days before I can get an echocardiograph (?) on Thursday. I can also hopefully get my physical signed off on Thursday, and my director said that I could still attend practice without my orange card (I'll probably just be playing the music and not marching).

We get to tour elementary schools this year! We'll go on the first day of school to talk about and advertise band. The week after we'll tour, play, and probably talk about the different parts of band and do more advertising. At some point we're doing another tour and doing an "instrument petting zoo". I think we're just going to have kids come up to us and explain our instrument for them? Hopefully they don't get to touch our instruments 🙏🙏🙏

Lots of updates because a lot has happened. Right now I'm just working on my high notes (high F and high G) and the pep band music.

[zappak]

Vital Weekly reviewed latest three releases on zappak.

Takashi Masubuchi & Yosuke Morone – Particles and Waves Kaori Komura & Yutaka Hirose – Diastrophism Dance p.o.p. (psychology of perception) – Alien Stewardess

The Japanese Zappak label is always surprising, with music on the fringe of improvisation, sound art, and conceptual art, plus it usually introduces new names. New names such as Yosuke Morone, who plays electronics and prepared sounds in duet with Takashi Masubuchi on acoustic guitar. I know him from various releases on Ftarri, which is also the location where they played on January 28, 2023, and it’s the first time they played together. Radical music is a perfect example of what the label stands for. Two pieces on this CD are named after their duration, ‘[34:18]’ and ‘[33:02]’. The first opens with a high-frequency sine wave sound, which is piercingly loud (and I can’t imagine what it sounds like to someone thirty years younger than me), and the guitar plays individual notes, very quiet and sparse. Think Taku Sugimoto but with a backing of sine waves. Slowly, these sine waves (created with function generators) alter in white noise and, towards the end of this piece, intense bass sounds. The high piercing tones don’t return in the second piece, in which Morone’s contribution is quite different. More like obscured tape hiss, being slowly amplified. In both pieces, there is a gradual build-up towards something much louder (but not noisy). There isn’t much interaction between both players, but that’s the idea of the music here: no responding to each other. The guitar sounds clean, while the electronics are deliberately vague and strange. This works better in the second piece than in the first piece.

The name Kaori Komura popped up in Vital Weekly 1393 when she worked with Kazumoto Endo on a track for a compilation, and she plays Korean percussion instruments. In the 1980s, she was a hardcore punk band GISM member. Yutaka Hirose is a tuba player from Tokyo. He’s also “a member of some bands and ensembles such as “tail”, “Zayaendo”, “Aosaba” and “Itsuki-Hirose”. This CD shows a more traditional side of Zappak’s interest in improvised music. The two pieces were recorded a year ago at Permian in Tokyo. Both instruments sound the way they are supposed to, even when I haven’t got a particular notion about the percussion; it sounds percussion, drum, and cymbal-like. I think their music is all about interaction, and they cleverly play with the notion of loud versus quiet. Sometimes, they are both quiet or loud and sometimes, there is that distinction. In ‘Roaring Pulse’, Komura plays an ongoing rhythm at various points, which you do not often see in improvised music. It’s something I somehow enjoy, maybe as something to hang to in what otherwise may come across as slightly more chaotic. At just under an hour long, this is quite a ride, perhaps better enjoyed with one piece at a time. Let this be my choice of improvised music for this week.

And lastly, p.o.p. (psychology of perception) is preferred in lowercase; I am not sure why you would write between brackets what p.o.p. stands for. Why not use one or the other but not both simultaneously? This is the CD that is not by Japanese musicians, and also to have more than two pieces of music, and is a double CD. I reviewed their ‘Tabriz’ CD in Vital Weekly 888 when p.o.p. was a duo of Reinhold Friedl (piano) and Hannes Strobl (electric bass). With their second release, ‘Ikebana’ (not reviewed in Vital Weekly), they were a quartet, adding Nara Krahl (cello) and Elena Kakaliagou (French horn). The information says, “Alien Stewardess”, concentrates on the question: What do the musicians’ bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, and organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…” This is the sort of text that is too cryptic for me. It reads well, but what does it mean? As with the previous Zappak release, this is all very nicely improvised, albeit of a much different kind, but two discs spanning some 150 minutes of music is a bit much. In their common approach, they like their sounds to be close together, like an acoustic (almost, that is) drone, out of which small sounds pop (pun intended) up. Because their pieces are long, twenty to thirty minutes (except the first ten minutes), playing this music must sometimes be an endurance test, with full-on concentration. Each piece is like a massive and dense cloud; if you look closely, you’ll see the more minor changes. Maybe there is some chaos, too; if you listen closely, it seems as if not much of this makes much sense, and at the same time, there is that tranquil feeling, almost spacious music. Maybe it’s not strange to think of this music as a fruitful meeting of improvisation and modern composition. Great release, but very long. (Reviewed by Frans de Waard)

[hvad]

Cons of playing tuba:

- like 3 solo pieces

- 1 ensemble piece with more than 4 bars of tuba melody

- offensively expensive. Like, middle-school-grade-tuba-is-$2000USD expensive. Like, a-good-gig-bag-is-$750-to-$1300USD expensive (crying rn)

- flying with a tuba is so much more hassle than it's worth

- finding a place to practice is hard (my family could hear me from 2 floors up when I lived with them.)

Pros of playing tuba:

- tttthhhhUNDEROUS ROARING

- ominous rumbling in the distance

- BWAAAAAA

- being able to appreciate the song as a whole because you're not playing 32nd notes that require 250% brain power

- being able to focus on smaller details within your part (tone, dynamics, articulation, breathing) to take your playing from good to great

- no (or very little) competition within your section (40+ flutes auditioning for one part vs 4 tubas auditioning for the whole section)

- If you can read treble clef, you can steal all of the violin/flute/cello/etc + piano duets and play the violin part as a tuba (like Valse Triste, Franz von Vecsey)

- or you can just pop that bad boy into musescore and shift it down a few octaves (if you're a coward)

- multiphonics :)

- b e a t b o x i n g

[macmusicguy]

Low Brass Duets

A small set of short low brass duets that are available over on Sheet Music Direct. These are indeed duets, but a transposed line for Treble Clef Baritone is included. A bit of fun for a couple of early to intermediate players! ChopsticksJoyful JoyfulCommon GroundHop Skip Chopsticks for low brass duet by Tom Rule