3.2.1 Technical and playing differences between the two instruments

Introduction

The following study has been carried out in order to be able to obtain differences in the way both instruments are played. The study pays special attention to technical aspects that may vary from one instrument to another trying to be as objective as possible.

Background and objectives

At some point in an orchestral horn player's career (whether symphonic or operatic) comes the challenge of having to play the Wagner Tuba. This may not be an easy task as in many cases it is possible that one has neither been taught the wagner tuba nor been able to experiment with it due to not having the instrument at hand. For this reason, the aim of this study is to find out the differences between playing the two instruments in order to facilitate the change from one instrument to the other for horn players in the future who find themselves in this situation.

Instruments

The instrument models used for this study are as follows:

• HORN GEBR.ALEXANDER 103 B/F

• PAXMAN WAGNER TUBA B/ COMPENSATING F

General parameters

Each exercise explains its objective, its procedure and the objective and personal results obtained through it. In order to achieve as objective a result as possible (in addition to the specifications of each one), certain parameters have been established to be followed in all of them:

• The exercises shall always be carried out in the same place/room to guarantee more reliable results (at least in the same session and for the same exercise).

• The exercises in each section shall always be performed first on the horn and then on the Wagner tuba.

• The tools used for recording and measuring the exercises shall in each case always be placed at the same distance and position from the bell.

• The metronome will be placed in a wireless headset that only the performer will hear.

• There will be no cuts within the same exercise, from the beginning to the end of the exercise the recorder will be recording continuously.

• All exercises will be studied in three different register ranges in an attempt to cover the entire register covered by both instruments.The registers are divided into high (F4-F5), middle (F3-F4) and low (Bb1-F3). The registers are determined following, but may be modified in the execution of each exercise as they may exceed these limits.

• Sample exercise:

As you can see, in some cases there is a very small difference between the two instruments, but also a very big difference in others. For this reason, in the results where there is more than 5 seconds of difference (underlined in colours), which happen to be in the low-mid register and soft dynamics, I have decided to record them again to know if the difference is real or just a coincidence. I have made two recordings of each combination in order to have more accurate results, so the figure shown in the table is the average of both. These are the results:

• Personal experience and opinion:

There is little that my experience with this exercise can add to the outcome and conclusion of the exercise. I think it is quite clear where the difference lies. Even so, I would like to point out that the sound of the tuba in many recordings is not as full as that of the horn and this can happen for two reasons:

• The difference in material, construction, age...of the instruments themselves.

• The different control I personally have towards the instruments.

Anyway, I think it is interesting to be able to study it further on other Wagner tuba models and see what happens.

2. Air passage between notes (two types of analysis): 

2.1 Using fixed positions (harmonic series of each position) 

• Explanation:

It consists of performing the intervals derived from the natural harmonics of the series of natural harmonics of each position. This position translates as a certain length of the instrument creating a frequency that sets a different pitch in each case. The exercises will start from the analysis of the closest harmonics and progressively move on to the more distant ones. The exercise will be done without using the tongue, only air, so we could say that we will make use of the articulation known as slurs.

• Goal:

The aim is to find out how easy and clean each instrument is to make changes between natural harmonics.

• Parameters used:

1. A metronome at quarter note=72 speed will be used to set the change and duration of each harmonic. The speed will not change in any case. However, the duration of each harmonic will be modified depending on the register and dynamics in which it is being played.

2. A breathing pattern of exhalation on two pulses and inhalation on two pulses will be established using the samemetronome speed quarter note=72 at the beginning of the exercise.

3. Positions to be used: F1-2-3, F1-3, F2-3, F1-2, F1, F2, F0, B2-3, B1-2,B2, B1, B0. This sequence has been created from the position offering a progressively lower frequency to the highest frequency.

• Sample exercise:

Three exercises will be used. For each exercise, a selection has been made of the positions that most define each register, trying to analyse each of the parts of the instrument. In this case the registers will be affected since some of the exercises in the execution of some positions will exceed the range determined in the general parameters. The exercises have been created based on the harmonic series. Below are the positions (alterations in the length of the instrument that create harmonic series of different Hertz frequencies) used for each exercise.

1. Low (F0/F2/F1/F1-2/F1-2-3)*

2. Middle (F2-3/F1/F0/B1-2/B2/B0)

3. High (F0/B2-3/B1-2/B1/B2/B0)

• Result:

In this case there is no parameter to define cleanliness and ease, so the result is closely linked to personal experience and analysis of the sample obtained from the recordings. The recording and performance of each exercise will be done in one take so that the result obtained is as close as possible to a normal playing situation. This means that the aim of this exercise is not the perfection of the performance, but a result that is as close as possible to the reality offered by each instrument.

• Personal experience and opinion:

It is not easy to draw a clear conclusion from this exercise, in the end both instruments have similar characteristics and do not differ that much from each other. However, I think that through my experience in the session and the analysis of the recordings, I believe that the difference to be highlighted is that the Wagner tuba offers more ease and cleanliness the higher the register. The passage of air with fixed positions on the horn I would not say it is complicated, but it certainly offers more resistance in all registers and with the Wagner tuba it is not the same, I have felt a surprising ease in some of the positions as the register became higher (F0 and B0). After all, this model of horn is also known for having quite a lot of resistance, and I think that this characteristic of the instrument has come to light in this exercise. It will be interesting to try a Wagner tuba of the same brand to see what happens.

2.2 Using different fingerings

• Explanation:

It consists of analysing the ease and cleanliness of the step between two notes, i.e. in an interval. The exercise will be carried out starting from the smallest interval (minor 2nd) to the largest (the octave) and making use of different ordinary fingerings. The exercise will be done without using the tongue, only air, so we could say that we will make use of the articulation known as slurs.

• Goal:

The aim is to find out how clean and easy it is for each instrument to change notes.

• Parameters used:

1. A metronome at quarter note=72 speed will be used to set the change and duration of each note. The speed will not change in any case. However, the duration of each note will be modified depending on the register and dynamics in which it is being played.

2. A breathing pattern of exhalation on two pulses and inhalation on two pulses will be established using the same metronome speed quarter note 72 at the beginning of the exercise.

3. The Intervals to be used are as follows and will be used progressively up and down: 2m, 2M, 3m, 3M, 3M, 4J, 4aum, 5J, 6m, 6M, 7m, 7M and 8J.

• Sample exercise

The same exercise is used for all three registers. For each of them the different keys have been chosen.

• Low register: low F and low C.

• Middle register: F and C.

• High register: high F.

• Result:

In this case there is no parameter to define cleanliness and ease, so the result is closely linked to personal experience and analysis of the sample obtained from the recordings. The recording and performance of each exercise will be done in one take so that the result obtained is as close as possible to a normal playing situation. This means that the aim of this exercise is not the perfection of the performance, but a result that is as close as possible to the reality offered by each instrument.

• Personal experience and opinion:

In this exercise I was able to find a clear difference in the lower register, both in ease and cleanliness. I found it more difficult to center the notes and find them without the sound being impaired. However, in the middle register both instruments are very equal, I could even feel a little more ease with the tuba and cleanliness, but very subtle. In the high register the results are quite equal, the cleanliness is similar (as there are more harmonics together it is more difficult to find a clean air passage). I would say that I find it easier on the horn, but I think that this feeling is simply due to the fact that I have much more experience and practice with it. With the tuba I have been able to experience very easy and clean intervals, which means that with practice and experience, the dirtier intervals can be improved and get as good results as on the horn.

3.Articulation:

3.1 Tenuto

• Explanation:

This exercise will consist of working on the articulation known as tenuto (little space between notes). It will make use of scales and arpeggios through the ordinary finger positions.

• Goal:

The main objective is to find out how easy and definite each instrument is with this particular articulation.

• Parameters used:

1. A metronome at quarter note = 72 speed will be used to set the change and duration of each note. The speed will not change in any case. However, the duration of each note will be modified depending on the register and dynamics in which it is being played.

2. A breathing pattern of exhalation on two pulses and inhalation on two pulses will be established using the same metronome speed, quarter note =72, at the beginning of the exercise.

• Sample exercise:

• Result:

In this case there is no parameter to define cleanliness and ease, so the result is closely linked to personal experience and analysis of the sample obtained from the recordings. The recording and performance of each exercise will be done in one take so that the result obtained is as close as possible to a normal playing situation. This means that the aim of this exercise is not the perfection of the performance, but a result that is as close as possible to the reality offered by each instrument.

• Personal experience and opinion:

The Wagner tuba offers a great facility to do this kind of articulation in the whole register. It is really easy to make a very subtle/Dolce tenuto, sometimes difficult to perceive by the ear, which is really amazing. This can be seen very clearly when repeating the same note. As for the horn, it doesn't offer much difficulty in the execution but I would say that it requires more tongue (cutting more the air column), so the result is more defined and it doesn't allow you to do it in such a subtle way as the Wagner tuba.

3.2 Staccato

• Explanation:

This exercise will consist of working on the articulation known as staccato (a lot of space between notes). Scales and arpeggios will be used through ordinary positions.

• Goal:

The main objective is to know what is the ease and precision that each instrument offers with this particular articulation.

• Parameters used:

1. A metronome at quarter note=72speed will be used to set the change and duration of each note. The speed will not change in any case. However, the duration of each note will be modified depending on the register and dynamics in which it is being played.

2. A breathing pattern of exhalation on two pulses and inhalation on two pulses will be established using the same metronome speed, quarter note=72, at the beginning of the exercise.

• Personal experience and opinion:

It is difficult to draw a clear conclusion from this exercise as the result of the two instruments is quite even. Even so, I could say that the tuba offers more ease in the high register. It is true that the first impression I had was that perhaps the tongue was heard too much from the outside, but when I analysed the recording I saw that this was not the case. It sounded really defined. I also think that in the tuba it is more difficult to miss the note (something that I think is more possible in the horn) but some of the attacks are more doubtful in the sense that maybe the note doesn't sound exactly right from the beginning. In the lower register the result of both instruments has been the same, that clarity and preciousness of the tuba in the higher register has been lost and it is a bit more similar to the horn. I would even say that the horn is now more defined, at least it offers more ease.

3.3 Accent

• Explanation

This exercise will consist of working on the articulation known as accent (a lot of sound at the beginning of the note and subsequent relaxation, similar to the sound of a bell). Scales and arpeggios will be used through ordinary positions.

• Goal:

The main objective is to find out how easy each instrument is to use with this particular articulation and the effect it generates.

• Parameters used:

1. A metronome at quarter note=72 speed will be used to set the change and duration of each note. The speed will not change in any case. However, the duration of each note will be modified depending on the register and dynamics in which it is being played.

2. A breathing pattern of exhalation on two pulses and inhalation on two pulses will be established using the same metronome speed, quarter note=72, at the beginning of the exercise.

• The same exercise as in section 3.1 has been used.

• Result:

In this case there is no parameter to define cleanliness and ease, so the result is closely linked to personal experience and analysis of the sample obtained from the recordings. The recording and performance of each exercise will be done in one take so that the result obtained is as close as possible to a normal playing situation. This means that the aim of this exercise is not the perfection of the performance, but a result that is as close as possible to the reality offered by each instrument.

Below you can see the recordings made for the study of articulation. In each of the videos we experiment with the 3 types of articulation in the given register.

In addition to these recordings, two extra recordings have been made. In them the exercise used is a chromatic scale at two octaves, Bb3-Bb5, with the three types of articulation.

• Personal experience and opinion:

Without a doubt the accent is the type of articulation that differs the most from one instrument to another. I had the feeling from the first sessions that this was the case but thanks to this exercise I can verify it now. It is quite a difficult task to get a good accent with body, stabilize the sound, equalize the accents or give it power with the Wagner tuba. The instrument does not allow the same air to enter at the same speed as the horn does. At the moment I don't know why this can happen, maybe it's because of the difference in the brands of the instruments? The mouthpiece? Lack of practice? Over the next few months I will try to find out what is going on. Anyway I can say that both instruments agree that the lower the register, the more difficult it is to play.

4. Conclusions of the study

After having finished the whole process of study, recordings, experimentation and analysis, and looking at the results obtained in each of the sections of this process, I have been able to identify where the major differences lie in the practice of both instruments. It must be taken into account that my experience and practice with the Wagner tuba at the moment is inferior to that of the horn, so all these technical aspects that I am going to mention below can be improved over the following months. After all, this study has been carried out with the aim of finding those points in which the practice of both instruments differs the most, in order to be able to emphasise them and try to correct or improve them. That said, the conclusions regarding this study are as follows:

• It should be noted that the horn requires more air in the lower register, which is good news if we have to play the Wagner tuba.

• As far as the register is concerned, a clear difference can be seen in the low register, where the tuba does not perform as well. Only the tenuto articulation is discarded, where the tuba apparently gives better results. This means that the low register is one of the points to be worked on in terms of articulation.

• Consequently, the high register on the tuba is simpler and easier to play, so if the player has the right technique to play in this register, he should not focus so much on it in order to master the instrument.

• Finally, the most noticeable difference is the accent. For some reason, be it the way the air is blown or the instrument or mouthpiece itself, the tuba does not offer the same effect and result, so it is a point to focus on.

This also makes it clear that the low register is the major difference between the two instruments. As this was not carried out with two equal, double Wagner horn and tuba models, it was a result that could have been expected from the beginning. This result is a clear indication that the compensation models do not give the same results as the F-tuba in the low register.

I think it would have been interesting to have two equal models, as the results would have been more reliable. And besides this, having used instruments of different brands (Paxman and Alexander), the difference can vary even more. Unfortunately, the Wagner tuba model is the one I had at my disposal and that's why it had to be made like this. Even so, I consider it interesting and opportune to be able to play other types of models and see if I can find other differences or reinforce those obtained through this study.

Personal conclusions

Apart from what I have concluded with the study, I would like to contribute a couple of conclusions that I have been able to feel personally and that I think are important for the mastery of the Wagner tuba.

• Firstly, I think that the tuba requires a more conscious and active work of the air column (speed, support, quantity...). On many occasions I have been able to experience how a passive use of the air column caused bad results, and with time I have been able to adapt to this situation. In my case (and I would say in the case of any horn player) the habit of always playing the horn makes you adapt completely to the way you use your air column, which is logical. But for some reason, possibly the change of posture between the two instruments or the angle of the tuba's tudel or the simple shape of the instrument, has made me have to focus more on it.

• Secondly, I think it is also important to adapt to the change of having the bell (the place where the sound of both instruments is projected) next to the ear in the Wagner tuba instead of pointing backwards in the horn. Of course it is something that at the beginning is very striking as the perception changes completely, but I think it is important to know that the sound result does not change much. This is something that I could experience in the staccato exercise, as I heard a lot of my tongue, more than in the horn, and I thought I was doing something wrong, but after analysing the recordings I could see that my perception playing and my perception listening, were completely different. What I want to conclude with this is that we should not get carried away by what we perceive when we change from the horn to the tuba, in the end the instruments are constructed in such a way that the listener can hear them correctly, so I believe that we should not make significant changes due to our perception.