Tuba: Interview and demonstration with Chris Olka발음듣기
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Tuba: Interview and demonstration with Chris Olka
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I like it because it's a large instrument, and because it's so large, it actually is more efficient at providing plenty of bass sound to the orchestra.발음듣기
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It reinforces the bass section and all the lower instruments much more readily than a smaller instrument would, and I have to work less hard to do it.발음듣기
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The sound's not as clear as some of the smaller instruments, again, it's more omnidirectional, very present, but kind of like a big, velvet fog, so to speak, so, generally this is the low left-hand of the piano, if you envision the orchestra set out like a piano, this is low left-hand.발음듣기
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Because it's pitched in F, a fourth above the C, it's more suited to higher solo repertoire, and higher orchestral repertoire.발음듣기
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So, Berlioz, Ravel, some of the lighter, brighter orchestrations, for example, Berlioz, The Hungarian March.발음듣기
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It's easier for technical passages. (tuba playing) So it can play all the same notes that you can play on a contrabass tuba, but it's certainly easier to play on the upper register on it, and for smaller, lighter, leaner orchestrations, it's less encompassing of a sound.발음듣기
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It's clearer, more focused, and so you can have it be a little pointier, and tuck it into a smaller orchestra a little more handily.발음듣기
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Then we've got the tenor tuba, and these, you see 'em mostly in British brass bands, but occasionally there are some repertoire in the orchestral rep that calls for a tenor tuba, and it would be one of these instruments, and it's pitched an octave above it's bigger brother here.발음듣기
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This one happens to be pitched in B flat, and you'll hear it's a much smaller, clearer, leaner sound.발음듣기
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(tuba playing) Then we've got the cimbasso, and this is pitched in F, in the same key as the bass tuba here behind me, which is also in F, and you'll hear this is a much leaner sound than either of the tubas, but not as small as the tenor tuba.발음듣기
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It's kind of a hybrid, and it definitely has more of a trombone-like sound, as a result of the fact that it's forward facing, it's directional, and smaller bore.발음듣기
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(cimbasso playing) (orchestra music) Basically, all the mouthpiece does, is it focuses, it acts as a cup to focus your buzzing lips into the small shank here, which then is plugged in to the instrument that you're gonna put it in, so, on the tuba here, you've got your mouthpiece, and you buzz into it, and then you plug it into the leadpipe, which then goes into the valves and the sound comes out of the bell.발음듣기
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All you're really doing when you play a brass instrument is amplifying your buzzing lips, and you do that with the mouthpiece, so, let me get a pitch here, if you want to buzz a C, for instance, or play a C on tuba, if you've got that pitch in your ear, and you can sing it, do, do, if you sing there, whatever, you hear the pitch in your head, and you buzz your lips.발음듣기
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(raspberry) Now, if I do that looking at the mouthpiece, (raspberry) it doesn't really work very effectively.발음듣기
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So now we've got this mouthpiece which has a cup, or a cup-shaped bowl, with a leadpipe, (musical note) Now we've got something to work with.발음듣기
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(musical note) So while there's a lot of money spent in research and development for the various brass instruments, they're basically glorified, as I like to call it, megaphones that, like a cheerleader would use, and all they do is amplify a raspberry.발음듣기
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(raspberries) (tuba playing) (orchestra music) If you look, every instrument in the orchestra just about, has some brethren, for lack of a better way to put it.발음듣기
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Even in the woodwinds section, you've got a couple of oboes, you have a couple of bassoons, a couple of clarinets, a couple of flutes, as many as three or four.발음듣기
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French horns, you have four or five, counting an assistant, and trombones you have three, but the tuba you only have one, generally speaking, and there's some exceptions, but rarely do you see more than one tuba in the orchestra.발음듣기
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Because your job is to provide the foundation of the orchestra, the bass role in the wind section, and you've got all these other instruments playing with no help from any other section of tubas, you tend to kind of go towards a larger instrument, so that's why I play a six-quarter double C contrabass tuba.발음듣기
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(orchestra music) I kind of have a non-traditional background as far as how I came to play the tuba.발음듣기
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Previous to me playing the tuba, I was in middle school and late grade school, I was a saxophone player, and a very happy and contented saxophone player.발음듣기
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But when I got into the ninth grade in high school, my band director said, "Son, you're the biggest guy "in the band, we don't have any tubas, "and we've got plenty of saxophone players.발음듣기
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Well, I really liked the saxophone, but I liked being in the band more than just playing the saxophone, so I thought, well, if this is my only option, I guess I'll play the tuba, and basically what he did, was he gave me a tuba, and he gave me a method book, and a tired, old, rusty mouthpiece, and basically said, "Okay, go into a practice room, "and band camp is for the next two weeks.발음듣기
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And so every day for four hours a day during band camp, when everybody else was in the band room rehearsing all the great classics, Rockin' Robin, Louis Louis, Wipeout, all these songs that I really desperately wanted to participate in, instead I was learning how to push the buttons down, and how to buzz my lips, and reading this Rubank Method for elementary tuba,발음듣기
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and I figured out enough that I could go out and play the bass line to Louis Louis and Wipeout and Rockin' Robin, and earn my way into the band, so that was my freshman year in high school, and the rest, as they say, is history.발음듣기
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My senior year in high school, I also started working as a musician at Walt Disney World in Orlando as a atmosphere musician playing tuba in the various bands.발음듣기
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1990, I graduated from high school, started my undergraduate degree and took six years of night courses, and some day courses, while also working at full-time at Walt Disney World as a musician there, starting every morning at 8:00 when the park opened up, started playing a show, 20- to 30-minute sets every hour, hour and a half, seven shows a day, sometimes two, three parades, depended.발음듣기
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And I was playing mostly jazz, marching band, popular music, stuff like this at Walt Disney, as you might imagine.발음듣기
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Had real no aspirations to be an orchestral tuba player, but I heard this recording of the New York Philharmonic Orchestra, conducted by Leonard Bernstein, of Mahler's Second Symphony, and when that was recorded in the late eighties, it was with what I call the dream team brass section of all-time, in an orchestra in the United States, which was my teacher and a number of these trombone players in the New York Philharmonic, and the fabulous trumpets and horns.발음듣기
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I was smitten by how beautiful this Mahler symphony was, which was the first one I had ever heard, and then the quality of playing and artistry in this recording.발음듣기
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(orchestra music) I heard that recording, and I decided right then and there I wanted to be an orchestral musician, and I auditioned at the Julliard School for my Master's degree, so that I could study with these gentlemen, and in fact,발음듣기
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I had done a summer festival previously, that previous summer, with the principal brass players of the New York Philharmonic Orchestra, and the principal trombone player, this guy, Joe Alessi, he set me down, and he said,발음듣기
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Listen, you need to quit your job, and you need to come and study with us at Julliard, "and you'll get a job in an orchestra."발음듣기
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In fact, I don't say this to anybody, because I know how competitive it is to get "an orchestra job.발음듣기
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I auditioned at Julliard and got a scholarship, and went to Julliard School for my Master's degree, finished that in 1998, started working on my Doctorate at Rutger's University for one year, and then the position opened up here in Seattle Symphony, and auditioned for that job subsequently, and won the job, and I've been here ever since 1999.발음듣기
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(orchestra music) The very first orchestra concert I played in the Julliard Orchestra, the conductor was Jerry Schwartz.발음듣기
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Now we're looking at Jerry putting together this orchestra in New York, this all-star orchestra, and he's asked me to be the tuba player.발음듣기
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I mean, what a tremendous thrill, but on top of that, one of the things that he programs is the first movement of Mahler's Second Symphony, and no less than four of the brass players that were on that famous recording that was on Deutsche Gramophone, that was recorded with Bernstein and the New York Philharmonic, no less than four of those brass players that were on that recording were in this orchestra, and I got to play with them.발음듣기
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Two of 'em were in the trombone section of that famous recording, Joe Alessi, who was principal on the Mahler, and David Finlayson, who was playing third trombone on that recording, and then the recoding we did last week, as well as two of the horn players from the French horn section during that recording back in the eighties were also in this all-star orchestra, so, for me it was a really big moment.발음듣기
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Here, I'm getting to play a piece that was pivotal in my decision to be an orchestral musician, and a brass player, and I got to revisit this repertoire with a conductor I feel very strongly about, have a great relationship with, with my teachers that made this recording possible. (orchestra music)발음듣기
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