We all start with what is available (typically the instrument is owned by the school or band that we start playing for). As we learn and grow we usually move on to what our teacher recommends and/or what our parents can afford. From there we develop an idea of what works and a good concept of what we want to sound like.normancult wrote: ↑Sat Nov 07, 2020 9:02 am To me, it is still a mystery how a skilled tuba player choose between the different keyed instruments, valve systems, "compensated" and "non compensated", etc.
The next purchase usually happens at the intersection of availability and opportunity. What specific instrument is selected depends on the group(s) that the tubaist is in and the type of music they are playing at the time.
Most people pick a middle of the road type of 4/4 sized instrument that works well with most things such as a Miraphone 186 BB or CC, King 2341, Besson compensating Eb, or an instrument similar to one these.
Others select more specialized instruments such as 5/4 or 6/4 BB or CC for large band/orchestral work or an Eb or F bass tuba for solo/small ensemble work. Many tuba students in college/university are encouraged to obtain both to further develop their skill set.
Even more specialized instruments are considered for "period" pieces such as the cimbasso.
Professionals typically select what they believe to the the best tool available for them to perform the programmed music.
It all boils down to the following:
Most pieces written within the normal range of the tuba can be played on any instrument in reasonable condition that the musician is comfortable with. The audience is unlikely to care what instrument is used so long as it sounds good and is performed exceptionally well.
