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Engelbert Schmid
Wagner Tubas
represent a revolutionary
new development,
which puts an end
to decades of compromises. |
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Intonation:
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They are in tune
like a good horn |
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Sound: |
They sound like
a Wagner Tuba should
sound. In a way
strange, mystic,
not too round, not
too much euphoniumlike.
A bit deeper mouthpiece
than for the horn
suits most players
best for a Wagner
Tuba. |
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Response: |
Clear
and fast. There
are no bad notes.
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Feeling: |
A Wagner tuba needs
more air than a
horn and it is harder
to control the intonation
in fortissimo. The
difference to a
horn is cleary decreased
with an Engelbert
Schmid Wagner Tuba.
The horn player
feels comfortable
immediately.
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Machine: |
Facility and slurs
are as good as with
an Engelbert Schmid
Horn. These tubas
are technically
so versatile, that
they will find their
way into brass ensembles.
Compared with the
horn the thicker
sound of the Wagner
tuba blends very
well with these
relatively loud
ensembles and is
able to mellow the
shrill dominance
of the trumpets.
A brass quintett
could form a tuba
trio, or the quintett
could be enlarged
to a sextett by
a second horn player/Wagner
Tuba player. |
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Holding: |
The
left hand grasps
the first branch
of the Wagner tuba
which has
approximately the
same diameter as
the grip on a horn.
Thumb and main levers
have the same position
as on a horn. The
mouthpipe is bent
in a way so
not to have to stretch
the head upwards.
The whole instrument
is ergonomically
balanced and
you can see the
conductor, as well.
The resulting bell
direction has more
advantages than
disadvantages.
In
some cases, depending
upon the position
on stage or
in the pit, you
might have to experiment
in order to find
a new, better sitting
order. The recommended
position would be
the following:
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