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A brass band, as its name indicates, consists of only “wind” instruments and is the complete opposite of a “string” orchestra, consisting only of bowed instruments. But now even in this name, which seems to completely explain the essence of the matter, there are quite a few differences. So, for example, a brass band in the strict sense of the word is a large or small mixed orchestra composed of brass instruments, woodwinds and percussion. Just a brass orchestra, which can also be “large” or “small”, is an orchestra that consists of only brass instruments and percussion. However, percussion instruments, strictly speaking, may not be included in the “small brass orchestra”.

What is a “small brass” brass band? Its basis is the family of saxhorns, or flugelhorns - brass instruments with a valve mechanism. These instruments appear extremely rarely in symphonic music and, in essence, represent the “property” of any brass band, where they are often not very successfully called “wide-bore” instruments.

As we know from the history of instruments, the entire family of saxhorns was transformed by Adolf Sachs from the ancient bugelhorns by replacing the valves with a valve mechanism. All saxhorns have a conical cross-section, have a very smooth sound and represent a complete family of seven varieties from sopranino to double bass inclusive. The very name "saxhorn" was given to these improved instruments by Sax. But this name was by no means accepted everywhere and is mainly still preserved only in France. In Belgium and England, these instruments retained their old name - bugelhorns. In Germany they are called flugelhorns, and in Italy they are called flikorns. In Russia, these instruments were initially called “flugelhorns”, and after some time, without sufficient grounds, they were renamed “saxhorns”.

So, this family of instruments, sometimes with or without percussion, forms the so-called “small brass orchestra”. It sounds quite coherent, but a little loud and harsh. In the army, this composition of the orchestra is usually used as a “regular orchestra” and, at every opportunity, they try to expand its capabilities. In quantitative terms, the composition of such a “small brass orchestra” usually ranges from ten, thirteen or sixteen instruments.

As could easily be understood from what has just been said, the “small brass band” is the smallest orchestral unit and consists only of instruments of the saxhorn and percussion family. These latter in such an orchestra composition are usually represented by a small drum and cymbals with a large drum, which are most often played by one performer. The brass group of a small brass band is composed, as a rule, of five or, to be especially precise, of six types - cornets, altos, tenors, baritone and basses, of which the “second bass” is often called double bass. All instruments of this family are built to strictly established dimensions, which completely excludes any artificial change in tuning. This means that all the instruments in the family are not familiar with additional scenes, much less with crowns.

So, the first member of the small brass orchestra is the cornet in Si b. In the West it is called differently, although the meaning remains the same. The volume of this instrument is quite consistent with a modern chromatic trumpet and in actual sound covers two and a half octaves - from mi of the small octave to si b of the second. This instrument has a gentle, velvety and very poetic sonority, much less harsh and hackneyed than the cornet-a-piston, with which it has the misfortune of being similar. It is in this unfortunate circumstance that lies the reason why the little-informed leaders of brass bands expelled him from there and replaced him with the “piston” so common to them. If the conductors of a small brass band approached the matter more judiciously, then they, undoubtedly, could use the original cornet and cornet-a-piston on an equal basis. In this case, the cornet-a-piston could win itself an honorable place in the orchestra and by no means less than the one it occupies there now. Under such conditions, the orchestra would have not one “sound color”, but two - equally valuable and rich, and then the cornet-a-piston would still shine with its slightly open sound. But, unfortunately, in many modern brass bands the cornet-soprano in Si b has been replaced not even by the well-known cornet with pistons, but by the most common “small” trumpets in Si b. Such a moderately arbitrary and unsuccessful replacement extremely simplified and impoverished the sound of the brass band in this particular part of it. It completely destroyed the difference in the sound qualities of trumpets and cornets, which perform such different duties in the orchestra - “fanfare” for trumpets and “singing” for cornets.

The second member of the small brass orchestra is the viola in Mi b or more precisely - althorn in Mi b, sounding a big sixth below what is written. He is still unfairly considered the worst representative of the family - the laziest, most miserable and completely incapable of anything more significant and meaningful. It has a smaller volume - two full octaves - from la big up la first, and three additional steps at the top - si b, si bekar first and do the second octave in actual sound is possible, but a little difficult to extract.

Unfortunately, the opinion is still firmly held that the merits of the viola are not only very mediocre, but also simply insignificant. He is considered unsuitable for performing a responsible solo, and he is entrusted with performing secondary harmonic voices, for which he turns out to be quite indispensable. In addition, it serves as a kind of “connecting link” between the soprano saxhorn and the tenor or baritone and, despite its shortcomings, quite easily performs all kinds of sustained and moving formations of not too much complexity. The althorn sounds best in the middle part of its scale, while the extreme lower and especially upper steps of its volume do not sound very stable - they are difficult to extract and are not always beautiful enough.

However, the whole point is that the althorn is now experiencing the same “disease” that the bowed viola suffered from before Wagner. This instrument is taken up by everyone who wants to master any musical instrument with the least amount of effort and time, and they play it mediocrely at best, not caring at all about the level of their technique, or, especially, about artistic and expressive means. the instrument as a whole. It is therefore quite natural that all musicians who encountered a brass band had to invariably take into account this state of affairs and write for the viola part either individual harmonic sounds or such musical turns that would not present any technical difficulties.

But this is far from the case now, when unprecedented attention is being paid to musical and orchestral education. Now the althorn is not a “stepson”, not a “superfluous” and only “interfering” member of the orchestra, but a true master of his craft. Violists undergo the same training as cornetists, trumpeters and baritone players. And so, when things turned out this way, it turned out that the alto saxhorn was not so bad at all. He sounded quite convincingly, his rich technical capabilities were revealed, and his expressiveness came very close to the horn.

The only drawback of the viola was a certain, slightly crackling harshness in its sound. This “crackling” on the viola is less pleasant when the strength of the sound with great expressiveness of the performance reaches a rich, good forte. However, now the alto saxhorn can be used almost freely both as a harmonic instrument and as a solo instrument. The mistrust that still continues to keep composers from expanding the range of its capabilities will soon (undoubtedly) dissipate. It is enough for the authors themselves to listen to this instrument in experienced hands and be convinced of the validity of everything that has been said. This is no longer a “minor” instrument and not an “ordinary side voice" in the orchestra, but a completely worthy and equal participant. In any case, his blossoming is still in the future, but probably not far off.

The third representative of the family, taking part in the brass small brass band, should be recognized as the tenor saxhori in Si b, or more simply, the tenor in Si b. His volume is quite consistent with that of a baritone, although he still does not do the lowest sounds very well. The tenor also lacks those few additional steps that are quite accessible to a baritone with four valves. Notes for the tenor are written in the key of Sol, sound with a major note below and cover a volume of two and a half octaves, from mi of the major octave to si of the first.

In a brass band, the tenor not only performs the middle voices of harmony together with the alto, but also often leads the main line an octave below the soprano cornet or acts in unison with the baritone to impart greater strength and expressiveness to the latter. In this case, the combination of both instruments - tenor and baritone in the form of a “dialogue” - is extremely pleasant - then they seem to complement each other, decorating each other with the special qualities inherent in each of them. Sometimes the tenor decides to perform completely independently, which never goes unnoticed. One can only regret why this instrument is still so rarely used in symphony orchestras.

The next member of the small brass orchestra and, perhaps, the most successful variety of the family is the baritone in Si b. The volume of a baritone is twofold. A baritone with three valves is quite similar to a tenor, and with four valves it also allows you to extract four steps below the written /a#. These notes - fa #, mi, mi b and re - sound great, but, being quite difficult to hit, always rise slightly. They require a certain skill and exercise, after which they become quite suitable in an orchestra. If an “average” baritone player is participating in an orchestra, it is better not to use them. On baritones of this four-valve variety, the main tone is possible as a pedal sound, which is used relatively rarely in a brass band. Notes for baritone are written in the key of Sol, although they can often be found written in the key of Fa, which is by no means an error. The second method of writing is more reasonable than the first, but from a performing point of view it is less convenient, since the baritone is often played by tenorists who are accustomed to their “violin grip”; it is known that the key of Fa is never used in the tenor part. A baritone sounds like a tenor, with a major note lower if written in the key of Sol, and a major second lower if the key of Fa is used. In actual sound, counting four additional steps, the baritone covers the sequence of sounds from do of the major octave to si b of the first.

The sonority of the baritone is charmingly beautiful. She is very convincing, beautiful and much warmer, sincere and spontaneous not only than a tenor, but also an alto. Compared to the tenor, she has greater velvety, softness and concentrated expressive nobility. And with regard to his scale, the baritone has the most significant advantages over the tenor - he descends unusually easily - there is no talk of four additional notes here - while using completely freely the highest steps of his scale. But if we leave aside its highest levels, which naturally lose strength and expressiveness as they approach their limit, then the overall sonority of the instrument, and in particular in the middle register, will be endowed with extremely pleasant softness and richness. Very reminiscent of a horn in timbre, the baritone at the same time has absolutely amazing mobility, which - no offense to the horn - it can only envy. Finally, the baritone, just like the cornet-soprano in Si b, belongs to the category of deeply expressive instruments, and is more characterized by soulful, concentrated singing than agile virtuosic playing.

The penultimate member of the small brass band should be considered the small bass in Mi b, usually called the first bass in Mi b. The volume of the small or first bass, covering two full octaves, extends from the Si b counter octave to the first do. The notes for this instrument are always written as they sound, although the instrument itself continues to be called the “first bass” or bass in Mi b.

In a brass band, the use of the “first bass” is quite varied. He not only doubles the part of the contrabass saxhorn in Si b, but also often performs a completely independent pattern and willingly plays with it in an octave, without at all striving for its continuous doubling.

Finally, the last member of the small orchestra is the bass in Si b, more often called the low bass in Si b, or simply the second bass in Si b. In a symphony orchestra, when this instrument is used, it is also called a tuba, and in foreign manuals - a bourdon. In addition, both of the latter varieties of the saxhorn-flugelhorn family are also called helicons - a nickname that was at one time extremely common in large brass bands. Now it has largely lost its meaning and has turned out to be almost forgotten.

According to the “uniform writing” method, the contrabass saxhorn in Si b or the second bass sounds a note lower than that written in the key Fa and has a volume of two full octaves from counter-mi to fa of the small octave in actual sound. In Russian brass bands, the “second bass” has three or four valves. In this case, it has a slightly more expanded volume and its scale then extends from contra-mi to Si b of the small octave. It always sounds the same as it is written in the notes. The fourth valve, if present, continues the scale down four more degrees and reaches the sound of contra-do, although all these degrees, including the nearby mi, are difficult to produce and are really only good in sustained notes in piano or pianissimo. In technical terms, both basses - the first and the second - have the same defect - their sonority, too soft and a little loose, deprives the instruments of the necessary clarity and sharpness in moving patterns. But this does not mean that these basses are completely inaccessible to fluent patterns, scales, leaps and, in general, any constructions with a predominant movement. They can completely overcome all this, but the “second bass” is less mobile than the “first bass”.

All of the listed members of the small brass band have an oval shape with a steeply outlined bell, directed to the side for the alto and tenor with the baritone, and straight, directed upward, for the basses. The only exception is the soprano cornet - it is usually made straight and, strongly reminiscent of a modern trumpet, turns out to be only much wider and slightly shorter. Basses were sometimes made round so that when using them on a hike, they could be threaded over the performer’s head and carried on the left shoulder. In this case, they were called helicons.

In order to completely exhaust the data on the small brass orchestra, it remains to recall only the number of voices of each part. There are three cornets in such an orchestra - two for the first part and one for the second. In this case, cornets receive the additional definition of first and second. Violas have two independent parts and are then also called first and second. The two tenor parts find themselves in exactly the same position. Baritone always provides one part, and basses - two, one for the first and second bass parts. The participation of percussion instruments has already been mentioned above.

The Big Brass Orchestra is now an “imaginary” size. Theoretically, any “small brass orchestra” can be transformed into a “large” brass composition by increasing the number of performers. But in reality, such an event does not make much sense for the reason that the sonority of “pure copper” in the person of saxhorns alone does not at all shine with such artistic merits, for which it would be worth “breaking spears.” Most often, a small brass orchestra immediately turns into a small “mixed” orchestra. In it, with a slight increase in the family of saxhorns, woodwind instruments - flutes and clarinets, and some instruments of the brass group of the symphony orchestra - horns and trumpets also participate. The sound of such a mixed orchestra takes on a completely different coloring, much softer and more pleasant. All the “sharp corners” of the saxhorn family turn out to be smoothed out to a certain extent, and this composition of the orchestra produces not only a completely satisfactory, but also a rather pleasant impression. A small mixed orchestra is a separate artistic unit that has every right to a completely independent existence. In all large military formations, this orchestra takes an active part in their daily life, and most of the music intended for the brass band in general is written precisely for such a composition. A small mixed orchestra meets all the strict requirements of a modern musician and is capable, in essence, of playing any music, even if not intended for this type of orchestra, but artistically processed and adapted specifically to this type of orchestra with full knowledge and understanding of the matter.

The participation of symphony orchestra instruments in a small mixed composition has its own grounds and laws. One side of the issue has just been mentioned - flutes and clarinets significantly soften and decorate the slightly harsh sonority of the brass orchestra and, in particular, enrich it melodically and technically. This is, of course, not the place to delve into orchestral subtleties, but suffice it to say that these extremely agile voices of the symphony orchestra not only take on all the “minor technique” of a given work, but often sound in an octave with the main melodic voices of the brass composition. This position of flutes and clarinets in a mixed brass orchestra brings a lot of freshness and light to its sound, not to mention great and sometimes intricate technical flexibility. These woodwind instruments prove to be such indispensable members of the brass orchestra that their parts are usually greatly increased in number. It’s not enough to say that they often write two or three independent and completely separate parts for flutes and clarinets, but they also try to assign as many performers as possible to each part. Such an event turns the parts of flutes and clarinets into equal voices of the orchestra, capable of contrasting their ringing, fresh and bright sonority with the rest of the brass orchestra.

As for the additional horns and trumpets, which are often included in a mixed orchestra, it is customary to look at these instruments as “characteristic sonorities.” This means that the orchestrator should not rely on them as ordinary members of the brass orchestra, but must involve them in all cases when he wishes to diversify the overall sound palette of the mixed orchestra with more characteristic and, therefore, somewhat different sound colors. With this attitude to the matter, the parts of horns and trumpets can turn out to be extremely impressive and, when contrasted with cornets, tenors and altos, can sound especially beautiful and convincing. The variety in the use of orchestral colors and the success of the overall sound of a small mixed brass band depend on the skill of the orchestrator - the more inventive the orchestrator, the more colorful the overall sonority of such an orchestra, obviously. The participation of percussion instruments in this case is determined by the actual needs of the music, and it is the job of the author or orchestrator to make sure that the percussion instruments do not interfere, but are always welcome and worthy participants in the whole.

A large, mixed brass band is, in the full sense of the word, a military “symphony” orchestra. It has everything right down to oboes and bassoons. It lacks only stringed instruments, the duties of which are usually entrusted to the saxhorn family. Such an orchestra requires a full complement of woodwinds, up to the small flute, English horn, bass clarinet and contrabassoon. Saxophones can also take part in its composition, the number of which usually depends on the actual availability of instruments. Brass instruments - members of a symphony orchestra - in a large mixed brass band are usually represented in full - four horns, three to four trumpets, three trombones and a tuba. Percussion instruments are used in such cases as needed, but timpani are already an indispensable participant in such an orchestra. Finally, the saxhorn family, as the basis of any brass band, most often increases to its largest composition - up to twenty-five performers. Demonstrative large mixed brass bands, which were sometimes created, also had harps, string double basses and even pianos. But such varieties of the brass band were and are only random in nature and therefore cannot be counted.

The sonority of such a “large mixed brass band” is, of course, not difficult to imagine. Such an orchestra sounds very impressive, brilliant and varied. He has rich orchestral means and it is up to the orchestrator to be able to use them. In any case, such an orchestra is capable of reproducing any music and, if we make allowances for the absence of stringed instruments, then we can safely say that more cannot be asked of it, and should not be done. One way or another, you can listen to it as something independent and artistically perfect.

Now the question arises quite timely - when did military music originate? There is an indication that the Roman legions included musicians who played brass instruments. These were probably "Tibii" and "Buccini". In Europe, musical instruments in the form of horns and trumpets apparently appeared no earlier than the 13th century, when they were used as “military signals” by the troops of the French and British. Around the same time and for the same purposes, percussion instruments were used in Italy. The brass band, using a range of ancient stringed and plucked instruments as a "court band", has been around in England since the time of Edward IV. His thirteen minstrels already had trumpets, pipes and small pipes. All subsequent kings and queens of England expanded their “court orchestra” and increased mainly the number of trumpeters and trombonists, who were called at that time “sacbuts” - a general “collective” definition that obviously had nothing in common with the ancient name of the trombone itself. In France, “court music” most likely arose under Louis XIV, although the troops used trumpets and horns much earlier. It was the same in Germany, where, in addition to everything else, choirs of trumpeters and trombonists entertained honest burghers with their playing from the heights of the towers of city halls and churches.

In Rus', according to chroniclers, musical instruments - trumpets, tambourines and nozzles - have been an integral part of the prince's army since the 10th century. Probably, in accordance with the number of warriors, the number of musicians also increased, about whom chroniclers often mention this: “Prince Yury had thirteen banners and sixty tambourines. There are rumors about Yaroslav - he has seventeen banners, and forty trumpets and tambourines.” Military music in a more organized and perfect form was introduced by Peter the Great. True, this music was not yet very attractive, and at first they used only trumpets, timpani, oboes and bassoons. The military “orchestra” in the infantry was organized according to the German model and included only oboists, and organized according to the English and Dutch models - consisting of trumpeters and timpani players - it was introduced into the naval service. By decree of Peter, these musicians had to devote the entire pre-dinner time to public exercises, with trumpeters and timpanists placed on the tower of the St. Petersburg Admiralty, and oboists, bassoonists and horn players on the church tower of the Peter and Paul Fortress. Turkish music, according to Jacob von Staehlin, was introduced into court use after 1739, but “genuine wild Turkish music first appeared during the reign of Empress Elizabeth, when the chamber musician of her court and a good violinist, Schnurpfeil, who was with the Russian imperial embassy in Porte, brought with him from Constantinople authentic examples of Janissary music that he put on notes.” This member of the embassy brought with him about fifteen well-trained musicians, introduced them to the court and entertained the Russian nobility with this “barbaric” music. At first, this “Turkish music” was used only for court entertainment, but soon it became part of the musical choirs of oboists of the regular imperial guard.

But here we cannot fail to mention the so-called “horn music”, which arose on the initiative of Semyon Kirillovich Naryshkin. In 1751, on his orders, the Czech court horn player and instrumental maker Jan-Antonin Mares perfected “jaeger music” and built a complete set of metal horns, each of which produced only one sound. The composition of such an orchestra initially united thirty-seven instruments. Subsequently, the horn orchestra was increased to forty-nine and even ninety-one performers. The musicians were placed in four ranks and played music that spread throughout the area for at least five miles. Many nobles started “horn music” in their own country, and at one time it enjoyed great success among their contemporaries. The immortal Pushkin with his poet friends, as well as Glinka, saw the time when “horn music” was heard along the Neva on holidays. They spoke very approvingly of it and, especially Glinka, positively liked its sound. The last time “horn music” was played was in 1882 and 1896 at the coronations of the last two emperors. Since then, she retired and settled in the halls of the Hermitage. You can now see it there...

What is the position of the “brass band” in the art music of modern times? Unfortunately, for a long time “military music”, and therefore the brass band, was considered something applied and “secondary”. In fact, the brass band has every right to an unconditionally independent and separate existence. He has long been taking part in operatic and symphonic music, joining, as needed, a theater or concert symphony orchestra, enhancing its brilliance and splendor. Moreover, there was a time when so-called “disabled concerts” were organized by disabled people from the combined brass bands of the capital’s garrisons. Such orchestras sometimes consisted of several hundred performers and produced a stunning impression, especially when playing virtuoso arrangements of Russian folk songs.

But one way or another, the cause of brass music is steadily moving forward. And if we exclude that part of the activity of brass bands that has purely applied military significance, then we can only welcome the desire of the musicians to direct the instrumentation for the brass band according to the tradition accepted in symphonic music in the broadest sense of this concept. True, in the past century, many musicians stubbornly adhered to the point of view that music for a brass band should be somehow “special”, and the brass band should also be used from some “special” angle. These people were sincerely convinced that only they had discovered the “secrets” of orchestral mastery for a brass band and that experts in symphonic orchestration could not cope with orchestration for a brass band. All this, of course, is the fruit of the most annoying misconceptions, and perhaps not a very healthy desire to retain a kind of “ownership right” to the brass band as a whole. There is no doubt that a brass band has its own characteristics and its own laws, but it does not follow from this that only the “chosen” or “initiated” can undertake orchestration for a brass band. There are no insurmountable things in an orchestra, and the whole “secret” of orchestration for a brass band lies only in correctly understanding its tasks, capabilities and features. If it is clear to the orchestrator that the brass band should be approached as an expanded and highly complicated brass section of a symphony orchestra, and a mixed or large brass band as “truncated” at the expense of strings and, therefore, to some extent “disadvantaged” within the capabilities of an ordinary large symphony orchestra, then, obviously, the orchestrator will never face those difficulties that at one time they liked to talk about as the “secret” of the art of orchestration for a brass band. Knowledge of an orchestra in general remains knowledge, and anyone who feels and understands an orchestra can achieve success in any direction. He will undoubtedly achieve the same success in the field of orchestration for a brass band, if only he treats the matter conscientiously and with due attention. In any case, the desire to enrich the capabilities of a brass band not only with the instruments of a symphony orchestra, but also with the technical techniques of writing for this orchestra will bring only one benefit to the brass band. The brass band will then lose that “cheap craft” that not so long ago reigned in it thanks to the persistent concerns of those musical figures who, due to their habit, could not understand that the brass band, with all its diverse responsibilities, is, first of all, musical -an artistic unit worthy of the closest attention and careful treatment. It is very good that many composers have found the time and energy to compose music intended exclusively for the brass band. Therefore, their works sound better and richer than anything that was done in their time “off the shelf”, and musically they are certainly superior to all sorts of cheap and random “arrangements” of those works that were mainly intended by their authors for a symphony orchestra. These latter - that is, all kinds of “reworks” - will only meet the highest demands of artistic skill when they turn out to be performed by experienced musicians and true experts in their field. In this sense, it is necessary to welcome in every possible way brilliantly made arrangements of the best examples of classical music, because the listener ultimately accepts everything, with the exception of obviously bad music written by a young and untalented author, or arranged by an old, albeit experienced, but mediocre “arranger.” Only good music with deep content has the right to recognition and further life on the concert stage, but in no case is its more or less successful fake or cheap “substitute”.

However, it is much better when young figures in the field of wind music strive to make this orchestra sound in a completely new way. In this sense, they were able to reveal the capabilities of the brass band much wider and extract from it disproportionately more beauties than those that were known until now. Here, for the sake of completeness, we cannot ignore the desire of some (young people) to enrich the repertoire of brass bands with particularly complex arrangements of major symphonic works of classical music and the introduction of “jazz elements” into the sound of a brass band. If all this is done with great talent and love, with taste, knowledge of the matter and within the framework of proper restraint, then there is nothing bad in this and cannot be. Jazz music has left too bright a mark in the history of art for it to be careless to keep silent about it. In everything there must only be wise moderation... In this sense, Viktor Knushevitsky’s Fantasies for brass band were very successfully executed, where all these “updated means" of the brass band are used with true skill. As for music for brass band in general, this area is already so vast and diverse , that it would not be very careful to talk about it in the scope of a simple conversation. It is therefore better to turn to those works that are devoted only to the study of the brass band - there will undoubtedly be answers to all the questions that, to one degree or another, could attract the reader's attention.

Tuba is a musical instrument that belongs to the class of brass instruments and is used when playing in a brass band. It is quite rare to hear solo parts when playing the tuba. The tuba has the lowest register sound. In the lower range it produces massive, harsh and loud notes; on average - dense and rich sounds; in the upper spectrum it has a melodic and melodious timbre.

The tuba as an instrument is widely used in orchestral activities. In brass and symphony orchestras, the tuba is used to play bass notes. The types of music in which the tuba is used are jazz and chamber style. The tuba wind instrument requires a special playing technique. Due to the originality of the sound, when playing in an orchestra, one tuba is most often used; It is very rare to see several tubas being used simultaneously during a performance.

Despite its impressive size, the tube is relatively light in weight. This allows you to play quite comfortably while standing. But without fastening straps or a special stand, this is extremely difficult to do. Most often, the music instrument tuba is played while sitting. In this case, the musician playing the tuba is most often located in one of the last rows of the orchestra, without disturbing the harmony of the appearance of the entire ensemble.

The tuba can have four tunings, each of which has a unique sound. Tube construction is divided into two large categories:

• double bass;
• bass.

The tonality of the double bass tuning is determined by the notes “B” or “C”, and the bass tuning by “E-flat” or “F”. In Russia and Eastern European countries, tubas with the “in B” (B) tuning are most often used. The remaining three varieties of this musical instrument are more widely used in the West.