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Great job

Hi, glad you liked it! I am planning to get the arrangement published and available for purchase in the future, so please have some patience with your wish to perform my arrangement. Thank you for your understanding!

@@LA_Tuba Ah, nice! I didn't know you had plan to have it written out yourself. Thanks for the answer!

Hello Simon, thank you for the interest in my music. Let me make a few remarks: The intention was not to brag with my high register, but to record an arrangement which I originally scored for an occasion where we played as a Trombone quartet (with Tuba at the bass). Therefore, the high parts have been scored to shine with a tenor trombone and still to have space underneath it for a not-too-tightly set accompanying ensemble. This was done deliberately to make the trombone ensemble sound not too low and thus eventually messy/muddy. All for the sake of enjoyable music, of course!

Hello Rob, if you are interested in purchasing this arrangement, please send me a message through my website www.ludwig-angerhoefer.de. Thank you!

Hi! Unfortunately the sheet music is not yet available, but I am working to get my arrangements into print and published in the future.

Danke!

Ms. BrassyBariBone For the bass line: F-Tuba Rudi Meinl and F.E. Olds Bass Trombone. For the rhythm: Amati valve trombone. Melody: Glier bass trumpet and Plaschke (Miraphone stencil?) rotary euphonium

LA Tuba wow that's amazing!

funnylittlehorn Die Ventilophikleide (oder auf Wienerisch: "Ophikleide mit Maschin' ") wurde um 1830 erfunden, bis dahin kannte man nur die Klappenophikleiden. In verschiedenen Regionen (z. B. Sachsen, Österreich, Italien) wurden damals vor der Tuba und parallel dazu verschiedene Ventilbässe entwickelt. Dabei orientierte man sich an den bekannten Ophikleiden und versuchte, deren Klang und Tonumfang im Bassregister zu erweitern. Da sie vielerorts die Klappenophikleiden als Bassfundament ablösten, aber Ventile hatten, nannte man sie der Einfachheit halber "Ventilophikleide", andernorts auch "Bombardon". Im Ausland auch Bombardone (ital.) oder Ophicleide à rotation (franz.). Solche oder ähnliche Instrumente hatte z.B. Richard Wagner in seiner Dresdner Zeit vor Augen (bis Holländer orig. Ophikleide), ebenso vermutlich der späte Mendelssohn. Das hier gespielte Instrument wurde 2005 nach einem Original aus der Sammlung des Leipziger MIM neuentwickelt, um Orchestertubisten ein praktibel spielbares Instrument für Ophikleiden-Stimmen zu schaffen, mit dem trotzdem eine zumindest ähnliche Klangfarbe und eine ähnliche (schlankere) Tonfülle erreicht werden kann. Wie das Cimbasso hat inzwischen auch die Ventilophikleide den Sprung aus dem Sinfonieorchester geschafft und einen Nischenplatz im Jazz gefunden (Tipp: Matthias Schriefl: Six, Alps & Jazz).

A SD Systems LCM85 was used for this recording, but I recently switched

"Not in ANY WAY" is a very absolutistic point of view. It is always disturbing to see in which absolutistic manner people try to press things into self-developed, clearly distinguished patterns that were not intended by the original makers. This is the case with valved Ophicleides, although they are not keyed, they were already sold as "Ophicleides" or "Ophicleide à rotation" during their production time by their original makers. Also other names were used for valved instruments - like "Bombardon", "Ventilbass" and even "Cimbasso" in some regions (which is proven by catalogues from the 1830's, 40's and 50's). On the other hand, these same names were also given to keyed instruments (sic!). Confusion (or say "flexibility") was already great while the instruments were made, so declaring them nowadays into recently made-up categories is not the best way to deal with this. Although these "Valved Ophicleides" do not have keys, they clearly feature ophicleide characteristics in taper, bell shape and sound. Much closer to Ophicleides than to modern tubas. By the way, this is very close to the instruments that Wagner knew and therefore intended to use for his early operas until the "Flying Dutchman" which sounds marvelous on this horn. More information can be found for example in Herbert Heyde's publications, which are absolutely recommendable!

+LA Tuba , you have much good information in your reply, and yet you still have some fundamental things wrong. For instance, you have stated that the instrument in your video is closer to a true ophicleide than to a tuba, which I think very few experts would agree with... the only real difference between your instrument and a tuba, or euphonium, is the bore taper. The normal bass ophicleide, by contrast, differs from the your instrument by its pitch selection system, as well as it's overall sound which is characteristic of keyed brass instruments which all release sound out their tone holes. But anyway, my original comment was mostly about your title, which identified your instrument as an "ophicleide" which it is not. That name, by itself as you used it, has had a specific definition ever since the original patent. This is why your video is misleading.