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Hi guys!

I bought an Eastman 864G (B&S Symphonie copy)
It's a great horn! The only weird note that I found is the high G, second line G, on the G clef

If you have a similar tuba, what's the best fingering option for this note?

Robson wrote: Fri Oct 24, 2025 9:51 am Hi guys!

I bought an Eastman 864G (B&S Symphonie copy)
It's a great horn! The only weird note that I found is the high G, second line G, on the G clef

If you have a similar tuba, what's the best fingering option for this note?

1 worked well for me on a Symphonie and PT-15. Better on the Symphonie, but everything was better on it.

I used 1 on my B&S F with being pushed all the way in. If I needed to be sharper, as that is upper in the register, I would consider using 13 or 4. Even an octave down, where you would play more, I always thought 4 was a bit stuffy compared to 13.

Mine was a mid 1980s B&S “Perantucci Model”, which I liked a lot better than the newer PT10/15 that the Eastman is copied from. I also recall the tuning slots being really wide (which I hated at the time but not now), but easier to play any note tune and in tone without moving slides or lipping, which I had to do on newer models (it would have been a better horn for me now).

Thank you guys!
I don't if you remember, but I'm a trumpet player starting on tuba, as a second instrument.
In fact slots are very wide, what I like a lot!
It's just strange that high Ab and high A lock much better than high G
Maybe it's just something new to me, but I hope it's going to be comfortable in the future...

On my Cerveny 653, G slots better than E, Ab/G# aren't a terrible stretch at first. All F tubas are quirky, some more (mine), some less.

I have a problem with the G two octaves above that one with my jumbo Conn sousaphone, in that it's so beautiful, resonant, and perfect in every way that most people who hear it are convinced that I'm some sort of Tuba God.

bloke wrote: Sun Oct 26, 2025 8:13 am I have a problem with the G two octaves above that one with my jumbo Conn sousaphone, in that it's so beautiful, resonant, and perfect in every way that most people who hear it are convinced that I'm some sort of Tuba God.

I won't troll, but -- given that an F tuba is the same length as an F horn: many horns have that G as a problematic note and people struggle to get it not to clam. Many switch to the Bb side to get it to center. Clearly, ha, an F tuba does not have a Bb side. One thing I have loved about my E Schmid horn is that that G centers beautifully on the F side and I can pay it open, while those sitting next to me are scrambling for a fingering. So, to make you feel better, it's the instrument. That software that Uncle Beer put up there should be used by a maker for their next iteration of rotary F tubas to make them go.

9th partial is usually about in tune or barely sharp, but very large diameter bell throats or mouthpieces that are deeper cupped for a particular application than (OK) I might choose can throw 9th partial out of kilter.

Typically it's the 1-2 and 2-3 pitches above the staff (C# and D) which tend to sag, and 9th partial (2-4 and 4) are the remedies.

Eastman is pretty good, but the capillary portion of the Eastman mouthpipe is larger than a Symphonie pipe.

As far as knockoffs, I prefer ZO over Eastman.

My own various instruments:
9th partial (no valves down) is sharp on most of them by little bit but it's more secure than first valve with the first slide pulled slightly...

In this case it's not "better sharp than out of tune".
Rather it's "better sharp than fracked".

When composers/arrangers write crap like that for the tuba...
They deserve what they get.
Currently I'm back in the choir room waiting for the sermon to be over so I can play the grand blastissimo finale on Reformation Sunday, but I just finished playing an E-flat above the staff in a choir and brass quintet arrangement that was obviously written for bass trombone. I suggested bringing a bass trombone or the cimbasso for that piece, but the choir director said no.
He deserved whatever he got. Luckily for him, he got an E-flat on both services out of the BB-flat Fat Bastard...but it's a damn good tuba, and it rarely lets me down unless I let it down.

bloke wrote: Sun Oct 26, 2025 8:13 am I have a problem with the G two octaves above that one with my jumbo Conn sousaphone, in that it's so beautiful, resonant, and perfect in every way that most people who hear it are convinced that I'm some sort of Tuba God.

In a lovely falsetto pianissimo I suppose....?

bloke wrote: Sun Oct 26, 2025 10:30 am 9th partial is usually about in tune or barely sharp, but very large diameter bell throats or mouthpieces that are deeper cupped for a particular application than (OK) I might choose can throw 9th partial out of kilter.

Typically it's the 1-2 and 2-3 pitches above the staff (C# and D) which tend to sag, and 9th partial (2-4 and 4) are the remedies.

Eastman is pretty good, but the capillary portion of the Eastman mouthpipe is larger than a Symphonie pipe.

As far as knockoffs, I prefer ZO over Eastman.

Great explanation!
Thanks a lot!

well...mostly random comments, but - if helpful at all - I'm glad.

I use 1, but have found on my current and former F tubas, that high G above the staff is a no go if the horn is not clean or in proper alignment. Usually the first thing to indicate time to flush it out.