The Contra Bass
By Donald E. Angelica
DCN Aug. 8, 1962 issue

In order to dispel some of the rumors that have been generated by the contra bass and by both Garfield and Hawthorne's use of it. I have decided to discuss the horn and its utilization. The way the soprano bugle is related to the trumpet is the relationship of the contra to the Eb tuba. It is a bell front instrument with one valve and is pitched in the key of G (as are all bugles used in competition by most American corps.)

The function of the contra in my mind is to provide the drum and bugle corps with the one member of the brass family of instruments not available to them. This is the tuba. With the regular bass horns we can play a good standard bass part 1 octave below the french horns, however once we extend below this octave we run into overtone problems and must utilize out of tune rotaries to produce any kind of melodic bass line, (which any arranger will tell you is a fundamental for a good arrangement). SO HERE WE FIND THE NECESSITY FOR THE CONTRA...IT IS TO PROVIDE AN INSTRUMENT WHICH WILL ENABLE US TO WRITE AND PERFORM IN TUNE, MELODIC BASS LINES WHICH ARE THE FOUNDATION OF GOOD ARRANGEMENTS, IN THE TRUE BASS REGISTER.

I understand and appreciate the position of the American Legion on this matter, they wish to see if the majority of Legion corps wishes to utilize them before officially approving them. I also rejoice at the musical sagacity of Tony Schlechta in realizing the need for a true bass bugle and approving them for all V.F.W. contests. It was a difficult decision to make and I thank both organizations for their consideration of the contra. There have been many pros and cons discussed about the horns, I have worked with them and will now discuss my reaction to the horn. It is an instrument long overdue in drum corps circles, it is a true bass horn with all the characteristics of a tuba, it posseses a certain depth and resonance not afforded us by the regular bass bugle, it allows us to use a melodic bass line and affords us better intonation than the E and F rotaries did, it enables us to have complete brass choir instrumentation while still retaining all the basic characteristics of a bugle.

To those critics who feel that this is a step away from drum corps instrumentation I say let us lock up the slides, let us get rid of the french horn and the bass bugle and let us return to the music played 25 years ago. This is certainly not an effort to make a band of the drum and bugle corps, it is an effort to further the musical values of the bugle line, it is an effort to raise the quality of musical arrangements, it is an effort to solve the problem of poor intonation in the low register, and most important an effort which will I am sure, provide a more musical drum corps show. To those who say it is an awkward looking instrument let me state that I have seen some people make a soprano horn look awkward, and I am quite sure those who have seen Garfield and Hawthorne with the contra will not accuse them of looking awkward, if anything it adds a new effectiveness to the visual picture of the show. It is in my opinion, if handled properly, an aristocratic instrument which is not only a musical asset but also a visual one.

In closing let me say that of course the contra has not been utilized fully by any corps. It will be necessary to experiment and find new and varied uses for this new, new instrument, however once it is approved by both the American Legion and the V.F.W. (which I am sure it will be), expect to hear many new and thrilling sounds from the contra bass bugle.