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Using flugel to warm up for trumpet?



 
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stanton
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PostPosted: Fri Dec 06, 2019 8:00 am    Post subject: Using flugel to warm up for trumpet? Reply with quote

I've recently come into two situations where flugel is required. My friend was kind enough to provide me with a long term loan of his flugel which he plays infrequently. As noted by others in previous threads, the approach to flugel is different than trumpet.

But something I noticed that kind of surprised me, was that when I warmed up first on flugel, trumpet was so much easier to play when I put the flugel down and picked up the trumpet. I didn't expect that, but was pleased to experience it. My trumpet techinque had morphed into something unrecognizable and with temporary bouts of focal dystonia I can slip into struggling mightily. I was in one of those stages where I lost an octave of range and sounded like crap.

I think flugel is helping me back into proper mechanics on trumpet. Why do you suppose that is?
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Tony Scodwell
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PostPosted: Sat Dec 07, 2019 11:29 am    Post subject: Warm-up on flugel Reply with quote

This is a bit different to your question but perhaps it would be helpful non the less.

I played first trumpet for nine years with the Sigfried and Roy show at the Las Vegas Frontier hotel. The show ran 1 hour and 45 minutes and there was not much time when the horn was off your face. In addition to the duration of the show, we did three shows a night for the first eight months which had me in much more "King Kong" condition than playing lead on Buddy Rich's band.

I started showing up for work a full two hours before the downbeat and sat in our band room with my flugel playing pedal tones just to re-focus my chops and get air moving again. Muscle bound was the situation I was in then and the pedal tones re-focused my chops (especially the lower jaw position) so after an hour or so my trumpet felt correct again when I placed it on my lips. Normally I'm not an advocate of spending too much time playing pedal tones but this was quite beneficial for me at that time. Naturally pedal tones on flugel are quite a bit easier than on the trumpet and it definitely helped me then.

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kehaulani
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PostPosted: Sat Dec 07, 2019 12:01 pm    Post subject: Reply with quote

Tony, did you use a flugelhorn mouthpiece or one with the same trumpet profile that you usually used on trumpet?
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Ancientram
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PostPosted: Sat Dec 07, 2019 12:05 pm    Post subject: Warm up on Flugel for Trumpet Reply with quote

Some of this'll be a little off your exact question, but may relate.

I'm really a horn player who doubles on trumpet and flugel from time to time. Some years back, when I was playing both horn and trumpet in a quintet at church, if I warmed up first on horn, trumpet seemed to be easier.

More recently, our quintet is now a quartet and I don't use the horn at church. When I use both trumpet and flugel there, I try to warm on the flugel and the trumpet seems to work well thereafter.

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Turkle
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PostPosted: Sun Dec 08, 2019 9:26 am    Post subject: Reply with quote

I have often found that if my chops are too tight when I'm warming up, then a little flugel is beneficial. Just enough to get the air relaxed and moving, though - doing my whole warmup on the flugel can prevent my chops from getting focused enough to play trumpet!

I have even found that doing some long tones on trombone can be super helpful in getting the airstream going and the chops super relaxed - again, not too much or bad things happen.
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Tony Scodwell
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PostPosted: Sun Dec 08, 2019 10:52 am    Post subject: Flugel pedal tones Reply with quote

My flugel mouthpiece has the same rim as my trumpet mouthpiece with a medium flugel cup.

Doc Severinsen went through a (fortunately) short bout of Bell's Palsy and his old buddy Ray Crisara told him to start buzzing on a tuba mouthpiece. A month later he was headed to Phoenix to perform a pops concert. Some players who had that affliction never played again so Doc was one of the lucky ones.

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shofarguy
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PostPosted: Tue Dec 10, 2019 8:20 pm    Post subject: Re: Using flugel to warm up for trumpet? Reply with quote

stanton wrote:
I've recently come into two situations where flugel is required. My friend was kind enough to provide me with a long term loan of his flugel which he plays infrequently. As noted by others in previous threads, the approach to flugel is different than trumpet.

But something I noticed that kind of surprised me, was that when I warmed up first on flugel, trumpet was so much easier to play when I put the flugel down and picked up the trumpet. I didn't expect that, but was pleased to experience it. My trumpet techinque had morphed into something unrecognizable and with temporary bouts of focal dystonia I can slip into struggling mightily. I was in one of those stages where I lost an octave of range and sounded like crap.

I think flugel is helping me back into proper mechanics on trumpet. Why do you suppose that is?


I use a Flip Oakes Extreme flugelhorn mouthpiece which is like a giant version of a French Horn mouthpiece with a .212" throat bore. Lately, I've even gone back to the Hand made "Swirling Vortex of Terror!" that Flip hand cut for me out of a standard WT flugelhorn mouthpiece prior to the introduction of the Extreme. It has a full 1/4" bore and originally took me 8 weeks to master, back ten years ago.

I find that any time I play on my flugelhorn first, my trumpet sound gets really vibrant! The reason it does that, from what I can tell, is that it takes a more focused air stream to play the Extreme; even more so the Vortex. Establishing that focus then carries over into my trumpet playing. Starting with trumpet doesn't require that sort of discipline, so my sound never quite gets to the high resonance I have when I begin with flugelhorn.
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Last edited by shofarguy on Mon Dec 23, 2019 5:44 am; edited 1 time in total
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DJtpt31
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PostPosted: Sun Dec 22, 2019 8:49 am    Post subject: Reply with quote

There is/was an article (more like a transcript) of interview questions by Bud Herseth where he talked about his approach to practicing the trumpet. At one point he mentioned that after a hard performance he would, on the following day, begin with warming up on flugelhorn to get focus. I recently had the chance to meet mr. Boyde Hood who mentioned that Bud would hint to him that he needed to warm-up on a big mouthpiece. For Boyde it was a contra-alto trumpet mouthpiece. To the best of my knowledge this is regarding mouthpiece buzzing.
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zaferis
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PostPosted: Sun Dec 22, 2019 5:45 pm    Post subject: Reply with quote

I suspect that starting on Flugel has you moving more air and setting your embouchure in a posture as to not "fall into" the mouthpiece.

So moving more air is good, relaxing the chops and allowing them to vibrate. Then I would also guess that you're taking a little more time in a moderate/low register, not pushing into your upper range as quickly.
Then having to play on a deep mouthpiece is making you, subconsciously, set the chops in a stable posture...

Naturally, without sitting with you, watching, and comparing over a period of time this is all guess work.

I too use my Flugel to recover after acceptionally rough days or stretches.. playing a lot of easy mid-range to low-range stuff letting the chops vibrate and stretch - while moving more air which relaxes the embouchure and breathing mechanisms.
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shofarguy
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PostPosted: Mon Dec 23, 2019 6:20 am    Post subject: Reply with quote

zaferis wrote:
I suspect that starting on Flugel has you moving more air and setting your embouchure in a posture as to not "fall into" the mouthpiece.

So moving more air is good, relaxing the chops and allowing them to vibrate. Then I would also guess that you're taking a little more time in a moderate/low register, not pushing into your upper range as quickly.
Then having to play on a deep mouthpiece is making you, subconsciously, set the chops in a stable posture...

Naturally, without sitting with you, watching, and comparing over a period of time this is all guess work.

I too use my Flugel to recover after acceptionally rough days or stretches.. playing a lot of easy mid-range to low-range stuff letting the chops vibrate and stretch - while moving more air which relaxes the embouchure and breathing mechanisms.


Since I restarted playing trumpet and since being introduced to people like Charles Hargett, Byron Autrey (R.I.P.), and Flip Oakes, I have come to understand that some instrument setups require more emphasis on embouchure in order to produce a quality sound, while other setups seem to help out by design. TH members write about "efficient setups" and I think this refers to the latter type, where less cognizant effort is required to manage the embouchure and more can be dedicated to playing notes. However, I have experienced that such setups allow less room to vary one's technique to produce tone and so limit discovery of improvement, or at least make it more difficult.

I have always played "less efficient" horns that have more room for me to work. The Benge I played in High School and College, which also set me on my comeback trail, was pretty loose. The Wild Thing I originally acquired was similar. In fact, it is this desire for "room to work" that is the strongest reason I relate to Flip Oakes and his instruments. It makes trumpet playing a continuous journey of discovery.

Because of this, I have come to understand that on the other side of the "efficiency" balance are "chops-dependent" designs. These require the player to consciously develop embouchure technique to a further extent at lower skill levels than the aforementioned "efficient" horns, in order to produce good tone. I know of no more chops-dependent setup than a flugelhorn with an Extreme mouthpiece. That's why it is the perfect partner for warming up. It takes a set of cold chops and directs them, like a funnel, to where they are functioning at a high level. Then, when that level of resonance and dexterity shift over to trumpet, Ka-pow! (Batman terminology) Super tone! Super flexibility! Greater accuracy and endurance. Less effort.
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