Posted: Wed Apr 17, 2024 3:52 pm Post subject: What is Your Ideal Flugelhorn Sound
Recently there was a string of posts about the effect of copper bells on the sound of flugelhorns and another with videos of flugelhorn horns being played. These started me wondering what players are looking for as far as their ideal flugelhorn sound. It seems that the sound of a flugelhorn can go from being very dark, almost sounding like a french horn, to much brighter, more like a cornet. I know this has a lot to do with the particular horn and mouthpiece being used. I am asking what sound you are looking for, in what context and how you arrive at the desired sound.
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
Posted: Wed Apr 17, 2024 6:10 pm Post subject:
This is not going to be popular. I left flugelhorn behind years ago. No place to play it. So limited. Then I discovered flugabone. Mellow sound. Projection when you want it. Mutes if needed. Never going back. _________________ Richard
Great question. While I really like the jazz sound of flugelhorns, I find I’m drawn towards the ‘European classical’ flugel sound (dunno what to call it really). The American(?) jazz flugel sound often resembles a trumpet most, in contrast to the more euphonium/french horn-like sound that you often hear from traditional European players.
Helen Williams for example, has a very beautiful, almost haunting sound that I really, really like.
In this duet by Sergei Nakariakov and Kirill Soldatov for example, there’s a lot of ‘french horn’ in the sound: very nimble and light, and very mellow.
Not saying the other examples aren’t sounding great, because they do, but personally I prefer a flugelhorn that’s distinctly different to a trumpet. _________________ 1975 Olds Recording trumpet
1997 Getzen 700SP trumpet
1955 Olds Super cornet
1939 Buescher 280 flugelhorn
AR Resonance mouthpieces
Helen Williams for example, has a very beautiful, almost haunting sound that I really, really like.
Lovely, lovely tone, but her approach to vibrato really bugs me. _________________ "He that plays the King shall be welcome . . . " (Hamlet Act II, Scene 2, Line 1416)
"He had no concept of the instrument. He was blowing into it." -- Virgil Starkwell's cello teacher in "Take the Money and Run"
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
Posted: Thu Apr 18, 2024 6:03 am Post subject:
Man Of Constant Sorrow wrote:
Richard III wrote:
... I discovered flugabone. Mellow sound. Projection when you want it. Mutes if needed. Never going back.
Am curious.
Tell us more about the flugabone.
King model 1130 marching trombone. Takes small shank trombone mouthpiece. I play it with a King 12C mouthpiece. Pretty unlimited range. Endurance all day. All due to having trumpet chops playing a more forgiving instrument. Here's an example of the sound.
Thanks for the link to the flugabone example. It definitely would not be considered as sounding either trumpet or cornet like. To me it sounds more like a baritone horn.
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
Posted: Thu Apr 18, 2024 9:05 am Post subject:
Rwwilson wrote:
Thanks for the link to the flugabone example. It definitely would not be considered as sounding either trumpet or cornet like. To me it sounds more like a baritone horn.
I used to have a marching baritone. Gorgeous sound. Not much projection. I also have a marching french horn. Very nice sound. I played it in a pit band covering the french horn and the trombone part. _________________ Richard
Helen Williams for example, has a very beautiful, almost haunting sound that I really, really like.
Lovely, lovely tone, but her approach to vibrato really bugs me.
From what I understand this seems to be a European Brass Band thing. I've been listening to a bunch (Richard Marshall etc) and they all seem to have this sort of vibrato. I agree that it certainly takes a while to get used to.
Joined: 22 May 2020 Posts: 628 Location: Here and there
Posted: Thu Apr 18, 2024 10:16 am Post subject:
Richard III wrote:
Man Of Constant Sorrow wrote:
Richard III wrote:
... I discovered flugabone. Mellow sound. Projection when you want it. Mutes if needed. Never going back.
Am curious.
Tell us more about the flugabone.
King model 1130 marching trombone. Takes small shank trombone mouthpiece. I play it with a King 12C mouthpiece. Pretty unlimited range. Endurance all day. All due to having trumpet chops playing a more forgiving instrument. Here's an example of the sound.
That's pretty excellent! Reminds me a bit of Andrea Giuffredi's occasional mellophone playing on YouTube. _________________ 1932 King Silvertone cornet
1936 King Liberty No. 2 trumpet
1958 Reynolds Contempora 44-M "Renascence" C
1962 Reynolds Argenta LB trumpet
1965 Conn 38A
1995 Bach LR18072
2003 Kanstul 991
2011 Schilke P5-4 B/G
2021 Manchester Brass flugel
... I discovered flugabone. Mellow sound. Projection when you want it. Mutes if needed. Never going back.
Am curious.
Tell us more about the flugabone.
King model 1130 marching trombone. Takes small shank trombone mouthpiece. I play it with a King 12C mouthpiece. Pretty unlimited range. Endurance all day. All due to having trumpet chops playing a more forgiving instrument. Here's an example of the sound.
That's pretty excellent! Reminds me a bit of Andrea Giuffredi's occasional mellophone playing on YouTube.
Not so shabby !
I like!
Pitched in Bb? Is that the literature that applies?
How does this contrast (sound-wise) to marching French Horns, which I suppose are pitched in Eb or F ? _________________ Sub-Optimal Hillbilly Jazz
Helen Williams for example, has a very beautiful, almost haunting sound that I really, really like.
Lovely, lovely tone, but her approach to vibrato really bugs me.
From what I understand this seems to be a European Brass Band thing. I've been listening to a bunch (Richard Marshall etc) and they all seem to have this sort of vibrato. I agree that it certainly takes a while to get used to.
Ah! Thanks for that info, ellie.
Her vibrato sounded to me like it came in and out suddenly, as if controlled by a switch, and when "on", the pulsation rate was unvarying, similar in effect to a vibraphone. _________________ "He that plays the King shall be welcome . . . " (Hamlet Act II, Scene 2, Line 1416)
"He had no concept of the instrument. He was blowing into it." -- Virgil Starkwell's cello teacher in "Take the Money and Run"
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