Flugelhorn

The flugelhorn is similar to a trumpet in both construction and range but has a slightly different tonal quality. The flugelhorn is usually described as being darker, more mellow or less bright than a trumpet; this quality of the instrument makes it idea for ballads and softer jazz arrangements.

The standard range for a flugelhorn is a low F# below middle C to a high C (two octaves above middle C), the instrument will sound a second lower than this due to it being in Bb. This is the safest range to write for flugelhorn however most experienced players can play well above this range (see below).

While the safest high note to write for flugelhorn is a high C many players can hit a high D and even a high E above that. At loud dynamic volumes a high F and F# are possible but this range (any anything higher) should be checked with the player beforehand.

The straight mute is probably the most common type of mute for brass instruments. This mute produces a more metallic, nasal sound and is frequently used in jazz both in big bands and smaller ensembles.

Similar to a straight mute the cup mute is also quite common and produces a slightly warmer and less shrill tone than the traditional straight mute. Also very common in the jazz genre.

A plunger mute is either a specially designed plunger shaped mute or simply the top rubber section of a real plunger and is used to produce a wide range of special effects in brass instruments. By closing and opening the plunger in a variety of ways the performer can duplicate the sound of the human voice along with several other interesting effects.

Most common on the trumpet and trombone the wah wah mute (also called the Harmon mute) is a favorite of jazz trumpeters Miles Davis and Dizzy Gillespie. It produces a thin shallow sound that is a defining characteristic of many famous jazz recordings. Using the hand in front of the open mute (with stem removed) can produce the "wah wah" effect in the mute's name.

Note(s) to be played short and separated. On the flugelhorn this means each note is articulated/tongued but played slightly shorter than its full value.

Best used in combination with staccato markings to indicate a note is to be played for its full value. Otherwise it means the note should receive some emphasis but what for that will take is context dependent.

Play the note accented for its full value. Very common when playing lines in a big band horn section.

As with jazz arranging in general the marcato articulation usually results in an accented note with a shorter value (about 2/3) than a standard accent. Use for short, punchy lines that need some space and tightness to them.

Play smoothly without tonguing each note.

A pitch bend on the flugelhorn is done in one of ways. either a half-valve bend or a lip bend. Both of these techniques are typically used to bend downwards a half-step and while upwards bends are possible they are significantly harder to do and usually cannot be expected of every player and in every situation; this is also true of intervals larger than a half-step downwards.

A glissando (sometimes referred to as a slide) is a common brass instrument articulation/effect that involves sliding up or down from one note to another. This can be accomplished either by playing chromatically between the two pitches or by bending in the direction of the gliss.

Slight oscillation of a note; used frequently in jazz by default but can be notated as well.

A trill on the flugelhorn is accomplished by playing two notes in rapid succession. Usually by default the trill will either be a whole step or the next logical note (next note in the key or altered note in the bar), accidentals can also be placed above the trill marking to specify which note is to be played.

A fall indicates a long or short fall-off from a note with no specific ending note; this is most frequently used in jazz and contemporary music. Long falls can be noted with a gliss downwards (first in the example) or with a quick fall marking (second in the example).

In contrast to a glissando that tends to emphasize a smooth transition between two notes a rip is a more aggressive and has a bit more style to it. Most commonly seen in big band, funk and other contemporary genres.

A doit is a quick upwards glissando away from a specified pitch with no real discernible ending. Like the rip it is most common in jazz, funk and contemporary music.

A scoop is a short gliss to specified note.

Double and triple tonguing is a brass instrument technique where notes are articulated rapidly using the tongue.