Bugle Bunch
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DonShirer
- 4 valves
- Posts: 571
- Joined: Fri Mar 19, 2004 9:08 am
- Location: Westbrook, CT
Bugle Bunch
A friend of mine recently inherited the instruments shown from his uncle. He was told that the right-hand horn is a keyed bugle that was produced circa 1830-1850. He is not a brass player, so I'm trying to arrange a visit so I can determine their pitch. Any information would be appreciated.
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Don Shirer
Westbrook, CT
Westbrook, CT
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masonatha
- lurker
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- Joined: Sun Sep 18, 2016 9:45 pm
Re: Bugle Bunch
That keyed bugle looks lovely! Would that crook on the far left give the keyed bugle a different pitch?
There's a lot of cool history there
There's a lot of cool history there
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Heliconer
- bugler
- Posts: 216
- Joined: Sun Jun 22, 2014 12:30 am
Re: Bugle Bunch
The Keyed Bugle is a particularly Rare model. Very few were made with that configuration, most of those that HAD tuning slides, had them in the leadpipe, not in the bows.
I suggest contacting Eric Totman (Horncollector.com) I'm sure he would be able to give you some very good idea of its value (i'd wager it's a significant piece)
I suggest contacting Eric Totman (Horncollector.com) I'm sure he would be able to give you some very good idea of its value (i'd wager it's a significant piece)
A bunch of metal fart noise machines
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imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Bugle Bunch
Pigtail crooks were a big part of the brass industry in Germany after the pitch reform in 1920 (high to low). The post-war years were poor and the pigtails saved the instruments that bands and players could not afford to replace.
But pigtails on keyed instruments are not a particularly good idea, as a change of the length of tubing for which the keys and their placements were calculated will skew the scale badly.
I have a so-called session-flute, which really is a recorder in C with a telescoping tuning section intended for tunings a quarter tone up or down, as local pitches in various pubs would call for. The instrument is good, but the tuning options are useless, as the scales and intervals become hopelessly out of tune with themselves. So I only use it in the center position, where its intervals line up in tune.
The mouthpiece to the left appears being too big for any of the 4 instruments.
The various leadpipes for the pocket cornet are more likely to work, as the valve slides may be pulled to match the pitch caused by a given leadpipe.
Arban indicated that some of the variation pieces in the back of his method book were written for cornet in Bb and others for cornet in A. And the piano accompaniments support that. They have to be transposed, if you want to play the pieces for A cornet on a Bb cornet.
Klaus
But pigtails on keyed instruments are not a particularly good idea, as a change of the length of tubing for which the keys and their placements were calculated will skew the scale badly.
I have a so-called session-flute, which really is a recorder in C with a telescoping tuning section intended for tunings a quarter tone up or down, as local pitches in various pubs would call for. The instrument is good, but the tuning options are useless, as the scales and intervals become hopelessly out of tune with themselves. So I only use it in the center position, where its intervals line up in tune.
The mouthpiece to the left appears being too big for any of the 4 instruments.
The various leadpipes for the pocket cornet are more likely to work, as the valve slides may be pulled to match the pitch caused by a given leadpipe.
Arban indicated that some of the variation pieces in the back of his method book were written for cornet in Bb and others for cornet in A. And the piano accompaniments support that. They have to be transposed, if you want to play the pieces for A cornet on a Bb cornet.
Klaus