Grappige vraag. Ik heb al heel wat hoon gescoord hier met mijn (negatieve) opvatting over de flugel en zijn tonale eigenschappen.
Mijn antwoord zou in eerste instantie zijn: die dingen zijn niet echt te stemmen. Maar een aantal profs hier en trouwens ook op TH schreeuwen dan moord en brand. Op TH werd ik overladen met pek en veren totdat de great Arturo Sandoval himself mij te hulp schoot en al die jongens vermaande: "een flugel is echt geen grote trompet".
Dat een hoop pro's geen problemen hebben met de tuning ve flugel komt denk ik doordat de flugel nu eenmaal een ruime slotting heeft dat maakt dat sterke embouchures daar doorheen blazen.
Maar dan toch maar even dit:
JazzTimes: Is there any difference in terms of blowing into flugelhorns in terms of air pressure.
Ron Miles: Oh, yes. It has been said that they’re illegitimate scales, so you can’t blast ‘em; you can’t overblow them; you have to be very, very tender—you can’t be too cruel with them [laughter]. You have to be very careful, because they can very easily be played out of tune if you don’t know how to use the tuning slide. It took us years of really serious research on the flugelhorn to figure out that you need to tune each pump instead of in one spot with the tuning slide. And the tuning slide on the flugelhorn is in the leader pipe; as you enter the mouthpiece into the receiver, then after you’ve made your regular tuning, you tune each pump, each slide individually and pull them into a position where it’s more conducive to you to make the notes that you want using that combination of valves…in tune. So the minute you see a flugelhorn player, unless he’s been doing it for a long time, playing with all of these pumps—middle valve, first valve and third valve—not being altered somewhat or tuned, you can almost bet he’s going to play out of tune. It’s sort of like a violin or a trombone. Each little position may be marked—first, second, third, fourth—and if you go to the second position and it’s a little bit flat, you’re going to pull up a little bit with your lip or your slide; the violin the same thing. What might be an A on the violin for one player, might be a wee bit sharp or flat for another player. So they have to adjust according to their articulation, manipulation and their ear. So there’s a whole lot of things that go into producing one tone [laughter]. On the flugelhorn, the violin, any instrument.
Bron (heel aardig interview met ook CT, Doc Cheatham en Terence Blanchard):
http://jazztimes.com/articles/20281-cla ... ss-fantasy