Help needed! 1+2+3valved g-bugle fingering for scales?

[MiniSopGuy]

Dynasty G Bugle Fingering Chart

what everyone else said, plus here is a good reference to have - get it before it disappears!

I have seen this chart many times in the past and have always wondered did I miss something in my education of the past.

The C# above the staff shows the "most common fingering" (as stated on the bottom of the chart) as 2nd valve and D above that as open. I know that pretty much above C you can play just about any note any fingering for better tuning, (ie. double C on my Kanstul powerbore sop is more in tune with 2nd), but I have never heard of these two fingerings as the most common or preferred.

Does anyone use these two fingerings as their default fingering?

[Spaml6]

I have seen this chart many times in the past and have always wondered did I miss something in my education of the past.

The C# above the staff shows the "most common fingering" (as stated on the bottom of the chart) as 2nd valve and D above that as open. I know that pretty much above C you can play just about any note any fingering for better tuning, (ie. double C on my Kanstul powerbore sop is more in tune with 2nd), but I have never heard of these two fingerings as the most common or preferred.

Does anyone use these two fingerings as their default fingering?

I personally do this when possible. I prefer the tuning for D as open, C# as 2, and even C as 1. I was taught this by Jamie Orser and really feel it helps tuning on my Kanstul Powerbore.

I havent tried 2nd valve for Double C, I am going to have to try this. I have used 3rd for A and C before just because I have seen people do it.. but will have to try it!

[G-horns]

Also, does anyone know where i can get any exercises/warm-ups/technique etc for the bugles?

Thanks for all replies as well it has really helped!

Exercises - use any decent trumpet method book. Arban or My First Arban are both good.

Warm-ups - Again, select from trumpet method books. For chorales, any SATB choral music can be adapted. Remember, since all the bugles are in the same key (G), you don't have to worry about transposition. Just find a short choral piece, divide up the voices based on the range capability of the players and everything is good.

A word of warning - don't spend countless hours of rehearsal time on warm-ups, etc. Get the ensemble playing music, however easy it needs to be.

[G-horns]

I have seen this chart many times in the past and have always wondered did I miss something in my education of the past.

The C# above the staff shows the "most common fingering" (as stated on the bottom of the chart) as 2nd valve and D above that as open. I know that pretty much above C you can play just about any note any fingering for better tuning, (ie. double C on my Kanstul powerbore sop is more in tune with 2nd), but I have never heard of these two fingerings as the most common or preferred.

Does anyone use these two fingerings as their default fingering?

Maybe on Die-nasty horns, these fingerings are the most in tune. On the Kanstul I prefer C# above the staff with 1st and 2nd, D above that is 1st.

[JohnZ]

Maybe on Die-nasty horns, these fingerings are the most in tune. On the Kanstul I prefer C# above the staff with 1st and 2nd, D above that is 1st.

Part 1- that was my understanding years ago, based on the general characteristics of Dynasty horns.

Part 2 - same here, although it depended (for me) on whether I needed alternate fingerings to make a particular phrase easier to run through. And of course if you have been around long enough you probably have run across those folks who assert that anything C and above can/should be played open, that is, "if you think you are really that good' to play in that register.

[G-horns]

Part 2 - same here, although it depended (for me) on whether I needed alternate fingerings to make a particular phrase easier to run through. And of course if you have been around long enough you probably have run across those folks who assert that anything C and above can/should be played open, that is, "if you think you are really that good' to play in that register.

Oh, yeah. I've run into too many people who think they can play up there and "lip it" into pitch. The results usually hurt my ears.

[MBbabe]

"Exercises - use any decent trumpet method book. Arban or My First Arban are both good.

Warm-ups - Again, select from trumpet method books. For chorales, any SATB choral music can be adapted. Remember, since all the bugles are in the same key (G), you don't have to worry about transposition. Just find a short choral piece, divide up the voices based on the range capability of the players and everything is good.

A word of warning - don't spend countless hours of rehearsal time on warm-ups, etc. Get the ensemble playing music, however easy it needs to be."

This is good advice. Don't spend countless rehearsal time working on complex exercises. Learn and become one with the horns. Anyone who had played the G-bugle can tell you you need to feel comfortable with the instrument. Some horns are considered beasts in contrast to your B-flat horns, but an animal that can be tamed. Your won't regret the time spent in this process, you'll have that wonderful, big, open sound that the G-horns produce for your group.

[ussglassman]

When bugles play together, they are literally in their own world. The sound they play only corresponds to other G bugles. However, if you are trying to integrate them with Bb horns, or use them in a marching/concert band setting, you are in for a world of challenges. It is possible to transpose parts to be played in a band, but because they are so much different (ex. concert Bb is 2 and 3) it rarely occurs. You pretty much have to take a tuner to your bugle and see what comes out the other end and just write down the fingerings, or re-write all of your parts so you can blend in a band situation. With so many G bugles floating around out there unused, especially contrabasses, I'm surprised more people arent using them in bands and transposing, or learning how to play with "new" fingerings.

BTW, I would say it is virtually impossible for a 2 valved or piston-rotor bugle to play in a concert or marching band setting. You need the complete use of the chromatic scale to be able to play whatever notes you will transpose to, and 2 valved horns could only play most of the higher range, with a few unfortunate exceptions....

Edited September 24, 2009 by ussglassman

[Shadow_7]

The fingerings are basically the same as they are for Bb. The horn just sounds notes that are 3 semitones/chromatics (minor 3rd) lower when played(Bb -> A -> Ab -> G). For a 2 valved bugle, it is the same as a 3 valve bugle, except that you don't have the 3rd valve. It's pretty much the same as playing a Bb horn with the 3rd valve always down. For the piston / rotor, the piston is the 1st valve and the rotor is the second valve. However for the 1 valve bugle, some if not all of those were G/D horns, that one valve is the same as the 3rd valve on most modern horns(5 semitones / perfect 4th lower). Basically if you don't have a 3 valve G bugle, you probably don't want to play above the staff. The intonation on those early horns makes for many challenges up yonder. To include playing notes with a fingering for it's chromatic cousin, just because that IS the closest approximation of that OTHER note. Although arrangements of the era were written a bit higher on the horn to help compensate for the lack of the 3rd valve. Hopefully that's not too confusing.

[JimF-LowBari]

However, if you are trying to integrate them with Bb horns, or use them in a marching/concert band setting, you are in for a world of challenges.

Westshoremen Alumni has both G and Bb in the horn line as most members bring their own (or borrowed horns). The G charts are pretty much original but the Bb charts (changed to match the G) are really ugly. Lotsa flats/sharps in the key signature for the Bb parts.

Edit: End result should be found on "that" site that rhymes with "TooYube"

Edited September 24, 2009 by JimF-3rdBari