Alto Flugelhorn

There are alto trumpets, alto cornets, alto bugles, and of course alto horns, along with many other alto-voice brass instruments that have more interesting names. But what about an alto flugelhorn? This would be an instrument a 4th or 5th below the standard flugelhorn, still with a flugelhorn bore profile. This instrument does exist, but it’s not very common. It’s even rarer than alto trumpet or alto cornet, but it seems to bring more to the table than either of those do.

Here’s my alto flugelhorn - an “Elkhart”-stenciled Couesnon alto flugelhorn in F or E-flat:

This instrument has a gorgeous low flugelhorn sound that matches my Couesnon flugelhorn very well. In my opinion the sound is so purely flugelhorn that if someone heard an audio sample without knowing what instrument was playing, I’m guessing most brass players would immediately guess a 4-valve flugelhorn or maybe some other kind of flugelhorn. It does have a subtle hint of euphonium to the sound as well.

This alto flugelhorn plays just as well as my fabulous pre-WWI Couesnon flugelhorn, and in terms of pure objective ease of play it may be the best bell-front valved brass instrument in alto F that I’ve tried yet. It’s wonderful and addicting to play, and the sound is creamy smooth.

Couesnon alto flugelhorn (left), Couesnon flugelhorn (right)

These Couesnon alto flugels used to grow on trees on eBay, but in the past decade or so they sort of disappeared. I was surprised when this one showed up recently, and this time I didn’t let it pass me by.

Sadly, I don’t still own my DEG 1220 alto cornet to directly compare the two, but this alto flugelhorn sounds VERY different than the DEG ever did. It has that velvety flugelhorn darkness that the alto cornet just didn’t have, much more like the Dynasty III alto bugle in G (which is essentially an extra-large G flugelhorn).

Here’s a quick back-to-back comparison I did of the flugel and alto flugel. Hopefully, despite the phone microphone, you can hear the subtleties in each instrument’s sound.

Lastly, here are some photos of other types of alto flugelhorn out there. Most are in E-flat, which makes sense as the even rarer soprano flugelhorn is also in E-flat.

Taylor “Phatter Boy” in E-flat, referred to by the maker as a tenor flugelhorn

1937 Selmer Paris alto flugelhorn, key unknown (probably E-flat as pictured, with an alternate F slide)

Jules de Vere & Co. alto flugelhorn in E-flat

Henry Distin rotary alto flugelhorn in F, restored and photographed by Robb Stewart

Leo Mitsching rotary alto flugelhorn in E-flat

G Bugles

If you’ve been wandering around my website and have noticed a fair bit of content regarding a bunch of weird bugles in G and want to know what that’s about, if you’re interested in G bugles and want to know which ones could be the most useful, or if you’re deep into the G bugle game and you just want to consume as much G bugle content as possible, this article is for you.

I’ll start with a very brief history lesson and a definition of what exactly a G “bugle” really is.

Civilian drum and bugle corps in the United States began after World War I, initially using actual valveless military bugles for the brass line. Eventually they started adding valves to the bugles, which were only allowed to be in the key of G. First came a single horizontal piston, then 1 piston and 1 rotor, 2 pistons, and finally 3 pistons. Each change came after a long and laborious process of arguing for and against The Tradition™, a drum corps pastime that continues to this day.

Along with valves, new brass voices were gradually added to the allowed instrumentation, and while many of them were not at all bugles, they were still called bugles. (For this reason I like referring to the “family” as a whole as competition bugles, rather than just bugles.) This resulted in fun names like “French horn bugle” and “trombonium bugle” that sound like they came from a Dr. Seuss book. Weird naming scheme aside, drum corps instrumentation was rife with experimentation until the year 2000, when the rules were changed to allow brass instruments in any key, instead of just G.

Drum corps is a pretty insular activity, and as a result most brass players who aren’t into drum corps don’t know much (if at all) about the G bugles. I myself never marched, and so my main interest in G bugles has always been “which of these instruments is useful outside of drum corps?”, and that’s mainly what this article is about. I have been fortunate to own a smattering of ultra-cool, ultra-rare G bugles in the past few years, and have used a few of them in very not-drum-corps environments, so I feel like I can answer that question pretty well at this point. If you are a G bugle collector, this information and advice probably does not apply to you. Let’s dive in!

Soprano Bugle

King K-20 soprano bugle

The soprano bugle was the top voice of the G hornline. These are essentially trumpets in G with an extra large bore and bell throat, and they are SCREAMERS. If that sounds appealing, you would probably enjoy a 2-valve soprano. The 2 valve horns are extremely light and extremely free-blowing, and if you’re playing screamer parts you don’t need the 3rd valve. Look for a King K-20 or Dynasty II.

However, I believe the soprano bugle’s real niche outside of drum corps is the LOW notes. Put an extra-large mouthpiece into a 3-valve soprano and you have an excellent G alto trumpet. With the huge scarcity of real alto trumpets in F or E-flat, a 3-valve G soprano bugle (which you can easily pick up online for around $200) is a legitimately useful tool for a trumpet player, or an interesting left-field choice for someone looking to add a high brass instrument to their stable.

Dynasty G350B soprano bugle

While I would definitely recommend holding out for a 3-valve for the reasons above, an ultra-cheap 2-valve soprano is not a bad pickup either. It is fully chromatic at sounding E4 and above, which can still be useful (especially if you already have a trumpet). Just don’t spend very much!

Piccolo Soprano Bugle

These are an octave above the G soprano bugle, and are very rare. Almost all of them have two valves, making them chromatic only down to sounding E5. Not worth it at all, especially as if one does show up for sale it will not be cheap.

Flugelhorn Bugle

Dynasty II flugelhorn bugle

Flugel bugles are not a common type of bugle, but they did see quite a bit of use in the 2-valve era. As the flugelhorn’s strength is the middle register and not the high register, I tend to think 2-valve flugel bugles are not very useful. That said, if you really want a flugelhorn and can’t find a cheap one in Bb, a 2-valve G flugel bugle might be your cheapest way into a playable, nice-sounding flugelhorn. Do not show up to any kind of gig with one, but for home use and multitracking it can be a great option for the right price (no more than $200). You get the same lowest note (sounding E3) as a Bb flugel and just have 4 missing notes (Ab3-Bb3, Eb4) above that, but if you have any other mellow alto instruments that’s easy to write around. For 2-valve flugel bugles, look for the King K-30 or Dynasty II.

As for 3-valve flugelhorn bugles, they barely exist. Dynasty had one model, but it’s just a Signature 2000 Bb flugel with tubing added, which is not a good recipe. Kanstul did make at least one, but it was not a standard part of their catalog. Yamaha made a full set for the Blue Devils in 1992, but they were just modified Bb flugels. If you want a 3-valve flugel-like instrument, look to the alto bugle instead.

Alto Bugle

Kanstul KAB-175 alto bugle

The alto bugle is usually a mellophone with a smaller bell, but the older ones (particularly the 2-valve Dynasty II Alto/Symphonic or the impossibly rare Dynasty III 3-valve version) are essentially big flugelhorns in G. A bit more horn-like when pushed, but otherwise all flugel. However, as the 2-valve is missing the same notes as a 2-valve flugel bugle (and is very rare), and the 3-valve I used to own is the only example I’ve seen of that model ever existing, these older (1970s) Dynasty alto bugles are not something to bet on.

The more common smaller bell mellophone type (King K-40 2-valve, Kanstul 175, later Dynasty II, later mellophone-wrap Dynasty III), is an interesting beast. With an alto horn mouthpiece, they sound like an even sweeter flugelhorn. However, they were usually designed around a marching mellophone mouthpiece, which means they can play far too flat to be usable when you use an alto horn mouthpiece. My early-pattern Kanstul KAB-175 was this way. I could only use a marching mellophone mouthpiece like it was designed for, and it played exceptionally well with that, but no longer sounded anything like a flugelhorn. Instead, the sound you get with that combination is more like a cross between mellophone and trumpet. It is certainly a unique and interesting sound, but not one that I would call useful. I’d love to hear it in a jazz combo or pop horn section, though.

Mellophone Bugle

King K-50 mellophone bugle

The G mellophone bugle was originally inspired by the Conn 16E mellophoniums used in the Stan Kenton band, and the modern F marching mellophone was developed from the G mellophone bugle. With great F mellophones like the Yamaha YMP-204M readily available, is the G mellophone useful?

In my opinion, a G is useful only if you play a lot of screamer mellophone parts. I used to own a King K-50 2-valve G mellophone, the screamiest of all mellophones, and it was great fun to play screamer parts on. It is the sports car of the mellophone world. But I sold it because it didn’t offer enough of a difference from my other mellophones. Still, if it’s a great price and you want to give it a shot, I can guarantee you’ll have fun with a K-50 or a 3-valve G mellophone (Dynasty or Kanstul) if you like playing very high on mellophone.

What I would not recommend is buying a G mellophone as your only mellophone. Get a good F marching mellophone, like a cheap King 1120 from eBay, so that you can have a workhorse that you can read existing mellophone or horn parts with. Then, if you want, pick up a G mellophone (2 or 3 valve) to add some more brightness and high note security to your mello arsenal.

Meehaphone

Kanstul MFL meehaphone

The meehaphone is the most famous of the weird and ultra-rare G bugles. Made for Kanstul for the Blue Devils in 1987, the meehaphone is essentially a bell-front descant horn in G with 2 valves. I was fortunate enough to own the only known meehaphone not in a museum for a while, and while it was very cool it was not very useful. The instrument’s forte is its middle register, with the high register being weak and unstable. But since it only has 2 valves, that middle register is only fully chromatic for less than an octave! A 3-valve meehaphone built from parts would be interesting, but if you’re doing that you’re in pretty deep.

French Horn Bugle

Dynasty II French horn bugle

The French horn bugle was one of the standards of the DCI hornline in the 2-valve era, partly because it unlocked a lot of the missing pitches the mellophones had. Because of this octave lower construction, it is the only kind of bugle that really never needed 3 valves on the field. The lowest chromatic pitch (sounding E3) on a 2-valve “Frenchie” is far below what you would see in a typical drum corps French horn book.

However, that octave lower construction meant it was nearly as long as a single F horn, which meant it was very easy to crack notes on while running across a football field. But is it useful off the field?

If you’re playing a live gig on multiple brass instruments where you are playing into a mic and need to play French horn, a marching horn is exactly what you need as the bell points the right way for the mic. But Bb marching horns exist and are plentiful, so why go for the G? Most of the time I would say you don’t need to, especially as 2-valve Gs don’t typically go for any cheaper than 3-valve King Bbs on eBay. However, the G really does sound very close to a concert horn, and the Bb is not as close. So if you want a really convincing horn sound for a mic placed in front of you, the G French horn bugle (King K-60, Dynasty II) could be your best bet.

While 2 valves is more than enough for field use, if you happen to come across one of the enormously rare 3-valve G French horn bugles (Kanstul KHB-185, Dynasty III) at a good price, that 3rd valve is very nice to have. That said, on the only gig I’ve had where I would have used my G French horn bugle if I had it at the time, I actually would have only needed 2 valves.

Low Alto Bugle

Kanstul low alto bugle

The low alto bugle is one of the oddest and rarest G bugles out there. It was made by Kanstul at the start of the short 3-valve era, and so few were made (6 total) that it didn’t even get a model number. It is essentially a Kanstul KHB-185 3-valve G French horn bugle with a trumpet shank, which sounds like it would just be a 185 but worse. However, the truth is much more interesting. Many kinds of mouthpieces will fit (trumpet, mellophone, alto horn, small trombone, French horn w/adapter), and the horn works very well with ALL of them. Each mouthpiece gives it a unique sound, like a cross between a French horn and whatever type of mouthpiece it is. Out of all the G bugles I’ve owned, the low alto might have the most potential. But since only 6 were made and at least 3 are spoken for, you’re very unlikely to come across one. If you want something like this, you might look into a Holton MH-100/101 Bb marching horn, which also has a trumpet leadpipe for some reason.

Trombonium Bugle

Dynasty II trombonium bugle

The award for the silliest name easily goes to the trombonium bugle, and it is also one of the silliest looking. It was made by Dynasty in 2 and 3 valve versions and small and large bells, and I can’t find any reason to recommend one over a normal Bb valve trombone or flugabone. They are also extremely rare, so you probably won’t have that choice to make anyway.

Cellophone

Dynasty II cellophone (catalog ad)

The cellophone is another impossibly rare G bugle. Essentially a Dynasty flugabone in G, only 4 2-valve models were made, all for the Phantom Regiment. However, 3-valve Dynasty III models were also made for the European market, but only 3 of those are known and they are all spoken for. You’d have much better luck taking a Bb flugabone from King or Dynasty and lengthening it to G, or just playing a Bb flugabone.

Baritone Bugle

Olds Ultratone II baritone bugle

This is the low brass G bugle that you want. Originally called a “bass baritone” to distinguish it from the older and smaller type of baritone bugle, this kind of baritone bugle was the standard type of low brass in DCI hornlines from its inception until the end of the G bugles (at which point it was just replaced by the same thing in Bb). Most of them have 2 valves, and in my opinion they are not worth it for someone looking to use it in non-drum corps situations. You can get used Bb marching baritones very easily, and they will be much more useful. However, if you can find one of the much less common 3-valve G baritone bugles (Kanstul KBB-190, Dynasty III, Dynasty M371) for an affordable price, it can be an interesting purchase.

BAC (Kanstul 191) baritone bugle

As your only low brass instrument for home use, the 3-valve G bari would be a nice option as it can play as high as a Bb instrument but can also play chromatically down to Db2. However, I would usually only recommend purchasing a G baritone as a second instrument to a Bb instrument (regardless of type), and it doesn’t bring THAT much new to the table. It has a nice fat sound that is different enough to a Bb marching baritone that it could be interesting to own both, but between baritone and euphonium I don’t think there’s much of a need for that G baritone sound. I think the most sensible use would be if you don’t want to put down the money for a 4-valve euphonium (and/or no $500 Yamaha YEP-321s are for sale at the time), but want something that can play lower than your 3-valve Bb instruments. But it would have to be a very good price on the G baritone, like $300 or less.

Euphonium Bugle

Dynasty M376 euphonium bugle

The G euphonium bugle is the baritone bugle’s big brother, and is one heavy beast. Pretty much everything I said about the baritone bugle above also applies to the G euph. I will say that Bb marching euphoniums are not nearly as common to find used for cheap as Bb marching baritones, so if you need a bell-front euphonium to play into a mic and happen to find a G euph bugle for cheap it could be a good solution. That said, G euphs are also not as common as G baritones (ESPECIALLY the rare 3-valve models by Kanstul or Dynasty), so it would have to be a lucky situation.

Contrabass Bugle

BAC (Kanstul 201) contrabass bugle

Generally, contrabass bugles are just Bb tubas that point forward and are crooked down to G. A 3 or 4-valve G contra is a cool beast, but not a cheap or useful one. In my opinion the only reason to buy a G contra would be if it was an older piston/rotor or 2 piston model being sold for nearly nothing, that you could get converted to a concert tuba with a front-action valve set in the same bore that you happen to have lying around. Otherwise, a normal tuba is a better purchase.

Closing Thoughts

Sadly, the door is nearly shut on the G competition bugle. G bugles were quickly phased out of DCI competition after the any-key rule change in 2000, and the list of groups that still use G bugles is not a long one. The most notable is the United States Marine Band Commandant’s Own Drum & Bugle Corps, which very recently moved from 2-valve Kanstuls to 3-valve BACs. Other than that, there are some alumni and lower-level junior corps that are still on G, as well as a handful of small G-faithful corps in Japan, such as the Yokohama Scouts.

The only place to buy a new G bugle is from BAC in Kansas City. BAC acquired the Kanstul G bugle tooling when Kanstul shut its doors in 2019, which is why they made the new bugles for the Commandant’s Own. They do advertise the G bugles on their website catalog, but they price them at nearly twice what Kanstul did, making them far out of reach for most people who might be interested in one. Additionally, they only offer 4 out of Kanstul’s 10 bugle models, so if you want anything other than a soprano, mellophone, large baritone, or contra, you are probably out of luck.

Fortunately, the common types of G bugle were made in large quantities to outfit all the corps’ hornlines, so there is no shortage of used soprano, mellophone, French horn, baritone, and contrabass bugles to be found. Additionally, as they are all essentially obsolete and only desirable by DCI alumni and G bugle collectors, they usually go for very affordable prices. The 3-valve horns and less common types (alto, flugelhorn, euphonium) are harder to find, but if you are patient it is still doable. If you are diligent, you may even come across one of the ultra-rare models for a very low price. There are still unaccounted-for examples of nearly every kind of bugle ever made out there waiting to be found.

Alto Trumpet (and other low-ish trumpets)

Without a doubt, the alto trumpet is the black sheep of the trumpet family.

Built in low F or E-flat, this instrument was allegedly invented by Nikolai Rimsky-Korsakov…according to himself in his treatise on orchestration. At the very least, he wrote for it a lot and many Russian composers followed suit. But what is it really, and why is it essentially extinct?

The first and most important thing to note is that the alto trumpet is NOT the same instrument as the older orchestral trumpets in low F or Eb, which are direct descendants of the long natural trumpets that came before and were written for by many popular orchestral composers (Mahler, Strauss, etc.). Those are true trumpets, rather than the mostly-cornet instruments we call “trumpets” today.

Thein low orchestral rotary trumpet in F

Although both the low orchestral trumpet and the alto trumpet are the same length and you might think the distinction is unnecessary, they are completely different instruments. I have experience with both types, and they could not be any more different in sound, feel, and function if they tried. The difference is as large as a modern tuba compared to an ophicleide.

As if two instruments in the same family that are the same length but are completely different was not confusing enough, there is actually a third instrument to throw into the mix: the F or Eb bass trumpet.

Helmut Voigt “Aline” bass trumpet in E-flat/D

These instruments have a larger bore and bell than alto trumpets and take a trombone mouthpiece, and function essentially the same as the more common C and Bb bass trumpets. Once again, these instruments are entirely removed from either the low orchestral trumpet or alto trumpet in sound, feel, and function. Eb bass trumpets are most often seen nowadays in German folk music, for example as the middle voice between a rotary flugelhorn and a large Bb bass trumpet or bass flugelhorn. Here is a great example:

These three instruments are all trumpets in low F or E-flat, but they are completely different. To summarize:

• F/Eb low orchestral trumpet: meant to be played in the same register as a Bb or C trumpet. It’s a natural trumpet with valves, and it plays and sounds as such. Uses a small mouthpiece.

• F/Eb alto trumpet: meant to be played a 4th or 5th below the Bb trumpet. Designed from that instrument, rather than from the natural trumpet. Does what the name implies. Uses a mouthpiece in between trumpet and trombone in size (~19mm).

• F/Eb bass trumpet: meant to be played roughly an octave below the Bb trumpet, like a C or Bb bass trumpet. Plays and sounds like any other bass trumpet. Uses a trombone mouthpiece.

While none of these instruments are particularly common, low orchestral trumpets are still made by Kuhnl & Hoyer and a few boutique makers (Thein, Egger, Dotzauer), and F/Eb bass trumpets still have a market (Thein, Meinl Weston, Helmut Voigt, Lars Gerdt, likely many more small German and Austrian makers).

This is not the case for the alto trumpet, which is currently made (to my knowledge) by nobody. Why is that?

The easiest explanation is the repertoire.

Eb bass trumpet does have a few important parts in the orchestra such as the Rite of Spring, but the bass trumpet in C is the orchestral standard for all bass trumpet parts so you’re not likely to see an F or Eb bass trumpet in the orchestra. However, it has an established role in German folk music, and thus will always have a use and thus a market.

While the low orchestral trumpet is sadly totally extinct in the world of modern orchestral trumpeting, a massive portion of the standard orchestral canon was written for it, so there will always be a small interest in them for players that value authenticity or regularly engage in historically-informed orchestral performance.

The alto trumpet doesn’t have any existing use like that to rely on. There is some Russian repertoire for it, but all of those parts were deliberately written within the range of the Bb trumpet so that the part could still be covered if no alto trumpet was available. This is a logical move, but the unfortunate result is that there is zero incentive to get an alto trumpet for those parts. Mahler-style low orchestral trumpets suffer from the same issue; with a few notable exceptions, everything is well within the range of a Bb or C trumpet.

Scythian Suite (Prokofiev) - Movement 2, Trumpet 4 (F alto)

But suppose an intrepid player wanted to honor Rimsky-Korsakov’s intentions and get an F alto trumpet. The player might also point out that there is some research to indicate Wagner’s 3rd trumpet parts might have been intended for a similar instrument, in order to further justify their purchase. Where can they buy one?

Unfortunately, alto trumpet buying options are nearly nonexistent. As previously mentioned, nobody (to my knowledge) makes a new one. The closest thing is the Carol Brass CTR-5000L-YLT-Bb/G-L, which is just a normal Bb trumpet with alternate slides to put it in G. You’d also have to find a dealer that would be willing to get one for you, as I haven’t found any online store that stocks the model.

Carol Brass CTR-5000L-YLT-Bb/G-L trumpet in B-flat or G (G slides equipped)

You might find some luck with Italian brass makers, as Italian military and police bands are the only place I know of where the alto trumpet has seen regular use, with the 3rd trumpet part often played on F altos instead of Bbs like the higher parts. Those bands are an anomaly in other ways too, though - cimbasso, bass trumpets, and Eb soprano flugelhorns are standard features of those bands (though the Eb flugelhorn isn’t so common anymore, usually being substituted by Eb cornet).

The 3 alto trumpeters of the Banda dell’Arma dei Carabinieri, from their 2016 performance at the Kennedy Center. This ensemble also had 2 bass trumpets and a plethora of other uncommon instruments.

As an aside, alto trumpet does have some further history with concert bands. In the spectacular 1923-1924 roster for the University of Illinois Concert Band, one alto trumpet player is listed:

Okay, so what about buying an alto trumpet used? Well, here is a summary of the used alto trumpet market, from my experience:

Bach “contralto” trumpets (made in either F or Eb): enormously rare, and when they do show up for sale they have the Collectible Bach Tax™ and are very expensive. Not that they were cheap when they were new, mind you. That said, I have played one of these and it was an excellent instrument.

Bach 351 “contralto” trumpet in F

Bach “contralto” trumpet in E-flat

Holton 56 (Eb only): also enormously rare, also typically expensive.

Holton 56 alto trumpet in E-flat

Olds Custom F-10 (F only): I have only ever seen one single listing for one of these. Not expensive like the Bach, but you’re better off waiting for Half-Life 3.

Olds Custom F-10 alto trumpet in F (catalog picture)

Conn 34B, 40B, 50B (all Eb only): very rarely show up for sale. If you do manage to find one, beware: everything I have read about them says that they are very stuffy and generally bad to play.

Conn 34B alto trumpet in E-flat (picture from the Conn Loyalist)

Conn 40B alto trumpet in E-flat (picture from the Conn Loyalist)

Conn 50B alto trumpet in E-flat (picture from the Conn Loyalist)

Getzen 300 (F with Eb slide): By far the most common used alto trumpet to show up, but still not common at all. Plus, it’s a student-level instrument that by all accounts is not that great. Make sure to not mistake a Getzen frumpet for one, as they look similar.

Getzen 300 alto trumpet in F

Kuhnl & Hoyer low Ebs (model 599): I include these only to warn you that these are not actually alto trumpets. They look like they should be as they have piston valves and a very normal wrap (in either the short (599X) or long (599) variety), but they are actually low orchestral trumpets like the old rotaries in terrible condition that live on eBay. I believe the Chinese low Eb trumpets on eBay are clones of the K&H 599X, but I’m not completely sure.

Kuhnl & Hoyer 599X short model low ”fanfare” trumpet in E-flat

3-valve G soprano bugle: The old drum corps G soprano bugles were basically trumpets in low G with an extra-large bore and bell throat. This means that with a suitably large mouthpiece, they actually work very well as a G alto trumpet. I have a video on this very subject! As a bonus, the Dynasty 3-valve sopranos show up on eBay quite frequently at very affordable prices (usually $150-250). While these are not in F or Eb and you would thus have to transpose (or get slide extensions made), they can play down to concert Db3, which covers every extra low note in the repertoire except for the low C in Mozart 41 (which is pretty inconsequential anyway). Used Kanstul sopranos are less common and more expensive, but generally regarded as the better instrument. You could also buy a brand new Kanstul-pattern one from BAC if you really wanted to.

Dynasty 3-valve soprano bugle in G

My conclusion is simple: every orchestral trumpeter should own a 3-valve G soprano bugle. It costs nearly nothing, plays well, and covers all your extra-low needs. Use it on parts intended for alto trumpet (Rimsky-Korsakov 3rd trumpet parts) even if they don’t go below the range of a Bb. Use it for Carmen, use it for Heldenleben, use it for trumpets 4/5/6 in Mahler 6. Use it for all those old 2nd parts written for natural trumpet that throw in a random 2nd partial note or two (Don Giovanni and Manfred Overture for example).

Do I wish alto trumpets in F or E-flat were easier to get? Very much so. I would really love to have an F alto, and I’d also really love to be able to write for F alto. But until somebody decides to make a new one (hello, ACB? Wessex??), at least there is a readily-available alternative in the 3-valve soprano bugle.

The Lineage of the King 1120 Mellophone

The King 1120 is a marching mellophone that has been one of the most popular since its introduction. While the Yamaha YMP-204M is the current standard of the mellophone world, the 1120 still sees a lot of use in marching bands, most notably HBCUs. The current version of this model is the 1121, which has an angled leadpipe, re-wrapped 3rd valve slide, and other small changes.

But the 1120 was not designed in a vacuum. In fact, the design has direct ancestry back to the bad old days of the drum corps G bugle.

All three of these instruments have the same wrap, and all three were designed by the same person: Zig Kanstul.

The instrument on the left is the genesis of this mellophone design, the King K-50 mellophone bugle in G. This was the best of the 2-valve mellophones, and it is an absolute screamer.

When three valves were legalized in DCI in 1990, Zig Kanstul came back to the K-50’s basic design and updated it for the 3rd valve, but this time under his own brand. Pictured in the middle is an early pattern Kanstul KAB-175 alto bugle in G. Sadly I have never seen an early pattern KMB-180 mellophone bugle for sale, or else I would have used that in this photo comparison. But the KAB-175’s noticeably smaller bell diameter is the only difference between it and the KMB-180.

You’ll notice that the 175 deviated slightly from the K-50 design by having the leadpipe enter the 1st valve from the other side, rather than angling to get around the 1st valve slide and entering the valve from that side. The leadpipe is also shorter than the K-50’s, with that length moved to the taper after the valves. The two instruments do not play the same (impossible when adding a 3rd valve), but they do have a similar feel and great slotting all the way up into the highest register.

On the right in the pictures above is the King 1120. This was also designed for King by Zig Kanstul, after the Kanstul company had moved on to a different design for their mellophones and alto bugles. The older design clearly still had life left though, as Zig stuck very closely to the K-50/early Kanstul design. It is most similar to the K-50, sharing its longer leadpipe and leadpipe routing. But it also copies the 3rd valve design of the KMB-180/KAB-175, with that unmistakable 3rd valve slide wrap.

KAB-175 (top) and 1120 (bottom) 3rd valve slides

The King 1120, then, is essentially an updated version of both the K-50 and KMB-180 designs, lengthened to play in F. It plays great, as a Kanstul should.

P.S. As an interesting final note, the Yamaha line of marching mellophones was based on the preceding Olds marching mellophone wrap (which was stenciled by quite a few makers including Bach, Blessing, and Reynolds). The Olds marching mellophone was the first F marching mellophone, derived from the G mellophone bugle and designed by…you guessed it…Zig Kanstul!

So, the two mellophones that have dominated the marching arts for years are either an actual Zig design or a derivative of one. In fact, as the Jupiter mellophone is also essentially the same design as the Yamaha, the only current marching mellophone that isn’t a Kanstul derivative is the Adams MM-1, which bears a closer resemblance to the Dynasty mellophones.

Marching French Horn

The marching French horn is an enigma. Sure, it’s been used by high school marching bands and drum and bugle corps, but there are very few recordings of them on the Internet. They also carry a bad reputation with them…they’re impossible to march with, they sound worse and not as loud as a mellophone, and are generally pointless. Or so people say.

Some of these claims do have some truth to them. Picking out pitches on a Bb or low G single horn with a narrow horn rim while running around a football field is certainly not easy, and the drum corps “Frenchie” lines earned notoriety for lots of cracked notes. The marching horn (regardless of key) also does fall short of the mellophone in terms of raw decibel output. Additionally, band directors often don’t know what to do with them. Do they read Bb parts or F? (The correct answer is F. Always F.) Are they worth the additional expense over a mellophone? Why do some have bent leadpipes and some don’t?

Despite all this, I think the marching horn is unfairly maligned. A good marching horn with the right player and mouthpiece behind it really does sound pretty close to a “real” horn, and you certainly can’t get that sound with a mellophone.

It is also important to understand the marching horn’s integral role in drum corps G bugle hornlines before the legalization of 3 valves. While mid-voice instrumentation in drum corps back then was full of experimentation, French horns were a common choice. Why? Because being twice as long as the G mellophones (or flugelhorns, alto bugles, or meehaphones) meant that they could access many crucial notes in the mid-register that simply did not exist on the other 2-valve alto instruments. This was huge for the arrangers of the time, and a good French horn line added a huge amount of depth and flexibility to a hornline.

A 2-valve piston/rotor Olds Ultratone French horn bugle in G

However, the top corps had begun to streamline their mid-voice to just mellophones even before 3 valves were legalized in 1990. While the tonal colors of a varied mid-voice line were great, unifying to one type of instrument meant tuning and blend was much easier. That said, a few small French horn lines did survive briefly into the 3 valve era, most notably in the Cavaliers and Santa Clara Vanguard. Both lines used the Kanstul KHB-185 3-valve G French horn bugle, with 8 made for SCV and 6 made for the Cavaliers. It is likely that no other examples of the model were made (despite it remaining in the Kanstul catalog for most of the company’s life), which would mean there are only 14 in the world.

Here’s one!

This is my Kanstul KHB-185, which was one of the Santa Clara Vanguard horns (it is even stamped as such on the bell!). SCV used these only through the 1992 season, after which they moved to all mellophones.

This horn is a great player. It is certainly not point-and-shoot like a mellophone; you have to work for the right notes just like on a single F horn (which is only a whole step lower). But the reward for your efforts is a bell-front instrument that really does sound like a French horn.

But don’t just take my word for it. Here’s a quick 8-part demo I recorded all on this Kanstul:

While the register of drum corps French horn parts meant that they really did not need a third valve, I certainly enjoyed getting to use the full range of the instrument in this bite-sized piece.

Being fully chromatic also means that an instrument like this could really be the solution for playing French horn into a mic that’s placed in front of you. I have played many gigs where I doubled on French horn, and the only solution with a normal horn is to physically turn 90 degrees to the left and hold the bell up the mic like you’re playing Mahler. It is awkward at best. This Kanstul (which sounds like a horn, but points forward) is the perfect solution for a gigging brass doubler. I will not be keeping this specific horn, but I plan to acquire both Bb and high F Kanstul marching horns to see how they fare in the same role. I am much more comfortable improvising in Bb and F, so if those horns sound like this one does we will have a real winner (and one that is much more readily available).

Anyway, here’s a brief trip through some other interesting types of marching French horns.

First up is the Kanstul 285 marching horn in B-flat. While you could be forgiven for thinking that the Kanstul 185 marching horn in G above was based on this, it’s actually the other way around. Zig Kanstul started his company making G bugles only, so this Bb horn is actually a derivative of the G. It has the same up-turned leadpipe to allow for a typical downstream horn embouchure while holding the horn above parallel. Other brands’ marching horns do not have this feature. The B-flat marching horn is the most common type of marching horn, and a few manufacturers (Yamaha, King, Adams) each have a model in their current lineup.

Kanstul 285 B-flat marching horn

Next up is the Kanstul 284 marching horn in high F. High F marching horns are not commonly known, but they have been produced by Kanstul, Dynasty, and Blessing. Since Kanstul closed up shop in 2019, I don’t believe there are any high F marching horns currently being produced.

Kanstul 284 high F marching horn

There have been some very odd-looking marching horns throughout history as well, such as the Holton MH-100, 101, and 102. These Dr. Seuss horns play as oddly as they look, but at the same time they play concerningly well. They have a trumpet mouthpiece shank for some reason, which allows you to put lots of different kinds of mouthpieces in it. Most inexplicably, they have been copied by Jinbao.

Holton MH-101 B-flat marching horn (MH-100 = screw bell, MH-101 = fixed bell, MH-102 = fixed bell, slide kickers)

The Low Alto Bugle

Speaking of marching horns with trumpet shanks, Kanstul also made a very odd variant of the KHB-185 3-valve G French horn bugle presented at the beginning of the article. They called it a “Low Alto”, and it is the same as the KHB-185 except for a different leadpipe (trumpet shank) and main tuning slide arrangement. As weird as it is, 6 were built and it did see some drum corps use with the Marauders and later the Kingsmen Alumni.

Top: Kanstul KHB-185 French horn bugle in G
Bottom: Kanstul low alto bugle in G (no model number)

Because it has a trumpet shank, the low alto bugle can accept many different mouthpiece types. As I have adapters for both trumpet to horn and trumpet to cornet, I was able to see how it sounds with mouthpieces that use all 3 shanks. As it is a Kanstul G marching horn at heart, if you use a horn mouthpiece with an adapter it plays and sounds pretty much like the KHB-185 French horn bugle. It’s a little harder to play accurately and a little more work to get a centered horn sound (I suspect mostly due to the adapter), but it’s there if you work for it. And unlike the 185, the low alto has a whole toy chest of other sounds to explore by using different mouthpieces.

From my time with the low alto, I found that horn, tenor horn, alto trumpet, and very small trombone mouthpieces worked the best. I do think that a mouthpiece that truly matched the instrument well would have to be custom made. But rather than talking about it any longer, I’ll just let you listen. I recorded a small collection of short, improvised excerpts on 11 different mouthpieces (and adapters when required), each meant for a different instrument.

Lastly, here’s a back-to-back comparison of the 2 marching horns with trumpet shanks: the G low alto bugle with horn mouthpiece (via adapter) and the Holton MH-101 with horn mouthpiece (via adapter).

Nirschl Mellophone

You’d be forgiven if you didn’t know that Nirschl, the esteemed German brass instrument manufacturer responsible for lots of enormous 6/4 CC tubas, once sold a marching mellophone. There is very little record of the instrument on the Internet; its entire presence consists of a Middle Horn Leader review, a discussion in episode 73 of the MelloCast podcast, an old Reverb listing, and a couple of derelict shells of online store pages for the instrument from over a decade ago (listed price was $899!).

The instrument is called the E-102 (E-102SP in silver plate), and while it was not actually built by Walter Nirschl, it is still an intriguing nstrument. Even among mellophone enthusiasts this instrument is usually forgotten, if it was ever known about to begin with. It might as well not exist…right?

Nirschl E-102SP

Well, I suspect the primary reason it gets forgotten as a mellophone is because it’s not very good at being one. In fact, it’s so bad at being a mellophone that I think it being marketed as one was a mistake. The reason for this deficiency is the bell; one of the mellophone’s defining features both visually and sonically is the massive 10” or larger bell. Nirschl decided to skip this feature entirely, instead giving it a relatively small 8” bell. In a way, this makes it somewhat of a poor man’s alto flugelhorn, or an alto bugle pitched in F.

So, how does it work as an alto flugelhorn? The answer is, unfortunately, not very well. Using the mouthpiece from an alto horn or alto trumpet results in a woefully flat instrument - with a Denis Wick, the instrument is so flat it’s almost down a whole step to E-natural (but not quite low enough that you can actually use it that way). This is a problem shared with the Kanstul KAH-175 alto bugle in G, though that instrument is of much better quality. The Kanstul, at least, is in tune when you use a marching mellophone mouthpiece like a Benge Mello 6, which is what it was designed for. The same cannot be said of the Nirschl E-102, as even with the shallowest marching mellophone mouthpiece it still plays flat with the main tuning slide all the way in!

Weirdly, the mouthpieces I found to work best with the Nirschl don’t even have the right shank: a French horn mouthpiece and an antique Conn circular mellophone mouthpiece. Despite not seating in the Nirschl’s mouthpiece receiver at all, they gave the best sound and intonation out of all the mouthpieces I had, and I gave its new owner the old Conn mouthpiece when I sold it. That mouthpiece never worked well in any of my circular mellophones!

I can see now why the Nirschl E-102 never took off. In its factory state, it is thruthfully as useless as the Getzen frumpet, and bears the odd distinction of being the only marching mellophone (or mellophone-adjacent object) I know of that actually works better with a horn mouthpiece. With marching mellophone or alto horn mouthpieces, your only real option is to get the horn lengthened to E-flat, as the main tuning slide has no room to shorten up to pitch with those mouthpieces.

Yamaha Mellophone Sisters

The Yamaha YMP-200 series of marching mellophones is the standard by which all other marching mellophones are measured. It is well-known to be arguably the best marching mellophone there is, so it often commands significantly higher prices on the used market than any other brand. The current model, the YMP-204M, is the pinnacle of mellophone design; however, even the first YMP-201M is an excellent instrument leaps and bounds ahead of most other marching brass.

However, the YMP-201M was not the first Yamaha mellophone. That honor goes to the rare and mostly unknown (at least in the West) YMP-201 (no M) circular mellophone.

On the left is my YMP-201; on the right is my YMP-201M. They’re sisters!

However, the 201M is not just a 201 re-wrapped to point the bell forwards; there are some significant differences. The 201 has a huge 12” bell and a small .449” bore, while the 201M has a more standard 10” bell and .462” bore. The 201 can play in F or E-flat just by rerouting the two tuning slides built into the instrument - no extra slides needed! (This was also a feature on certain York mellophones.) Meanwhile, the 201M only plays in F. The 201 also has the traditional cornet shank, while the 201M uses a trumpet shank like other marching mellophones. Despite the only difference in designation being a single “M”, the two instruments are completely separate designs.

They play and sound different, too. The 201M sounds like a marching mellophone should, has a fabulous upper register, and can sound like an alto flugelhorn with an alto horn mouthpiece. It is light, balanced, and easy to play. The 201 meanwhile has a smaller yet darker sound that blends with anything. While other circular mellophones have more colorful, interesting sounds (my 1925 Buescher 25 and 1918 Conn 6E come immediately to mind), the 201M could be the ultimate gigging circular mellophone. It plays in tune, it has fast modern valves, it has a transparent, chameleon sound, but it can still light up and is easy to play in all registers. It is not the most glamorous circular mellophone, but it just works.

It is also how modern it feels in comparison to all other circular mellophones that makes it as interesting as it is. It feels modern because it IS modern; it started production in the 1980s! From what I have been told by a Japanese source, French horns were too expensive for many school bands in Japan, so they used the traditional mellophone into the 1990s as a French horn substitute. Yamaha thus made the relatively affordable YMP-201 exclusively for the Japanese domestic market, hence why it is so rare in the West.

If you can find either a YMP-201 or any YMP-20xM for a good price, I would highly recommend it. Both are the most competent instruments of their type and can be played to any standard. I never thought my Conn 16E would step down as my primary gigging bell-front alto brass instrument, but once my 201M arrived I knew it had been dethroned. With a Hammond 5MP marching mellophone mouthpiece, the 201M is unbeatable.

Alto Cornet

The alto cornet in F or E-flat is a rare bird. The easiest way to get your hands on one (at least in North America) is to find a DEG model 1220 from the 1970s. This is tricky to do, because they are usually labelled as mellophones on sale ads. DEG themselves marketed the 1220 as a “marching alto/French horn”, but that is a very inaccurate description of the instrument. It is a true alto cornet in F, with optional E-flat slide. Over the years I have seen several come and go on eBay, and it seems that they were made with at least three different bell sizes. The one I owned had the smallest and most common size that I have seen, at about 6.1”.

The 1220 was manufactured for DEG by Willson, as were many DEG/Dynasty instruments in the 1970s. Willson also sold a (non-DEG-branded) version standing in E-flat in their home market of Switzerland; I would love to know if it was marketed there as an alto cornet, and which model came first. It has a trumpet shank, accepts flugelhorn mutes, and is not much larger than a standard B-flat cornet. Alto horn mouthpieces are the best fit, though I’ve also had good results with an extremely small trombone mouthpiece.

DEG 1220 (left) next to Bach CR-310 cornet (right)

It plays very well, and despite overwhelming external similarities to the 1970s Dynasty III alto bugle (also made by Willson), it sounds noticeably different even when both are played with the same mouthpiece. The Dynasty III sounds like a big flugelhorn (which is essentially what it is) with a horn-like edge when pushed, while the DEG 1220 is all cornet. Noticeably brighter and easily colored, with a rocking low register and a secure high register that requires a good deal of effort above written high C (sounding F5). Unlike many uncommon alto brass instruments, the 1220 has lock-tight slots. Intonation is not perfect but easily manageable.

While I don’t believe the 1220 is much of a soloist’s instrument, it is a champion at playing in a brass section. It can blend seamlessly with trombones or flugelhorns, and I have used it very successfully in recording sessions to do just that. In a 6-part horn section consisting of 2 trumpets, flugelhorn, alto cornet, and 2 trombones, the alto cornet is the perfect middle voice. The Yamaha YMP-201 (non-M) circular mellophone has similar qualities, but the DEG 1220 is more convenient to bring to a session due to its very compact size and forward-facing bell. This also makes it an excellent desk instrument for the alto brass player, or even the low brass player.

In short, the DEG 1220 is an excellent instrument that any multi-brass player could find good uses for, especially in the studio. They don’t show up for sale very often, but they usually go for a few hundred dollars. You’ll have the most luck finding one hiding in the mellophone ads.

Meehaphone

The Meehaphone is an enormously rare breed of 2-valve competition bugle in G, built and used from 1987 to 1991. It was designed by Jack Meehan and Zig Kanstul for the Concord Blue Devils drum and bugle corps, in an effort to streamline their middle voice section from three types of G bugle (mellophone, flugelhorn, and French horn) to one.

The exact number built is not certain, but as the meehaphones were built by Kanstul specifically for the Blue Devils, it is likely that there were only enough made to fill out the corps’ mid-voice section. It seems that at the time the Blue Devils’ mid-voice was consistently 14 players, based on instrumentations noted in this Middle Horn Leader interview with Wayne Downey and my own studying of the relevant footage online. It is thus reasonable to conclude that there were most likely 14 production meehaphones built. There was also at least one prototype built in F with 3 valves, which is now owned by Bobby Pirtle and resembles a giant flugelhorn.

According to the late Ken Norman, the meehaphone has a bell flare identical to the Olds BU-10 and Conn 92L French horn bugles, mated to a 2-valve .415” bore flugelhorn body. It is essentially a bell-front field descant horn in G. At the time, Terry Warburton made custom mouthpieces for the meehaphones, labelled “Downey BD”. The Blue Devils used an all-meehaphone alto section for the 1987-1990 DCI seasons, and in 1991 they used 4 mellophones and 10 meehaphones. The meehaphones were shelved shortly thereafter when new 3-valve G flugelhorns from Yamaha arrived.

According to all accounts, they were the loudest alto bugle ever created. In fact, on the bell is stamped “MFL”, which does not stand for “Marching Flugelhorn” but “Mother F***ing Loud”! They had a darker sound than mellophones and projected very well, but notes above written G at the top of the staff (sounding D5) were very hard to center. Here’s the Blue Devils’ 1988 show on YouTube, with plenty of meehaphone action to go around. After 1991, the meehaphones fell off the map. Most of them were lost in a single shipment, which has never been found. There are only a handful whose whereabouts are known, and all but one are on display in various states of functionality in drum corps-related museums.

So, that’s the lore…now, here’s my practical experience.

Here is an original Kanstul meehaphone, serial #1028, that I had the privilege of owning for a while. It was previously owned by Ken Norman, and is the single known example not in a museum.

When played softly, it has a French flugelhorn-like quality to the sound, which makes sense considering the .415” flugel leadpipe and valve block. When pushed, it gets bright with a trumpet-like edge, but without what I would describe as the mellophone’s tearing metal zing. It’s a very interesting sound that’s clearly related to my other alto bugles, but at the same time standing apart from them.

But don’t let me just talk about how it sounds. Have a listen for yourself!

These clips were all recorded close-miced into a Cascade Fat Head ribbon microphone and SSL2 audio interface. The ensemble excerpt in particular provides a good summary of the meehaphone’s qualities…both good and bad. The notes above the staff live up to their squirrelly reputation; while I could play them effectively (I suspect thanks to my Conn 16E experience), it is certainly a treacherous register. In general the intonation isn’t the best, but it’s nowhere near the worst I’ve played either.

It’s important to note that I did not have an original Downey BD mouthpiece made by Terry Warburton for the meehaphones. Mine came with a Burbank F mouthpiece with a cylindrical shank, and while it worked I didn’t feel that it was an ideal mouthpiece for the instrument.

For more playing and practical information about the meehaphone, check out this video:

Meehaphone (left) next to Couesnon flugelhorn (right)

Frumpet

The Getzen model 383 Frumpet, or “French Horn Trumpet” as it was also marketed, is a unique alto brass instrument that can play extremely loud. It also accepts bass trombone mutes, and has decent valves and ergonomics.

That is everything good that can be said about it.

It was made from 1964 to 1985 and was another attempt at a marching instrument for French horn players. It has a .464” bore and plays in alto F or Eb, with the Eb slide playing a little better. It takes French horn mouthpieces, but the length and taper of the instrument are not an acoustic match for that and the result truly horrendous. It has shockingly bad intonation that makes the Conn 16E mellophonium seem amazing by comparison, and its anemic sound doesn’t make up for it. You can find them cheap on eBay, but they are painfully useless except to use as a base for a mildly interesting lamp.

UNLESS…

…you get it modified.

All that’s needed to turn the frumpet from an inconveniently-sized paperweight into a usable and interesting instrument is to swap the leadpipe for either an alto horn or trombone leadpipe. That way you can use bigger mouthpieces that actually work with the bore profile, eliminating the horrible intonation problems. If you take it a step further and also swap the weird bell for a small trombone bell, you have yourself a nice alto valve trombone. You can also lower it to C or Bb (with the new leadpipe/bell) and get a bass trumpet of sorts.

One thing that has not been tried yet to my knowledge is to keep the stock bell and horn leadpipe, but put a bunch of tubing on it to get it down to Bb or even low F, convert it to point up instead of out in front, and see how it works as the world’s jankiest Wagner tuba. I would very much like to try that.

Anyway, don’t buy a frumpet unless you plan to either turn it into a lamp, use it for parts or as soldering practice, or extensively modify it. And don’t spend more than about $100.

Alto Bugle

“Alto bugle” typically refers to a type of competition bugle pitched in G for use in drum and bugle corps. Of the four main types of mid-voice bugle used in drum corps history (mellophone, French horn, alto, flugelhorn), the alto bugle is probably the rarest type. Usually based on a G mellophone bugle but with a much smaller bell, they didn’t make a lasting impression on the field. However, they offer intriguing possibilities for use outside of drum corps as they are essentially big flugelhorns in G. (There were actual G flugelhorns in DCI as well, but those were generally standard B-flat flugelhorns with tubing added.)

Many alto bugles had 2 valves, as that was the rule in DCI until 1990. But there are a few models of 3-valve alto bugle that exist. These are as follows:

• Dynasty III alto bugle (late 1970s): Likely the earliest 3-valve alto bugle to be made. As DCI was over a decade away from legalizing 3 valves, the complete Dynasty III bugle line was made (mostly by Willson) for the European market. Surviving examples of any type of Dynasty III bugle are extremely rare today.

• Dynasty late-pattern alto bugle: This one was based on Dynasty’s existing mellophone design rather than a separate one, and was made in-house instead of by Willson. (The link calls it a flugelhorn bugle, but the Dynasty 3-valve flugelhorn bugle was a different beast made by slapping longer slides on a DEG Signature 2000 Bb flugel.)

• Kanstul KAB-175 (‘90s, early model): This early model Kanstul alto bugle design resembles a smaller King 1120 marching mellophone, and as both instruments were designed by Zig Kanstul, is probably where the King design originated.

• Kanstul 175 (late model): The later model used a totally new wrap and was made until Kanstul went out of business in 2019.

• Andalucia AdVance Series Alto Horn: This is a current-production instrument in F, based on the Kanstul Meehaphone. The Meehaphone was a 2-valve instrument used from 1987-1991, and while it was built around a French horn bugle bell and was essentially a field descant horn in G, it successfully fulfilled the same role as an alto bugle (darker sound than a mellophone, but more projection than a flugelhorn).

At one time I owned the only Dynasty III alto bugle I have ever seen. I haven’t been able to find any record of another individual example on the Internet. As none were made for the US domestic market, it may be the only one in the country. But rare G bugles have a funny tendency to show up in the weirdest places, so there could be others hiding in the States. I bought mine from Canada.

The following picture shows the Dynasty III, and also my DEG 1220 alto cornet in F for comparison, also made by Willson around the same timeframe and also very rare (but much more common than the Dynasty III!). It’s easy to see the family resemblance between the two instruments, even though they actually sound quite different.

Dynasty III G alto bugle (left) and DEG 1220 F alto cornet (right)

As the names imply, the alto bugle sounds like a flugelhorn, while the alto cornet sounds like a cornet. The alto bugle has a fat, dark flugel sound; the alto cornet has a brighter, leaner cornet sound. Both instruments play very well.

I also used to own an early pattern Kanstul KAB-175.

This instrument has a fabulous flugelhorn sound with a tenor horn mouthpiece (the same one I used in the Dynasty alto bugle and alto cornet). It is smoother and a shade darker than the Dynasty, and is a really refined sound. Which is not to say the Dynasty is rough; compared back to back with my lovely Couesnon flugelhorn the Dynasty sounds quite close, just with a bit more beef in the sound. But the Kanstul takes it a step further and makes the sound a little rounder and sweeter still.

Unfortunately, with this mouthpiece the instrument also plays quite flat with the tuning slide all the way in. This is likely because it was designed around the classic Mello 6 marching mellophone mouthpiece. I have one of those, and putting either it or my Hammond 5MP marching mello piece into the Kanstul fixes the pitch and feels like the right match for the horn size-wise…but also entirely loses that lovely velvet flugelhorn sound. With the Mello 6 it predictably sounds like a more focused, direct marching mellophone. Very bright and trumpety, but much fatter than any trumpet (or G soprano bugle). There may be a place for this sound, but I couldn’t find it and the big flugelhorn sound is really what I want in an alto bugle, so I eventually sold the Kanstul.

Physically, the Kanstul is fantastic. The valves are the best I’ve ever owned in any kind of brass instrument…lightning fast and whisper quiet. The instrument itself feels like it weighs nothing in the hand, owning to its light weight and great balance. I’m sure it would be a pleasure to march with, as instant horn snaps and moves are a piece of cake. The left hand grip is comfortable, there is a 1st valve slide kicker…it has everything you want. It feels like a massive leap forward in alto bugle design from the Dynasty, although the Dynasty’s super-compact form factor is definitely convenient. It is a shame then that the Kanstul doesn’t work out of the box with the tenor horn mouthpiece than the Dynasty happily accepts without issue; it could be that that early alto design was based around a larger, more tenor horn-like mouthpiece.

Although I never found a real use for the Kanstul and thus sold it, I do miss it.

To hear these alto bugles, check out this video:

Mellophonium

The mellophonium is the primary ancestor of the modern marching mellophone. It is a traditional circular mellophone with the bell straightened out, and usually has a cornet shank. Even many brass players don’t know what a mellophonium is, and those that do (mostly Stan Kenton fans and alto brass nerds like myself) can be forgiven for thinking that “mellophonium” = Conn 16E. In fact, while the Conn 16E is by far the most famous model of mellophonium thanks to its use in the Stan Kenton Orchestra from 1960 to 1963, it is not the only one. There were lots of mellophoniums (mellophonia?) at the time: Holton M-601 and M-602, Reynolds Contempora ML-12, Courtois, Couesnon, Vox Ampliphonic, Glier (in E-flat), and more. You can even still buy a new mellophonium in 2022, courtesy of Amati Kraslice (the AMP-203).

The mellophonium has a cool sound that is related to, but not quite the same as, a mellophone (either the traditional circular or bell-front marching variety). Stan Kenton’s electric 4-man mellophonium section inspired the creation of the mellophone bugle in G for use in competitive drum and bugle corps, which in turn directly led to the modern marching mellophone. The marching mellophone was also the mellophonium’s grave digger, because even the early Olds-pattern marching mellophones were much better instruments.

While not the only kind of mellophonium, the Conn 16E was the first (beginning production in 1957), is the most common to find today, and is the quintessential example of the type. Despite this, it is objectively a terrible design. It was built in F with an E-flat crook, so Conn decided to build the valve slides somewhere in between…too long for F, too short for E-flat! (It actually plays best in tune in E with the main tuning slide all the way out…I’ve played gigs with it that way!) Its intonation is a great struggle, it has extremely wide partials that are tricky to center, it has mediocre long-travel pistons, and it has a whiny and difficult upper register that requires tons of alternate fingerings to get anywhere near in tune. It is also an ergonomic nightmare, and every mellophoniumist has to find a grip that isn’t painful. The “standard” (as much as that word can be applied to anything mellophonium-related) grip is to hold it by the 3rd valve slide, like so:

This is the grip that most of the Kenton section used, although they typically canted the instrument less than I do. Some of them grasped the top of the valve block while others cradled the bottom bow. There are a few ways to do it and it really depends on the individual player, but if you’ve just acquired a 16E and haven’t figured out how to hold it yet I recommend trying my canted 3rd valve slide grip as pictured above.

There is also the issue of mouthpieces. The best mouthpiece for a 16E (and likely other mellophoniums) is unquestionably the Conn 1 that came with it. However, while abused and neglected 16Es can be found easily, the Conn 1 is significantly more difficult to find. If your 16E didn’t come with its Conn 1, the only way to get one is usually to find another 16E for sale that comes with it. (The same is usually true for the E-flat crook, but fortunately you can still buy a new one of those through Allied Supply, part # C-06028-5.)

If you are a trumpet or horn player that is used to mouthpieces on the smaller side, the Legends Scodwell Mello mellophonium mouthpiece is a great option. That is a new production mouthpiece from Legends Brass that plays as well as the Conn 1, but is equivalent to a trumpet 5C in size. Too small for many players (including me), but you can likely custom order it in a bigger diameter. The Conn 1 has an inner diameter a touch over 18 mm, the same as a Schilke 22 trumpet mouthpiece.

The third option is a Bach traditional mellophone mouthpiece, which has the right cornet shank for the mellophonium. Before I got my Conn 1 I used a Bach 5 of this type, and it was ok but not great. The low and middle registers are nice and beefy, but the high register is very difficult. The beauty of the Conn 1 is that it works well from the lowest F# (sounding B2) all the way up to the scream register (E above the staff and beyond), while the Bach only works well in the staff and below. The Bach really is much better suited for circular mellophones and has found a happy home with one of mine.

Of course, cornet mouthpieces do fit. But deep British-style cornet mouthpieces don’t do anything well on it, and shallower American-style cornet mouthpieces only work for screamer mellophonium parts. They do hilariously well at that (which is why the Kenton section used them when they wanted to be disruptive), but the mellophonium becomes much more of a weapon than a musical instrument when equipped as such.

So, can the 16E be tamed? Oh yes. The Kenton section had it figured out by the end of its time in 1963, and exceptional players like Ray Starling made it sing (it’s this video that made me want to get a 16E of my own back in 2011). And as someone who has played numerous live gigs and recording sessions on mine, I feel qualified enough to say that I have tamed it. It took years of effort, but I feel that the result was worth it.

Now, the more important question. Should you buy one?

The first thing you should know is that you can get them dirt cheap. They were used in high school and college marching bands for years, and Conn didn’t actually didn’t stop making the 16E until 1979, so there are a LOT still floating around. As they are completely obsolete, when they get found they are put on eBay and bought for a pittance. The only issue is that you can also get similarly-abused ex-school marching mellophones, including the best-of-the-breed Yamahas, for dirt cheap on eBay. And as much as I love my 16E, my eBay-special Yamaha YMP-201M marching mellophone is a drastically better instrument in every possible way.

All that said, I do think neglected 16Es and other mellophoniums (except for the Reynolds, which is apparently even worse than the 16E) deserve to be played and loved, or at the very least turned into cool lamps, rather than left to rot or get scrapped. If you want an unusual brass instrument for your collection, need a dirt cheap alto brass instrument and find a suitably-priced mellophonium, or just think mellophoniums are cool, I would encourage you to head to eBay and pick one up. It’s also an excellent choice for someone interested in multitracking, as it records well and adds a unique sound to any instrumentation. (It also accepts trombone mutes!) If, however, you want a gig-ready dirt cheap alto brass instrument, wait for a good deal on a Yamaha or King marching mellophone.

Just, whatever you do, don’t overpay for one. Nobody should be paying $500+ for a 16E. They are worth $200 at most…maybe $300 in pristine condition with a Conn 1 and E-flat crook. I’ve been noticing 16E prices steadily increasing in the past couple of years and I feel bad for whoever is spending that kind of money on an instrument as problematic as a 16E. I got mine for $100 and I feel like that was the right price.

Now that all that exposition is out of the way, here are a couple of videos I’ve made that make extensive use of the mellophonium in a 4-person section a la Kenton:

If you’ve made it this far and want to hear more mellophonium, here’s my work-in-progress attempt at a complete list of albums that include mellophonium.

• Stan Kenton - The Romantic Approach (1961)

• Stan Kenton - Kenton’s West Side Story (1961)

• Stan Kenton - A Merry Christmas! (1961)

• Stan Kenton - Sophisticated Approach (1961)

• Stan Kenton - Adventures in Jazz (1961)

• Stan Kenton - Adventures in Blues (1961)

• Stan Kenton - Mellophonium Moods (1962)

• Stan Kenton/Tex Ritter - Stan Kenton! Tex Ritter! (1962)

• Stan Kenton - Adventures in Time (1962)

• Stan Kenton - Artistry in Bossa Nova (1963)

• Lighthouse - Sunny Days (1972)

• Stan Kenton - By Request - Volume VI (1973)

• Stan Kenton - The Uncollected 1962 Vol. 6 (1983)

• Towson State University Jazz Ensemble - Jazz 1985 (1985)

• Stan Kenton - Mellophonium Magic (1989)

• Finn Mickelborg - Mellophonium Jazz (1990)

• The Silencers - Dance to the Holy Man (1991)

• Stan Kenton - More Mellophonium Moods (1995)

• New York Sound Stage One Orchestra/New York Neophonic Orchestra - Alternate Routes (1996) (solos in “Royal Flush” and “Come Rain or Come Shine”)

• Tubby Hayes - Voodoo Session (2009)

• La Orquesta Sinfonietta - Canto América (2016) (2 in “El Caldero de Ogun”)

• Stan Kenton - Mellophonium Memoirs (2017)

• Bootsy Collins - The Power of the One (2020) (1 in “Creepin’”)

• Sammy Haig - Cucumber (2021) (1 in “Basement Famous”)

• Hollywood Film Noirchestra - Dark Passages (2023)