Flugabone
While the flugabone is certainly an uncommon brass instrument, it isn’t nearly as obscure as many of the others on this website. However, it is still niche enough that many brass players are unsure exactly what it is, or how you can use one. In addition, there have been many different models by many different manufacturers over the years, and I thought it would be useful to collate them all.
First off, what is a flugabone? It may be simpler than you expect: it is literally just a valve trombone wrapped like a trumpet, just as the trombonium is just a valve trombone wrapped like a bell-front baritone. Flugabone, trombonium, and valve trombone all play essentially the same, so why do they all have different names? The answer is simple: marketing. American manufacturers have had a habit of inventing new names for less-common instruments for marketing purposes, especially in the first half of the 20th century. (See also: “Holtonophone” for Holton’s sousaphone.) King was one of the most common offenders, and King coined both “flugabone” and “trombonium”, for their models 1130 and 1140, respectively. While other manufacturers often use other, more generic names, the name “flugabone” has become the generic term for this type of instrument, as the King 1130 is the most well-known, and it’s much snappier to say “flugabone” than “marching trombone” or “compact valve trombone”.
In my opinion, the flugabone is the superior choice compared to a trombonium or traditional valve trombone, entirely because of the form factor. It is more ergonomic, more compact, and much more convenient to carry around than the other two. Valve trombones and tromboniums generally have horrendous ergonomics, while flugabone is perfectly comfortable to hold. The flugabone can also be played one-handed, which is a nice additional perk. I have owned all three types, and the flugabone is the one that I’ve kept around.
So, what kind of flugabones are out there, and how are they different?
We’ll start with the eponymous King 1130. This instrument is an excellent player, with a loud, shouty sound that is perfect for playing in street brass bands or with amplified groups. Although I have owned flugabones that played a little better than the King, the contexts I use my flugabone in the most benefit greatly from the King’s punch and projection, so that’s the one I’ve stuck with. The King is fairly mouthpiece sensitive; if you use a mouthpiece too small or shallow, it will get very barky, and not in a good way. And if you use a mouthpiece too deep, it just sounds like a malnourished baritone horn. But if you use the right middle-of-the-road mouthpiece, it is incredibly fun and plays incredibly well. I use a Hammond 11M in mine, and it is an excellent match. The 1130 has a .500” bore and 8” bell.
Like all of King’s marching line at one time, the King 1130 was also stenciled as a Conn, in this case the 138E. Kanstul’s flugabone, the 955, was a clone of the King. I’ve played a 955 and it played quite a bit heavier and less lively than the 1130, but it could have been just that example. Dynasty and Weril have made several King-like flugabone models, including the M565, M566, M567, Weril F371, and the Cellophone in G. Most modern Chinese flugabones (Lake City, Wessex, Schiller, etc.) seem to be based on a specific King-based Weril design that departs from the King wrap significantly on the left side of the instrument. I haven’t been able to determine the model number of that specific instrument, but I would guess it preceded the M565/F371.
In addition to the cellophone in G, the basic King design also led to what I assume is the only factory-built flugabone in C, the Weril F310.
After the King, the next most common kind of flugabone is the Olds O-21. Olds marketed the O-21 as a “compact valve trombone”, and the basic design was then used and by several other makers, including Bach (883), Reynolds (TV-29), Blessing (M-200), and Boosey & Hawkes (Regent). The O-21 is more compactly wrapped than the King 1130, but it loses the 3rd valve slide kicker as a result. It has a larger .515” bore, and is freer-blowing than the King as a result. It is more refined, as well; the O-21s I’ve owned and played sounded closest to a slide trombone out of any valve trombone of any type that I’ve played. If classical flugabone gigs existed, the O-21 would be the flugabone to use. But it is excellent at everything you might want a flugabone for. I have owned 2 O-21s and trialed another in like-new condition, and it was hard to let any of them go. But what I really don’t need is multiple flugabones, so I stick with my King. I also owned a Blessing M-200, which played similar to the Olds but leaned more towards smoky jazz playing. I used it for exactly that on a run of very quiet, background music jazz trio gigs, and it was better at any other instrument I owned for that role. It sounded so good played softly, and it could get VERY soft.
Generally, the two families of flugabone designs detailed above are the only flugabones people know of, and the only ones that turn up for sale. But there are actually two other types of flugabones that are much rarer, at least outside of Brazil.
The first centers around an older Weril flugabone design, whose model number (if there is one at all) I am unaware of, but have seen listed as models “Junior” or “Bentley”, each stamped on the bell of that instrument. This model has also been cloned by Chinese makers. Although it is essentially unknown in the English-speaking world, this model of trombonito (as flugabones are called in Brazil) is common in Brazilian classifieds.
The final type of flugabone that I’ve come across, very rarely, is the DEG compact marching trombone. This instrument was built in the 1970s for DEG by Willson, like all of their DEG’s marching brass at the time. I have only ever seen a handful of online sale listings for this instrument over the years, and as you can see from these pictures from two of them, the design clearly evolved over the years. Like all of DEG’s Willson-made instruments, I have read high praise about how this flugabone plays, but I have yet to have the chance to find out for myself. I have a suspicion that, just like more common DEG/Willson 1220 alto cornet made during the same period, this instrument is really a tenor cornet, with conical leadpipe and cornet-like bell taper.
In recent years, the demand for flugabones has actually been quite high from trombonists, similar to the bass trumpet. As a result, used prices can be quite high. However, you can still find flugabones for cheap if they are mislabeled as a mellophone or marching baritone in the sale listing. I have owned four flugabones, and I bought all of them on eBay for very cheap prices.
So why do people want flugabones so much? I think it’s the convenient/ergonomic form factor compared with just being something different, for both trombonists and trumpeters. The players I see with them are generally jazz, funk, and/or commercial players who want a new sound in their arsenal. For trumpeters, it’s the most logical low brass double in many ways, as the design and ergonomics are very similar to trumpet. And for trombonists or euphoniumists, a good flugabone is much more easily available and affordable than a good valve trombone, and a flugabone has many advantages anyway. The flugabone might be the perfect instrument for brass players who want a new sound to play with that they can actually use, but also don’t want to spend a fortune or play something uncomfortable. I know trumpeters, trombonists, euphoniumists, tubists, and even hornists who have picked up flugabones for all of the above reasons. The DEG alto cornet previously mentioned has the same charm for those who are comfortable playing in F, but the universality of B-flat (even among hornists) makes flugabone the everyman’s weird brass instrument.
With that out of the way, here are some examples of flugabones being played at a high level. First up is Reginald Chapman’s group Bone Apple Tea Brass, which features multiple flugabones as the front line of the ensemble. This ensemble plays live in NYC and has an EP out on Spotify.
Next up is this German Brass recording (sadly audio only), the 3 trombone players are using flugabones. In the early days of YouTube, there used to be a live video of the German Brass performing this, and they appeared to be using Olds flugabones. I wish I could find that video again!
And here’s my own contribution, demonstrating one unique advantage you get from being able to play flugabone one-handed. This is from a live performance at the NAMM Show, and I’m using my King 1130. I have also used the flugabone’s one-handed ability to play flugabone with one hand while playing keys with the other, which I sadly don’t have any video evidence of (yet!).
Finally, if you’ve gone through all this and still want more flugabone content, here is a deep dive (over an hour long) on the flugabone, featuring a few excellent players and proponents of the instrument.
