January 1972
The most
important tool and first requisite of a brass
instrumentalist's success is a mouthpiece which enables him
to emit a beautiful singing tone, with an easy and reliable
response in all registers. The creation of such a mouthpiece
is an art that can hardly be mastered by anybody but an
accomplished brass instrumentalist who also enjoys
sufficient mechanical training to combine both skills into a
superior product; in other words, by a specialist.
The tone
quality of a mouthpiece depends on various factors-the rim,
the size and curvature of the cup, the funnel-like shape and
size of the throat and the backbore.
The rim
affects the tone-quality to the extent by which it controls
the free movement of the lip muscles and response. The tone
will be more metallic if the rim has a sharp inner edge, and
more fuzzy, with the attack insecure, if the rim is too
rounded. An extra-wide rim hampers the flexibility - only
players with very thick, fleshy, soil lips can use it
advantageously. A too narrow rim will dig into the muscle
tissue and cut off the blood circulation, thereby paralyzing
the lips, which causes slurring to become difficult. A
medium-wide rim offers the greatest comfort, flexibility and
endurance, however, a rim which fits must comfortably on the
lips does not necessarily give the best playing results.
When a mouthpiece rim cuts the lips. The instrumentalist is
most likely playing with a receding lower jaw so that the
lips do not rest on the flat face of the rim, but on the
sharp inner edge against the teeth. The solution is for the
player to raise his instrument above the horizontal
position, without leaning his head hack, so that the
mouthpiece will press exactly perpendicularly to the face of
the upper front teeth. If the jaw is pushed out so that the
lower teeth are in line with the upper ones, the rim will
not cut the lip.
The Cup
The cup of the
mouthpiece determines the timbre (color) of tone. A shallow
cup facilitates the high register, favors the higher
frequencies, produces a more brilliant, bright lone, but all
of this is at the expense of the low register. A medium-deep
cup emits the best overall results for the high and low
register and is recommended for general use. The deep cup
enriches the low register causing the high tones to be more
mellow and less penetrating; it is generally preferred by
players performing second or fourth trumpet or French horn
parts.
A musical tone
is a composite consisting of the pre-dominating fundamental
tone (the tone we tune by) and the less intense overtones
(harmonics) which are multiples of vibrations of the
fundamental component. The human ear is most sensitive to
frequencies above 500 vibrations. Therefore, a player whose
hearing is very sensitive to high vibrations is convinced
that he is playing louder by producing an excessively
brilliant tone, rich in overtones, which "cuts" and sticks
out like a sore thumb. While a lone rich in harmonics sounds
clear and brilliant and responds well, a tone flavored with
enharmonics (not bring multiples of the vibrations of the
fundamental element) or non-periodic vibrations, will sound
nasal and displeasing, and will cause the tone to crack
easily (wolf-tone). Using a mouthpiece with a deep cup
(especially when playing a mellow-toned Bb flugelhorn), an
instrumentalist may complain that he can't hear himself, yet
it is that kind of a rich tone that produces the greatest
carrying power.
The
Throat
The
throat-both the funnel-shaped entrance and the size of the
hole-controls the air resistance. If too small, the tone
will choke and lower the high register; if too large, the
mouthpiece will lack resistance, will suck the lips of the
player into the cup and will tire him unduly in strenuous
work. It is the medium throat, size 144". Morse drill #27,
which is most desirable and which offers the average player
sufficient volume of lone, excellent all-around register and
maximum endurance. Symphony artists, performing in an 85 to
100 piece orchestra, may require a slightly larger "symphony
throat," up to .155," Morse drill #3.9 mm, to produce that
immense volume of tone required (let the manufacturer
enlarge the throat - don't try to do it yourself).
The
Backbore
The backbore
is made in numerous sizes, generally using a few standard
designs, some for special purposes, to overcome deficiencies
in instruments or embouchures. The choice of these should be
left to the manufacturer. In the end, it is the skillfull
blend of all factors involved-the rim. cup, throat and backbore-which produces the mouthpiece of your dreams.
The
Practical Way to Select a Mouthpiece
Any brass
instrument sounds best in the middle register; a mouthpiece
should be selected with that in mind.
If the player
tries different models of mouthpieces and obtains equally
good results with both large and medium sizes, he should
always give preference to the larger. A bigger cup diameter
will cause a larger portion of the lip to vibrate and
therefore produce more volume of tune; it will also give
better lip control. If the lips should swell from too much
playing, there will always be enough room to control the
response. If a player splits too many tones, it is usually a
sign that he is using a mouthpiece with too small a cup
diameter.
By using a
larger sized mouthpiece, playing with moist open lips (not
pinching them tightly together so they cannot vibrate),
using a minimum pressure and relaxed embouchure, a maximum
volume of lone will he attained. Pinching the lips tightly
together will cause the tone to be raw and fuzzy; keep the
chin down. By practicing with minimum pressure on sustained
tones, the lip muscles will gradually become stronger, resulting
in a healthy, easy high register and a relaxed low register.
You must
understand, however, that you cannot play entirely without
pressure; the higher or louder you play, the more pressure
you have to use; otherwise the air will escape around the
outer rim of the mouthpiece. Playing a high tone ff. you
have to contract your lip muscles, which will cause them to
stiffen, and vibrate harder, requiring more air support. If
you play in a full-sized concert band or in a large symphony
orchestra, performing a Strauss symphony or a Wagner opera,
for example, you cannot avoid using heavier pressure
occasionally during a ff passage. The lip muscles can endure
such occasional heavy pressure easily if they are not
damaged by constant abuse. The idea is to do it with
restraint - and preserve a flexible embouchure.
Famous
virtuosos like Fritz Werner, Albert Couturier, Herbert
Clarke, George Stellwagen (Pernet), Jules Levy, Theodore
Hoch, Pans Chambers, Walter Rogers, have all used large
mouthpieces with deep cups and large throats, and they have
obtained fantastic results. They produced high tones just
the same by diligently training their embouchures. I
therefore do not hesitate to recommend that young students
start on mouthpieces of a large cup diameter, playing for a
while with little pressure only in the middle register,
between the staves, then gradually building the range into
the higher and lower compass. By using a large mouthpiece, a
player can hardly force the high register, but is compelled
to use his lip muscles correctly. The average trumpet player
performing heavy dance work or the one who isn't keen on
practicing regularly, seems to prefer a medium-sized
mouthpiece; so do girls who have more delicate lip muscles.
Avoid
Strain
During the
initial period of becoming used to a new mouthpiece, don't
get over-enthusiastic; stop playing on it before you tire.
The secret of developing a powerful embouchure is never to
abuse your lip muscles; always avoid unnecessary strain.
Relax the mouthpiece pressure as often as possible by
removing the mouthpiece from your lips at every opportunity.
This will permit the blood to circulate. Beginners
especially are in the habit of keeping the mouthpiece on the
lips. . . for tear they cannot find the same place again! In
so doing, they cause the lips to become numb quickly.
Many of our
young people listen to so much dance music that when they
play cornet, they strive to imitate the brilliant tone of
jazz trumpeters by using too shallow mouthpieces or by
selecting a cornet of a too small bore. The genuine cornet
tone should be of dark timbre, mellow and smooth, with a
voice-like quality similar to the lyric soprano in opera.
Some players
imagine that if they use a mouthpiece with a small throat,
they can get healthy high tones more easily, but just the
reverse is true.
A Few
Tips on Developing a Powerful Embouchure
The player
must not permit his lips to protrude into the mouthpiece cup
but should draw them back tightly against the front teeth,
raising the aperture or slot between the lips a little
higher so that it is exactly in line with the open spare
between the teeth. In other words, he should not roll the
lips over the upper teeth; looking in a mirror, he should be
able to see his teeth while drawing the lips back. While it
is necessary to use slightly more pressure for the high
tones, the additional amount of pressure is negligible; let
the lip muscles do the work by contracting them or by
tightening them, but not by stretching them.
A beginner
should take it easy and avoid heavy strain. He should not
attempt to force the high register but should start playing
in the middle register between middle G, second line, and
middle C5, third space. Once he controls that register, he
should always use C5 as a pivot, practicing long tones
crescendo and decrescendo, starting from middle C5 up and
then down:
J.J. Baptiste
Arban, the most successful early tutor, followed this
method. When accomplishing the crescendo, be sure not to
raise the pitch of the tone, but be sure it remains at the
same level.
Line 1 should
be played slowly, attacking with a pianissimo "tee,"
increasing the tone evenly and without vibrato up lo count 4
fortissimo, at 5 start to diminish the tone, disappearing
completely at the end of the eighth beat. Remove the
mouthpiece from the lips for about live seconds; now proceed
with the next higher tones as high as you can play without
undue strain. Then stop for 15 seconds and repeat the
procedure with the notes on line 2. Practicing in this
manner will eventually enable one to play the high and low
registers with the same embouchure by JUST contracting or
relaxing his lip muscles. I strongly advise against starting
with the lower register, which encourages the player to let
his lips protrude too far forward.
A student
should practice these long tones very frequently between
other technical studies so that he will continue to play
with a relaxed embouchure and will not neglect his tone
production.
For a
beginner, 20 to 25 minutes practice at a time is sufficient,
but alter two or three months he should be able to play 30
to 40 minutes. He should always stop before he becomes too
tired, for in that way he will, after two or three hours of
rest, be able to recuperate quickly and lo start again with
a fresh embouchure. Playing three or four sessions daily,
the embouchure will gradually become stronger and stronger
An advanced player may average 40 to 60 minutes or more per
session if gifted with a powerful and well-trained
embouchure.
A
Special Note About Beginners
A beginner
should not attempt to play a horn without proper
supervision. It's the first lesson which makes or breaks a
brass instrumentalist.
Also, too many
promising talents are from the beginning doomed to pass into
oblivion by choosing low quality equipment - an improperly
designed mouthpiece or an inferior instrument. A student
will easily become discouraged if required to play
sub-standard equipment with which a professional is unable
to perform.
We have today
highly competent music instructors in our schools who are
familiar with the results which can be obtained by pupils
using quality mouthpieces and instruments. But even the best
teacher cannot accomplish much if a student is poorly
equipped. To purchase a cheap mouthpiece or a second-grade
instrument is a very poor investment.
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