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Selecting a Woodwind Mouthpiece








If you are considering getting a new mouthpiece, there are many variables to consider. There are a million options ranging from beginner all-around mouthpieces to ones that are used for very specific applications. In this article, we’ll begin with some terminology, give a few tips on the mouthpiece-selection process, then we will make a few recommendations for each woodwind instrument based on what private teachers in our area prefer and what makes the most sense for an advancing musician. At the end of the article there is some information about how two contrasting manufacturers describe their sizing.

I’d like to begin by stating a fact that should be obvious, but is often overlooked: Everyone has different mouths. My lip shape is different from yours, so the mouthpiece that is going to work best for each of us will probably be different. If you’ve done any other research on mouthpieces, you may have been told that “XYZ player uses this specific mouthpiece”. While that information is nice to have, it will have no bearing on what works for YOU. Every player’s setup is completely unique and consists of the player's lip shape and mouth muscles, the mouthpiece they choose, and the horn that they play on.  


For the purposes of this article, we’ll be using an Alto Saxophone mouthpiece as the example. For other instruments like Clarinet, Bass Clarinet, Soprano Sax, Tenor Sax, and Baritone Sax the same principles apply although some of the shaping is slightly different.










































Parts of the Mouthpiece



BEAK: the exterior (top) side of the mouthpiece. This is the part you rest your teeth on. 
TIP: the opening between the mouthpiece and the reed. 
FACING: the area where the reed is held in place against the TABLE with a LIGATURE
WINDOW: the large opening of the mouthpiece where air enters. 
BAFFLE: the interior angle of the beak.
CHAMBER: the opening shape/size of the THROAT before the BORE
BORE: The interior tube of the mouthpiece.

VARIABLES

Tip Opening: the distance between the reed and mouthpiece tip. Smaller opening = Easier to blow, even intonation. Good for students, most clarinet use, and classical applications. Uses a harder reed. Larger opening = Can play louder and bend the pitch more. Better for most saxophones, jazz band and soloing, rock. Uses a softer reed.

Facing Length: The distance between the tip of the mouthpiece and where the reed contacts the table. A short facing will respond easier with less resistance and back pressure, with a more brilliant high register. A softer reed will suffice and is easier to play for beginners. A longer facing emphasizes the lower register and allow more pitch bend, with a warm reedy tone since more of the reed is in the mouth. A stronger reed is necessary for a longer facing. 

Baffle Shape: Low: a lower or less angled baffle creates a darker sound. Typically, clarinet/soprano sax mpc’s have a lower baffle. Some low baffled mouthpieces have a rolled edge that creates more overtones for a “growl” tone. 
High: a higher or more angled baffle makes a brighter sound, great for Jazz/rock playing. 

 

Chamber Size: Large chamber: the chamber is larger than the bore. The airstream widens as it moves through the mouthpiece. This is like talking through a blow horn which makes the sound full and wide.
Medium Chamber: The chamber is the same size as the bore. The airstream stays the same as it moves through the mouthpiece. This is like talking through a tube, which creates a rounded ‘core’ sound. 
Small Chamber: The chamber is smaller than the bore. The airstream narrows as it moves through the center of the mouthpiece. This is like a spotlight or a laser beam, very powerful and narrow sound. 



MATERIALS

Plastic mouthpieces: typically, plastic is used for entry-level mouthpieces because it is cheaper than Hard Rubber or metal. They are brittle and easier to break.  Sound-wise, they produce a medium tone that is good for general band class, classical or jazz. 

Hard Rubber mouthpieces: generally, HR has a darker/more mellow sound due to a less angled baffle and larger chamber. Warmer and richer than plastic. Usually used in a classical setting but many jazz HR mouthpieces exist as well. 

Metal mouthpieces: generally, have a brighter sound because they are cut with a more angled baffle and smaller chamber. Great for Jazz/Rock music, almost never used for classical playing. Metal mouthpieces are typically smaller than plastic/Hard , so they may be more comfortable to play for some (especially for BCL/Tenor/Bari players).


Finding the right mouthpiece shape and size is extremely important, and can take a lot of trial-and-error to balance these factors. Some players have several mouthpieces in their collection that they use for different purposes, as a mouthpiece that the lead soloist in a jazz band uses would likely be a lot different than someone sitting in a concert band saxophone section whose primary goal is to blend with their section mates.


































































Tips for Trying Mouthpieces

1. Figure out your priorities for things you’d like to change. 

Is it Tone? Volume? Comfort? Endurance? Range? It’s okay to want to improve all of these things, but you’ll likely have to compromise a little on some of them. Going into the practice room with an idea of the end goal will help you narrow down your search, and help our employees make educated, personalized suggestions to you.

 

2. Bring your own equipment. 

Playing on your own horn and having your own mouthpiece will let you have a “control” to compare against as you experiment with different mouthpieces. With your own instrument, you already know how things are supposed to feel and sound, and can make more informed decisions instead of relying on memory. Of course, we’ll have a horn to borrow if you leave yours at home. 

 

3. Play a variety of music on each mouthpiece. 

Even if you are looking for a mouthpiece to play altissimo with, it’s important to try a variety of styles to make sure it’s comfortable in all registers and styles. TAKE YOUR TIME with each mouthpiece, don’t make a snap decision. We recommend giving each mouthpiece a quick warm up, a range exercise, something slow and pretty, and something quick and loud. Feel free to bring in your own music or borrow a book to play from. 

 

4. Try a few different models/styles. 

If you’ve only played on one mouthpiece before, it can be extremely helpful to experiment! You can research options ahead of time (this article counts as research!), but you never know what might work best for YOU. Even before you come into the music store, talk to your teacher and see if they have other mouthpieces to try or ask another player to try theirs (Just be sure to clean them carefully to avoid spreading germs). When you come into the store, we encourage you to take several options into the room and sample them against each other and against your own mouthpiece. Oftentimes, people are surprised how much they like the feeling of one they weren’t even planning to try. 

 

5. Listen to your private teacher. 

If you’re working with a private teacher or coach, get their opinion. They might have several options for you to try, but they will have the most knowledge about how YOU play, what your goals are, and how to correct specific weaknesses or achieve a certain sound. Your teacher’s opinion is valuable! Always keep your own preferences and budget in mind as well.










































Our Recommendations

*This list is a work-in-progress

Alright, you’ve done your research, but you’re still unsure of what mouthpiece to purchase. If  you’re looking for some guidance as to which ones to try, here’s a list of the mouthpieces that our local private teachers and band directors are recommending. We have lots of mouthpieces to try out!

Bb Clarinet
Starting out: 
Yamaha 4C or Fobes Debut
Step-up:
Vandoren BD5:  
D'Addario Reserve X10Inspired by the most prized vintage mouthpieces of the 1920s.

 

Bass Clarinet
Starting out: 
Fobes Debut
Step-up:
Vandoren B45•: Very responsive and provides a round and full bodied sound.

 

Soprano Saxophone
Starting out: 
Yamaha 4C
Step-up:
Rousseau NC4

 

Alto Saxophone
Starting out: 
Yamaha 4C or Fobes Debut
Step-up:
Selmer S90 180
Rousseau NC4:
D'addario Select Jazz 6:

 

Tenor Saxophone
Starting out: 
Yamaha 4C or Fobes Debut
Step-up:
Rousseau 5R: 
D'addario Select Jazz 6

 

Baritone Saxophone
Starting out: 
Yamaha 5C
Step-up:
Rousseau 5R: 


Sizing Guide

In general, a larger number (or letter) means a larger tip opening. That being said, numbers between brands have almost no correlation to each other. You can use the chart below to get a sense of which mouthpieces are similar tip openings to one another, but the other variables (like facing length or chamber shape) are almost never noted in the model number. This is why it is best to actually PLAY the mouthpieces against each other to get a sense of how they differ. 























































































 

Wrapping it Up

You can tell by now that the most important step to finding a new mouthpiece is experimentation. It may take a few tries to find the perfect mouthpiece for you, and as you progress as a player, you may find that what worked in the past is no longer ideal, and you have to start the search over again. If you can understand how they are different you can decide what is best for you. Small changes can create dramatic differences, but don’t forget the most important fact: The best mouthpiece is the one that makes you want to play your horn.

Thank you so much for reading, and if you have any questions, we would be happy to talk in store, or you can send us an email at: Sales@wvmc.net

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