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The mouthpiece on brass instruments is the part of the instrument placed on the player's lips. The mouthpiece is a circular opening that is enclosed by a rim and that leads to the instrument via a semi-spherical or conical cavity called the cup. From the cup, a smaller opening (the throat) leads into a tapered cylindrical passage called the backbore. The backbore is housed in a tapered shank, which is inserted into an opening called the receiver on the main body of the instrument.
On all brass instruments, sound is produced when the player's vibrating lips (embouchure) cause the air column, i.e. the air enclosed inside the instrument, to vibrate. This is done by pressing the lips together and blowing air through them in order to produce a 'buzz.' The mouthpiece is where this lip vibration takes place. On most instruments, the mouthpiece can be detached from the main instrument in order to facilitate putting the instrument in its case, to use different mouthpieces with the same instrument, or to 'play' the mouthpiece by itself to exercise the player's embouchure.
Different mouthpieces will produce different qualities of tone when used with the same instrument. Lower instruments also have larger mouthpieces, to maximize resonance (see pitch of brass instruments). Also, mouthpieces are selected to suit the embouchure of the player, to produce a certain timbre, or to optimize the instrument for certain playing styles. For example, trumpet and trombone mouthpieces are usually semi-spherical whereas French horn mouthpieces are conical.
The mouthpiece has a large effect on instrument sound. Major effects are due to the shape of the cup, shape of the backbore, and the inner rim diameter. In addition, players often choose a mouthpiece that complements their playing style. In general, brass players who concentrate on the upper range prefer a mouthpiece with a smaller inner rim diameter, and players who emphasize the lower range prefer a larger one. The cup depth also heavily influences the tone of the brass instrument. A shallow cup may "brighten" the sound, meaning that upper overtones are brought out more, while a deep cup can "darken" the sound, emphasizing lower overtones. However, these results will vary from player to player, depending on many personal factors.
No. | Mouthpiece element | Effect on playing | Typical size/nature (Trumpet) | Typical size/nature (Tuba) |
---|---|---|---|---|
1. | Inner rim diameter | Larger inner rim diameters are optimized for lower ranges, giving a richer tone. Smaller diameters assist high range playing. | 16 mm (0.63 in) | 32 mm (1.3 in) |
2. | Rim width | Wider rim widths reduce the pressure on the lips, allowing greater stamina. It does, however, reduce flexibility. | 5, 6 or 7 mm (0.20, 0.24 or 0.28 in) | 6 mm (0.24 in) |
3. | Rim contour | Flatter rim contours tend to appear on rims with sharper edges (see below). | Varied | Varied |
4. | Rim edge (or bite) | Sharper rim edges reduce stamina but increase control. More smoothed rims are commonly found on deeper cups. | Varied | varied |
5. | Cup depth | Shallower cups greatly assist playing in high ranges but do so at the cost of fullness of tone. Deeper cups assist low range flexibility and rich tone. | Around half the inner rim diameter. | 3⁄4 to 2 times the inner rim diameter. |
5. | Cup shape | Semi-spherical cups have brighter, more projected tones, while conical cups have less tone definition (see throat contour, below). | Semi-spherical | Both |
6. | Throat contour | In semi-spherical cups, a sharper throat contour gives a more harsh, projected tone and a rounded contour gives a deeper, richer tone. Conical cups with a smooth throat have less definition. | Relatively sharp | Usually rounded |
6. | Throat diameter | Larger throat diameters give more volume but less control. Smaller diameters have much more control but significant volume limitations. | 3.6 mm (0.14 in) | 7.6 mm (0.30 in) |
7. | Backbore | More conical backbores give a richer tone, while more cylindrical ones give a brighter, more projected tone. | Fairly cylindrical | Varied |
Note: in this table:
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Makers commonly construct mouthpieces from one of two types of material, with different costs, properties, and features. Metal mouthpieces can be plated with some other metal. Some of the following assertions, especially those regarding the effect of plating on tone color, are questioned by many players and specialists.[ who? ][ citation needed ]
Mouthpieces have traditionally been formed of solid brass. Due to brass often containing lead and being toxic upon contact, brass mouthpieces are usually plated with either gold or silver to protect the player from potential brass poisoning. [1]
Plastic mouthpieces are usually made of Lexan plastic, and are often available in various colors. They are durable and don't dent as do metal mouthpieces. Less expensive than metal mouthpieces, players commonly use them when playing outdoors—particularly marching brass players—because their heat conductivity is far less than in a metal mouthpiece. Players who prefer metal mouthpieces generally believe plastic mouthpieces have an inferior tone quality and feel compared to metal.[ citation needed ]
Recent additions to the mouthpiece world include stainless steel, [2] titanium, and wood. [3] They are relatively rare, produced by few manufacturers. Some players[ who? ] feel stainless steel and titanium mouthpieces provide advantages over the classic brass mouthpiece, including, anecdotally, a more centered feel and sound,[ dubious ][ citation needed ] as stainless steel and titanium do not absorb as many vibrations as brass,[ citation needed ] they require much less care, etc.—but they are much more expensive. (Titanium mouthpieces cost up to US$400 each.[ citation needed ])
Silver plating is common on all brass mouthpieces because it is cost-effective and good in terms of tone quality. It is also moderately germicidal. Silver plating is not as comfortable[ citation needed ] or as expensive as gold, but has properties and qualities that some feel facilitate certain styles of playing[ dubious ]. Some[ who? ] believe that silver plate provides a clearer, darker sound than gold[ dubious ] and is good for styles of playing that require clarity and projection. Silver-plate is less expensive than gold, but requires more maintenance because it tarnishes easily. Slightly tarnished silver-plate can be polished back to its brightness with silver polish.
Some players[ who? ] believe gold-plated mouthpieces on brass instruments create a fuller, richer tone that can also be somewhat darker timbre.[ dubious ][ citation needed ] For people allergic to the nickel found in most silver, this is the best (but not cheapest) way to play a brass instrument without discomfort. Gold does not tarnish, and subsequently requires little maintenance apart from regular washing with soap and water. The extreme price of gold, however, means that the plating is usually relatively thin and thus fragile, and can even be worn away with use.
Each mouthpiece company uses a different labeling system. A larger number can mean a larger or smaller mouthpiece depending on the company. Likewise, the letters mean different things depending on the company. Even if companies appear to share marking systems it may be that same-marked mouthpieces from different manufacturers are different, although usually the differences are relatively small. There is no universally-recognized industry standard.
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones or labrophones, from Latin and Greek elements meaning 'lip' and 'sound'.
Embouchure or lipping is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument. The word is of French origin and is related to the root bouche, 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles.
The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular. A musician who plays a horn is known as a horn player or hornist.
The harmonica, also known as a French harp, mouth harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, jazz, country, and rock. The many types of harmonica include diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. The most common is the diatonic Richter-tuned with ten air passages and twenty reeds, often called the blues harp. A harmonica reed is a flat, elongated spring typically made of brass, stainless steel, or bronze, which is secured at one end over a slot that serves as an airway. When the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound.
The saxophone is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the instrument's body. The pitch is controlled by opening and closing holes in the body to change the effective length of the tube. The holes are closed by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. A person who plays the saxophone is called a saxophonist or saxist.
The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard B♭ or C trumpet.
The sousaphone is a brass instrument in the tuba family. Created around 1893 by J. W. Pepper at the direction of American bandleader John Philip Sousa, it was designed to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads of the band. Like the tuba, sound is produced by moving air past the lips, causing them to vibrate or "buzz" into a large cupped mouthpiece. Unlike the tuba, the instrument is bent in a circle to fit around the body of the musician; it ends in a large, flaring bell that is pointed forward, projecting the sound ahead of the player. Because of the ease of carrying and the direction of sound, it is widely employed in marching bands, as well as various other musical genres. Sousaphones were originally made of brass. Beginning in the mid-20th century, some sousaphones have also been made of lighter materials such as fiberglass & plastic.
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B♭ (while the alto is pitched in the key of E♭), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as "tenor saxophonists", "tenor sax players", or "saxophonists".
Plating is a finishing process in which a metal is deposited on a surface. Plating has been done for hundreds of years; it is also critical for modern technology. Plating is used to decorate objects, for corrosion inhibition, to improve solderability, to harden, to improve wearability, to reduce friction, to improve paint adhesion, to alter conductivity, to improve IR reflectivity, for radiation shielding, and for other purposes. Jewelry typically uses plating to give a silver or gold finish.
The Western concert flute is a family of transverse (side-blown) woodwind instruments made of metal or wood. It is the most common variant of the flute. A musician who plays the flute is called a “flautist” in British English, a “flutist” in American English.
Gold plating is a method of depositing a thin layer of gold onto the surface of another metal, most often copper or silver, by chemical or electrochemical plating. Plating refers to modern coating methods, such as the ones used in the electronics industry, whereas gilding is the decorative covering of an object with gold, which typically involve more traditional methods and much larger objects.
A multiphonic is an extended technique on a monophonic musical instrument in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research.
The galvanic series determines the nobility of metals and semi-metals. When two metals are submerged in an electrolyte, while also electrically connected by some external conductor, the less noble (base) will experience galvanic corrosion. The rate of corrosion is determined by the electrolyte, the difference in nobility, and the relative areas of the anode and cathode exposed to the electrolyte. The difference can be measured as a difference in voltage potential: the less noble metal is the one with a lower electrode potential than the nobler one, and will function as the anode within the electrolyte device functioning as described above. Galvanic reaction is the principle upon which batteries are based.
A string is the vibrating element of chordophones such as the guitar, harp, piano, and the violin family, that produces sound. Strings are lengths of a flexible material that a musical instrument holds under tension so that they can vibrate freely, but with control. This is to make the string vibrate at the desired pitch, while maintaining a low profile and sufficient flexibility to play in action.
A single-reed instrument is a woodwind instrument that uses only one reed to produce sound. The very earliest single-reed instruments were documented in ancient Egypt, as well as the Middle East, Greece, and the Roman Empire. The earliest types of single-reed instruments used idioglottal reeds, where the vibrating reed is a tongue cut and shaped on the tube of cane. Much later, single-reed instruments started using heteroglottal reeds, where a reed is cut and separated from the tube of cane and attached to a mouthpiece of some sort. By contrast, in a double reed instrument, there is no mouthpiece; the two parts of the reed vibrate against one another. Reeds are traditionally made of cane and produce sound when air is blown across or through them. The type of instruments that use a single reed are clarinets and saxophone. The timbre of a single and double reed instrument is related to the harmonic series caused by the shape of the corpus. E.g. the clarinet is only including the odd harmonics due to air column modes canceling out the even harmonics. This may be compared to the timbre of a square wave.
The mouthpiece of a woodwind instrument is that part of the instrument which is placed partly in the player's mouth. Single-reed instruments, capped double-reed instruments, and fipple flutes have mouthpieces while exposed double-reed instruments and open flutes do not. The characteristics of a mouthpiece and reed can play a significant role on the sound of the instrument.
The mouthpiece is the part of a horse's bit that goes into the mouth of a horse, resting on the bars of the mouth in the sensitive interdental space where there are no teeth. The mouthpiece is possibly the most important determinant in the severity and action of the bit. Some mouthpieces are not allowed in dressage competition.
Embouchure collapse, "blowing one's chops" is a generic term used by wind instrument players to describe a variety of conditions which result in the inability of the embouchure to function. The embouchure is the purposeful arrangement of the facial muscles and lips to produce a sound on a wind or brass instrument. In brass playing, it involves vibration of the membrane area of the lips.
Saxophone technique refers to the physical means of playing the saxophone. It includes how to hold the instrument, how the embouchure is formed and the airstream produced, tone production, hands and fingering positions, and a number of other aspects. Instrumental technique and corresponding pedagogy is a topic of much interest to musicians and teachers and therefore has been subjected to personal opinions and differences in approach. Over the course of the saxophone's performance history, notable saxophonists have contributed much to the literature on saxophone technique.