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 (apart from those using pirouettes) and open flutes do not. The characteristics of a mouthpiece and reed can play a significant role on the sound of the instrument.
On single-reed instruments, such as the clarinet and saxophone, the mouthpiece is that part to which the reed is attached. Its function is to provide an opening through which air enters the instrument and one end of an air chamber to be set into vibration by the interaction between the air stream and the reed. Single-reed mouthpieces are basically wedge shaped, with the reed placed against the surface closest to the player's lower lip (the table). The player's breath causes the reed to vibrate. The reed beats against the mouthpiece, and in turn causes the column of air inside the instrument to vibrate. The top half to three-quarters of the table is open to the inside of the mouthpiece.
As with the brass instruments, the shape of the interior of the mouthpiece can greatly affect the sound of the instrument. Mouthpieces with a large, rounded chamber will produce a quite different sound from one with a small or square chamber.
The distance between the tip of the mouthpiece and the tip of the reed is known as the tip opening. The tip opening has little effect on tone, which is more affected by the design of the mouthpiece's chamber (interior space). [1]
The facing (or lay) is a curved section that leaves the flat table and continues to the tip of the mouthpiece. The length of a facing—defined as the distance from the tip of the mouthpiece to the point where the reed and mouthpiece meet—can vary. [2] Different facing lengths have different response properties.
The reed is held tightly against the mouthpiece by a ligature. Anything that can hold the reed on the mouthpiece may serve as a ligature. Commercial ligatures are commonly made of metal or plastic. Some players (including many German clarinetists) prefer string or a shoelace, which is wrapped around the reed and the mouthpiece, to commercially manufactured ligatures.
The clarinet mouthpiece is narrow inside, typically with straight side walls.[ clarification needed ] through the throat. The bottom of the mouthpiece is formed with a tenon that is ringed with cork.
Today, as with the saxophone mouthpiece, the reed is placed against the surface (the table) closest to the player's bottom lip. However, this was not always so: The earliest clarinetists would often place the reed on top of the mouthpiece. [3]
Bernhard Crusell (1775–1838) was one of the first clarinettists of note to consistently place the reed against the bottom lip.[ citation needed ]
Of particular note is Reginald Kell who was known for using a "double embouchure", also known as "double lip".[ citation needed ] This is a technique popular in the UK up to the 1960s, whereby the reed is placed against the lower lip, which covers the lower teeth—as in the single embouchure—and additionally, the upper lip is tucked in between the top of the mouthpiece and the upper teeth.
Some clarinetists in Madagascar today still play with the reed on top as can be heard[ clarification needed ] on the CD Bémiray: Polyphonies des Hauts-plateaux. [4]
Clarinet mouthpieces are available in hundreds of styles from dozens of manufacturers around the world. Mouthpieces are often named after famous performers who contribute to their designs. Popular mouthpiece makers include Selmer, Vandoren, Yamaha, and Rico.
The saxophone mouthpiece is outwardly similar to that of the clarinet but has no tenon. Instead, the saxophone's neck has a ring of cork glued to it, and the mouthpiece fits firmly onto the neck cork.[ clarification needed ]
Saxophone mouthpieces are available in hundreds of styles from dozens of manufacturers around the world. Mouthpieces are often named after famous performers who contribute to their designs.
When Adolphe Sax invented the saxophone, he specified the shape of the interior of the mouthpiece as being large and round. All saxophone mouthpieces were made in this style until the 1930s, when the advent of big-band jazz made saxophonists experiment with different shapes of mouthpieces to get a louder and edgier sound. A baffle, or section of the mouthpiece roof sloped close to the plane of the reed, became a design feature for enhancing volume and projection. Between 1940 and 1960, it became common for classical saxophonists to use narrow-chamber mouthpieces based on those designed for jazz use. These mouthpieces give the instrument a brighter and edgier sound (more high partials) than the traditional shape as designed by Sax. One saxophonist and teacher, Sigurd Raschèr, spoke out against this change in mouthpiece design. He believed that when used in classical music, the saxophone should sound as its inventor, Adolphe Sax, had intended, and that the gradual change to narrower and "brighter" sounding mouthpieces was a distortion of Sax's tonal concept. His students and other disciples felt that the desirable tone for a classical saxophone was a softer, rounder sound—a sound that can only be produced by a mouthpiece with a large, rounded interior (often referred to as an "excavated chamber"). By 1970, narrow-chambered mouthpieces had become nearly universally popular for playing in an environment with amplified instruments, and virtually all new designs featured a narrow chamber, high baffle, or both. Large-chambered and low-baffle pieces continue to be produced for those who seek the tonalities of classical music and "classic jazz."
In recent years, new design techniques have emerged such as 3D printing, which allows for the creation of custom saxophone mouthpieces. This innovation was the result of research carried out in IRCAM's scientific and acoustic research laboratory thanks to two acousticians, founders of Syos. [5]
Clarinet and saxophone mouthpieces [6] have been made out of hard (vulcanized) rubber, brass or other metal, crystal, glass, plastic, and wood. Today, the most common material for professional clarinet and (classical) saxophone mouthpieces is hard rubber. Jazz saxophone mouthpieces are made out of hard rubber, metal, or (rarely) wood. There is some debate over whether the material affects the tone, or whether tone is shaped only by the internal shape and dimensions of the mouthpiece. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. [7] Some recent designs by Van Doren, Bari, and Saxgourmet reflect the theory that the mass of metal over the shank of the mouthpiece, which contacts the neck cork, stabilizes the connection and enhances the integrity of the harmonic series.
On a capped double-reed instrument the function of the mouthpiece is simply to provide a chamber within which the reed can vibrate, with a hole through which air can be blown.
On a fipple flute the mouthpiece, or fipple, provides a shaped passageway for air to be blown against an edge, producing turbulent flow which excites the resonant vibrational modes of the air column.
A pirouette is a wooden mouthpiece assembly or lip rest used in some European double-reed instruments, including the piffero, shawm and rackett. In band shawms, it is carried on the staple on which the reed is mounted [8] On the European shawm, the pirouette replaces the loose disc of the oriental surna, presumably to secure lip-control over the cane reed. The player presses his lips against the pirouette while holding the reed in his mouth. This permits control of the reed by the lips without appreciably affecting the amplitude of its vibration. [9]
A preference as to material used is up to the individual, and the advantages of each are a matter of controversy. Mouthpieces of various materials with exactly the same dimensions, including the chamber and outside measurements as well as the facing, play very nearly the same.
The clarinet is a single-reed musical instrument in the woodwind family, with a nearly cylindrical bore and a flared bell.
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 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.
Woodwind instruments are a family of musical instruments within the greater category of wind instruments.
A reed is a thin strip of material that vibrates to produce a sound on a musical instrument. Most woodwind instrument reeds are made from Arundo donax or synthetic material. Tuned reeds are made of metal or synthetics. Musical instruments are classified according to the type and number of reeds.
The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods, after which it was gradually eclipsed by the oboe family of descendant instruments in classical music. It is likely to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double-reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the ancient Greek, and later Byzantine aulos, the closely related sorna and zurna, and the Armenian duduk.
The chalumeau is a single-reed woodwind instrument of the late baroque and early classical eras. The chalumeau is a folk instrument that is the predecessor to the modern-day clarinet. It has a cylindrical bore with eight tone holes and a broad mouthpiece with a single heteroglot reed made of cane. Similar to the clarinet, the chalumeau overblows a twelfth.
Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player.
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".
A double reed is a type of reed used to produce sound in various wind instruments. In contrast with a single reed instrument, where the instrument is played by channeling air against one piece of cane which vibrates against the mouthpiece and creates a sound, a double reed features two pieces of cane vibrating against each other. This means, for instruments with the double reed fully exposed, that the air flow can be controlled by the embouchure from the top, bottom and sides of the reed. The term double reeds can also refer collectively to the class of instruments which use double reeds.
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.
Vandoren is a manufacturer of mouthpieces, reeds, and accessories for the clarinet and saxophone families.
Ronald Caravan is an American classical musician. He is a clarinetist, saxophonist, teacher, composer, and arranger.
A ligature is a device which holds a reed onto the mouthpiece of a single-reed instrument such as a saxophone or clarinet. The ligature must secure the reed firmly against the table of the mouthpiece while allowing it to vibrate freely. The earliest ligatures were lengths of string wrapped over the reed and tied. Iwan Müller invented a metal ligature to replace twine. String is still used by clarinetists, especially in Germany. Modern German mouthpieces have a groove cut into the outside of the mouthpiece to facilitate wrapping with a string ligature. Some modern clarinetists even opt to use shoestring as a ligature substitute as it is more easily adjustable than string. Other modern clarinetists use electrical tape as a ligature.
Reed aerophones is one of the categories of musical instruments found in the Hornbostel-Sachs system of musical instrument classification. In order to produce sound with these Aerophones the player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.
A wind instrument is a musical instrument that contains some type of resonator in which a column of air is set into vibration by the player blowing into a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece, while yet others require the player to blow into a hole at an edge, which splits the air column and creates the sound.
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.
The double-lip embouchure is a type of embouchure used in playing woodwind instruments like oboe and bassoon, and occasionally clarinet and saxophone. It contrasts with the single-lip embouchure in that both lips cover the dental surfaces.
