Archives | Classifieds | JFB | Thursday, May 9, 2019

Mouthpiece Meditations, Part 2

Larry Roth - xaxnar@aol.com
This series began by establishing that a good mouthpiece is one
which: A) is comfortable, and B) works for what the player is
trying to do. While this seems obvious enough, meeting these
deceptively simple criteria is not easy.

Ideally a mouthpiece should be matched to the player, the

instrument, and the circumstances in which it will be used, each
of which can vary greatly. Finding a balance between these three Doug Elliot and Dennis Wick
factors has inspired the creation of a confusing variety of Mouthpieces
mouthpieces of different sizes, styles, weights, etc., and a number
of theories to go with them. This months installment will attempt
to make some sense of the myriad ways mouthpiece makers have Related Info
attempted to produce "something that's comfortable and works." References
Mouthpieces fall into two broad categories, ranging from stock Mouthpiece Meditations,
mouthpieces turned out by manufacturers based on traditional Part 1
designs, to those from specialists pursuing their own particular Mouthpiece Meditations,
vision. (Some also make a distinction on the basis of 'commercial Part 3
vs. legitimate'.) The vast majority of designs are circular in cross Mouthpiece Meditations,
section, but the other dimensions can vary, sometimes radically. Part 4
Mouthpieces may be solid one-piece units, or they may be
assembled from screw-together components. Further, there are a Mouthpiece Meditations,
variety of materials used to make them. (Fink, 28) Part 5
Giardenelli Music
However, despite the variables, all mouthpieces are used in the Monette website
same manner. When the lips meet the mouthpiece:
Selmer Music:
1. There is pressure from the mouthpiece as it is pushed Mouthpieces
against the lips. Tru-Vu mouthpiece
2. There is pressure in the other direction as air is forced
Douglas Yeo's Website
between the players lips.
3. There is tension in the lips as the muscles are tightened.
4. There is back pressure from the mouthpiece and the trombone in the form of resistance
to the flow of air.
5. There is: positioning of the lips on the mouthpiece, jaw movements, tongue
movements, tilting, changes in posture, breathing, etc

Air moving over the lips causes them to vibrate within the constraints imposed by the
mouthpiece and the players efforts. In turn those vibrations are imposed on the air stream,
creating sound waves. The sound waves (and air) travel through the mouthpiece into the
horn, which acts as a resonating device. (Vaughn, 1997)
While all of this is going on, the trombonist is (or should be) listening to the sound and
sorting through the physical sensations resulting from these actions. The brain is processing
this information both consciously and subconsciously in order to produce the desired results.
(The trombonist may also be trying to read music, listen to those around him or her,
following the conductor, etc..)

What do the different elements of a mouthpiece have to do with all of this? The effects fall
into two overlapping areas: effects on the sound produced, and effects on the effort/comfort
levels needed to produce that sound.

First, we need to define some terms. Here is a glossary and diagram of some of the more
prevalent terms used to describe the elements of a mouthpiece. The list is not exhaustive, and
definitions are based in part on the usage and context in which the terms were found and my
own understanding of the concepts involved. Consider this list a point of departure, and make
adjustments accordingly.

Rim Shots

"Which parts of a mouthpiece are important?" Gordon Cherry, Principal Trombonist of the
Vacouver Symphony, has the following ideas. "Most important is the feel of the rim. If the
feel of the rim is not correct, then the player loses all confidence and cannot make accurate
entrances or phrases."

The rim is critical to how a mouthpiece feels and plays - its where the player makes contact
with the instrument, and any mismatch could affect the entire combination of player,
mouthpiece, and trombone. All elements of the rim, the inner diameter, thickness, contour,
and bite must work together to produce the optimum match to the individual peculiarities of
the players embouchure and ability.

The inner diameter is the most important factor in this group. Generally, a smaller diameter
makes it easier to play in the higher registers, while a larger diameter is needed for the low
end of the range. Large and small are relative terms, however; the size of a players lips (thick
or thin), the players mouth size and jaw structure, and the amount of control the player has
over the lip muscles must be taken into account as well.

Someone with thick lips may require a larger mouthpiece to give their embouchure enough
room to hit pedal notes, while the thin-lipped player might need a smaller mouthpiece to be
able to reach the top end of their range comfortably. Symptoms of a rim's inner diameter that
is the wrong size also include: lack of endurance, consistently poor pitch (sharp or flat), and
tone that may be either too thin and scratchy, or dark and fuzzy.

Rim thickness and shape can also be thought of with regard to comfort. Both a thick rim and
a flat rim will spread pressure more broadly over the lip than a narrow rim or a rounded rim,
helping endurance; but they may also reduce lip flexibility, adversely affecting response.

Conversely, a narrow rim may improve flexibility at the cost of reduced endurance. A rim
with a pronounced crown will give the player a more definite sense of where the mouthpiece,
is on the lips. For some players, a pronouned crown provides a measure of security in setting
the mouthpiece. The downside is that it cuts into the lips more deeply than a flat/broad rim,
possibly decreasing endurance.
The relative amount of rim bite (sharp vs. gently rounded curve) also may affect endurance
and response. A sharper bite may give the trombonist more control over what is happening
with the lips, but may hurt endurance if the edge is too sharp. Further, the player whose
embouchure habitually works against the outer edge of the rim should also take into
consideration how sharp or round it is.

It should be noted that as well as considering player lip size (thick vs. thin) in balancing these
elements, another factor that needs to be considered is the amount of pressure the player
habitually uses. Some people use quite a bit more than others, which can affect endurance.

Trombonists doubling on euphonium, or who use different trombones on a regular basis, may
have to consider whether or not they can use one mouthpiece for all, or if they should use the
mouthpiece which seems appropriate for the horn. Messages posted to the trombone listserve
suggest that at least some players find they are more comfortable using a mouthpiece that fits
the horn they're playing; others have problems if they try to use different mouthpieces.
Reginald Fink, citing Vincent Bach as a source, warns that switching between mouthpieces
with overlapping rim dimensions can cause embouchure problems. (Fink, 28 )

This warning is based on a theory that over time a groove is worn into the lips by the erosion
of fat particles from within the muscles of the lip by the pressure of the mouthpiece rim.
According to Fink, playing more than 45 minutes at a time with a mouthpiece of slightly
different rim size than the players usual choice disrupts the groove, affecting placement and
control. To the extent that this theory is true, it suggests that: A) changing any of the
elements of the rim, especially the inner diameter, should be approached with caution, and B)
finding the optimum set of rim elements is a matter that should be given some weight when
selecting a mouthpiece.

The Cup Runneth Over; Deep Throat Meets The Bore

Just as the rim produces differing effects with differing elements, so does the part the cup of
the mouthpiece plays. A deep cup yields a bigger, darker sound while a shallow cup
brightens it and eases achieving higher notes. "V" shaped cups funnel air through the
mouthpiece rather quickly; lowering resistance and aiding in projection; but have less total
volume, while "C" cups tend to impede the flow of air somewhat (increasing resistance), but
add warmth to the tone.

John and Phyllis Stork assert in their book "Understanding the Mouthpiece" that some
players have lips that protrude farther into the mouthpiece than others. If the cup is too
shallow, there's not enough room for the lips, the overall sound is smaller, and the tone may
become brittle. Those for whom the cup is too deep, however, the result is a volume of air
which is larger than the player can move efficiently; intonation and sound brilliance suffer.
(Its not clear how much of this is a problem for trombone players with their large
mouthpieces versus, for instance, trumpet players with their smaller mouthpieces.)

Using this theory, a player who needs a deep cup, but finds it holds more air than he can
handle, can compensate by moving towards a "V" cup shape, which still provides depth
while reducing the total volume. Players who want a shallow cup for their higher registers,
but need more room, can move towards a larger "C" cup.
Determining how far into the mouthpiece ones lips protrude or how ones overall embouchure
fits can be difficult to ascertain. Tubist Ellis Wean of the Vancouver Symphony has what
may be the answer. Wean has developed the Tru-Vu mouthpiece which are machined from
transparent cast acrylic plastic (with an opaque Delrin shank). According to Wean, the
mouthpiece allows a clear view of the lips, letting the player see what he or she is doing with
the embouchure while playing.

Wean has developed Tru-Vu models for trumpet, horn, trombone, bass trombone, and tuba.
He also has a videotape which details how the mouthpiece can be used. Additionally, he
claims it produces a sound comparable to regular mouthpieces while being lighter; players
with braces on their teeth supposedly have found it more comfortable.

The throat, bore and backbore should complement the qualities of the cup. For example, the
depth of the throat can interact with the effects produced by the depth of the cup. A deeper
throat can partially compensate for a shallow cup and vice versa.

According to the Storks, the throat, bore, and backbore have their greatest effects on the
resistance of the mouthpiece. While a certain amount of resistance is necessary for a player to
produce a tone, too much results in "stuffiness", with a small brittle sound. The player cant
put enough air through the mouthpiece. Conversely, too little resistance leads to a fuzzy tone,
poor response, and the player gasping for breath.

Either condition can affect the amount of effort needed to play consistently on pitch.
Changing the throat, bore, and backbore can each separately affect how much air can pass
through the mouthpiece, and how much effort is required to move the air at the desired
velocity.

Since different instruments by themselves may exhibit different amounts of resistance, it

follows that a mouthpiece which provides a good balance of resistance with one horn may
have too much or too little with another model. Where a player has found a combination of
rim and cup that work well with one trombone, it may still be necessary to adjust the throat,
bore, or backbore to get the right amount of resistance for another horn.

Finally, individuals differ in the amount of air they can effectively handle. Two players might
be comfortable with the same rim and cup parameters, but find widely differing levels of
resistance tolerable, even on the same model trombone.

Matters of Substance

Conceivably, a mouthpiece can be manufactured from anything capable of being shaped

precisely and holding that shape through the stresses of playing. (Has anyone ever run across
a ceramic mouthpiece? Glass?) In practice, most are made of silver-plated brass. Other
substances may be substituted for reasons of aesthetics, comfort, or function. Some players
prefer gold-plating because of its appearance, others because of the way it feels. Allergies
may be another reason for alternative materials. The Tru-Vu mouthpieces mentioned above
are made of plastic so they can be seen through, but plastic can be used for other reasons,
such as comfort or cold-weather playing. (Bach offers screw-on plastic rims for this
purpose.)
Whatever substance is chosen to make a mouthpiece, a factor that has come to be given
varying amounts of importance is the question of its mass. How heavy should it be, and
where should the mass be distributed?

The designs of David Monette, in particular, place a great deal of importance on mass.
Information on the Monette website states that Monette mouthpieces are consistent in pitch,
timbre, and response over a full range of dynamics, from high to low pitches, and supposedly
produce a richer and more resonant sound. They are also markedly heavier than conventional
mouthpieces. Monette has developed an elaborate set of directions on how best to use his
designs, calling for matching them to a particular model horn and adjusting body posture and
style of playing.

The idea that heavier mouthpieces somehow improve tone, pitch center, etc. is not unique to
Monette. The Vincent Bach Company (Selmer) offers a line of Megatone mouthpieces which
are machined from oversize blanks to make them roughly twice the weight of a standard
Bach mouthpiece. Giardinelli Music Company offers a "Tone Intensifier." It is a metal ring
which slips over the shank of the mouthpiece and snugs in tight under the cup by friction. It
supposedly aids in projection and improves the sound of the instrument. In an interview,
Phyllis Stork discusses the effect of heavier mouthpieces. She notes that they can darken the
sound, add intensity, and stabilize tone quality. They can also decrease projection and
response.

She further notes that mouthpiece mass preferences among players vary in chronological
cycles. In the 40s, players, including Tommy Dorsey, were using sterling silver mouthpieces
for more weight. In the 60s, players were having their mouthpieces "skeletonized", removing
metal from the exterior to improve projection and response.

Doug Elliott offers a contrary view, suggesting that the advantage of sterling silver is that it
needs no plating (which could wear off). Citing a Rudy Mark mouthpiece catalog from 1937,
he observed that it didn't seem to claim any special qualities for mouthpieces which weighed
more.

Table, Please!

This table is intended to summarize much of the above as a quick reference. If you are
considering using a different mouthpiece, you can use the table to sort out benefits versus
problems, and key in on which particular elements you might wish to experiment with first.
Note that different elements can have overlapping effects, and be sure to read the disclaimer
below and the more extensive explanations above.

Disclaimer!

A mouthpiece should not be confused with a magic wand. Changing mouthpieces will not
obviate the need for sufficient practice, substitute for well-developed technique, or magically
correct embouchure problems, no more (to revisit the first installment's analogy) than putting
on a particular brand of running shoes will make you a world-class track star. The most the
change will do is make some of the things you are trying to do easier. Keep the following
points in mind:
 1. The same conditions will produce different results for different individuals and
different instruments - you have to try them to see what happens for you. One size does
not fit all, and terms like large small, shallow, deep, thick, thin, etc., are all relative.
2. The effects listed above may prove more or less achievable for different people, the
theories which explain them may or may not be correct to the same extent. Take them
with a grain of salt and be prepared to consider alternatives--your mileage may vary.
Many of th theories and explanations above are based on empirical data; there's a
significant difference between knowing what something does and knowing why it does
it.
3. I suspect much of this lore is based on the experiences and beliefs of trumpet players.
How well it translates to trombone playing may be debatable.
4. Many theories are espoused by mouthpiece makers with their own agenda. Caveat
emptor!

The mouthpiece is the thing. . . . .or is it?

It is interesting to note that the effects on the sound allegedly produced by various
mouthpiece elements can also allegedly be obtained by selecting differing elements in a
trombone. A page on the Selmer Web site discusses how different trombone bell shapes,
sizes, weights, materials, etc. all have a particular effect on the sound that comes out of the
horn. As a mental exercise, substituting "mouthpiece" for "bell" in that discussion helps place
all of the above in perspective.

If you are interested in one mans search for a better mouthpiece, check out the Web pages of
Doug Yeo, bass trombonist for the Boston Symphony. He spent several years working with
Yamaha to develop and refine a better mouthpiece for his bass trombone. Whether or not you
give credence to all of the things mouthpiece design is supposed to be able to do, the process
Yeo went through makes fascinating reading if you've ever wished you could get your own
mouthpiece "just right."

Much is claimed, but little is guaranteed. Nevertheless, looking at these ideas in an organized
fashion is the best way to find which ones might work for you. The next installment in this
series will give you some practical suggestions on how you can get started, assuming you
feel a change is in order.

About the Author...

Larry Roth began playing the trombone in the fifth grade, and has yet to succeeded in getting
away from it. A technician for a State Health Department, Roth is a 'Weekend Warrior" with
the Delmar Community Orchestra, the H-M-S Marching Band, the Starliters Big Band, and
the Greg Nazarian Big Band. Contact: xaxnar@aol.com.

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