5. Mouthpiece Characteristics

Not all Mouthpieces are Created Equal

If you are looking for a new mouthpiece, you should be clear about a couple of points beforehand, otherwise your search for a suitable mouthpiece can easily become the proverbial search for the needle in a haystack. For example, what sound, what type of music do you want to play? If you want to achieve a soft warm sound, you will not be able to use a mouthpiece made of plastic. But you may have aesthetic considerations as well, and crystal glass is simply not something that meets your looks criteria.

With saxophone mouthpieces, you must also consider the chamber. Its characteristics become apparent when you look into the mouthpiece through the shank. It can go all the way from square to circular. With a circular diameter, the transition from the chamber to the opening is smooth, which results in a warmer and more basal sound. A significantly reduced volume and the tearing edge this results in lead to a sound rich in overtones. The mouthpieces sound brighter. A positive side effect is that the air flow is reduced and thus notes can be sustained for longer periods.

Another important question, and probably the initial question you should ask yourself when looking for a new mouthpiece, is which mouthpiece you have been playing with so far, or better: what your mouth piece's facing curve looks like.

Thus, the main differences between mouthpieces can be found in:

• material
• facing curve
• shape and volume of the transition from the facing curve to the bore (called the chamber), particularly for saxophones

The facing curve

When buying a new mouthpiece it is important to know about the tip opening. This does not mean you need to know how it is measured. It is sufficient for you to know the measurement of your old mouthpiece itself. And even if you don't, your musical instrument dealer should be able to tell you from the manufacturer's designation of your old mouthpiece or by trying out various new reeds on it.

But as the facing curve and the tip opening are so crucial, we should have a closer look nevertheless. So, what is the facing curve? The taper towards the tip of the mouthpiece ensures that the reed never either entirely closes off the mouthpiece in vibration - not even when you play the most powerful fortissimo - or comes to rest flush on the edges of the facing curve, which would result in a grating sound. To arrive at the specific facing curve characteristics, the measurements of its length and opening are combined. It is possible to get mouthpieces whose facing curves have the same lengths but differently wide tip openings. The two values find their way into the designation of each mouthpiece. All players have their individual playing techniques, based, for example, on the way their jaws are positioned. This means that the sound resulting from one and the same mouthpiece with one and the same reed can vary greatly depending on the individual player. Still, it is possible to make some general points: short facing curves do not facilitate a highly developed vibrato, as opposed to long facing curves. But the embouchure is easier with them, especially for the upper sound registers. A narrower facing curve limits the dynamic range, as the vibratory movements of the reed are less strong.

Narrow and medium-narrow tip openings with a longer facing curve and a stiffer reed achieve a concentrated sound whose clear intonation and crispness masters even great interval jumps. This is important for musicians tackling symphonic music. The wider the tip opening, the more voluminous the sound becomes, but there is also a greater share of aspiration sound. This aspiration sound is particularly desirable among saxophone players and jazz musicians generally. But the tip opening should not be too wide, as the disadvantage of a longer and wider open facing curve is that intonation becomes an issue. The air flow resistance is also increased, which is why a lighter reed is preferable.

In summary:

With shorter facing curves, this modulation range, e.g. for vibratos, is lesser than for longer facing curves. Furthermore, the upper sound ranges are more easily available with a shorter facing curve and vice versa.

The dynamics and volume depend on the amount of air which passes through the mouthpiece. Narrower facing curves reduce the vibrating movements of the reed, resulting in a limited dynamic range. Narrow tip openings with light reeds are suitable for beginners without great practice in embouchure. Narrow and medium-narrow tip openings with long facing curves and stiffer reeds result in a concentrated sound and tight control of intonation and crispness, even with very large interval jumps. This combination is popular in particular among saxophone players in classical concert music.

As the tip opening becomes wider, the sound becomes more voluminous and fibrous, and with very wide tip openings the share of aspiration sound is increased. This sound can be used more flexibly with lip tension: for stylistic effects, e.e. extreme vibrato, slide ins and outs, or glissandi. However, controlling intonation becomes more difficult with longer and wider open facing curves. As the air flow resistance is greater with wide open tips, light reeds are often the preferred solution. Naturally, a satisfactory combination of tip opening and reed thickness depends to a large extent on the sound you wish to produce and your embouchure.

Manufacturers such as Vandoren, for example, indicate the type of music a mouthpiece is particularly suitable for in their mouthpiece tables. This description can be of assistance when you are looking for a new mouthpiece, but it is no replacement for trying out the mouthpieces. The same is true for the wide selection of reeds available. The manufacturers' notes are meant as a guideline and not as strict laws.