Introduction

The following information is relevant to both clarinet and Saxophone players although Sax players have more reason to investigate different mouthpieces so the information is biased towards them.

The function of the mouthpiece

The function of the mouthpiece is to convert the air column from the thin elongated rectangular shape of the tip opening, to the circular shape of the instrument bore.

The development of saxophone mouthpieces

The earliest Saxophones had mouthpieces of the correct length and capacity with a large rounded chamber, and they were designed to respond easily and evenly throughout the compass, and to play in tune (+/- 20 cents).

Mouthpiece manufacturers have gradually deviated from the original design, particularly in the shape of the chamber, for the following reasons:

• To achieve a more brilliant and projecting tone.
• To give more dynamic control to the player.
• To give more presence in the sound for the player.
• To give a more solid sounding altissimo.

Deviation from the original design of mouthpieces has generally adversely affected:

• The pitch (tuning) of the instrument.
• The intonation of the instrument - particularly above top C.
• The response of the instrument below bottom E.
• The response of the altissimo register.

Why try different mouthpieces?

From the above statements it is clear that an instrument (in good condition) will have reasonable tuning and an even response when matched to a suitable mouthpiece. However, more often than not with Saxophones, the instrument has been matched to a particular mouthpiece to enhance its tone and dynamic control and this has been at the expense of the tuning and response of the instrument.

Often players forget just how much the tuning and response has been compromised in order to get the sound they want, therefore I recommend that the player should have at least one mouthpiece that correctly matches the instrument (to give good tuning and an even response) regardless of whether or not the player likes the tone and control of this mouthpiece. This mouthpiece should be used as a reference, when trying other mouthpieces, so that the player can judge just how hard he is working his embouchure to compensate for poor tuning and response.

Yamaha and Yanigisawa have designed their instruments precisely to their mouthpieces so use the supplied mouthpiece as a reference - most other manufacturers do not usually supply such a well-matched mouthpiece with their instruments.

Ideally the player should have a mouthpiece that meets his own requirements in terms of tone and dynamic control and also maintains the response, tuning and intonation of the instrument. However, particularly with Saxophones, there usually will have to be a compromise.

Two different methods of selecting mouthpieces

1. Ensure the instrument is in good working order.

2. Check the following aspects of the mouthpiece to be tested:

• Facing length appears the same from either side.
• Tip opening is even.
• Side and tip rails are not chipped or distorted.
• The table is flat (or with slight concave intended by some makers).
• The ramp is even.

3. Use a good well-fitting ligature suitable for the mouthpiece being tried.

4. Check that the reed being used fits the mouthpiece being tried. Alter the reed by cutting and/or filing if necessary or discard and choose another mouthpiece.

• Make sure the arc of the tip of the reed matches the arc of the tip rail. - Make sure the width of the reed matches the width of the mouthpiece.
• Make sure the "Vamp" of the reed (the shaved section) matches the length of the window of the mouthpiece.

5. Each model of mouthpiece is usually available in a range of tip openings (and facing lengths). Start with the tip opening closest to what you are used to. When trying models with different tip openings and facing lengths select a suitable reed strength to give the same reed response.

• If the mouthpiece has a longer facing and wider tip opening - use a softer reed.
• If the mouthpiece has a shorter facing and narrower tip opening - use a harder reed.

6. When trying to correctly locate the mouthpiece on the cork where it is possible to play the instrument easily and evenly throughout its compass and to play in tune (+/- 20 cents) it might be necessary to sand the cork or use masking tape (Plumbers PVF tape is better though) to take up play on cork. When you have made your final choice of mouthpiece have the crook re-corked if necessary.

Looking for tone and control?

If your main concern is tone and dynamic control, and you are willing to compromise, or at least work harder to control: tuning, intonation, and response, then try mouthpieces with various different chamber designs.

Generally:

• square sided walls and higher baffle = jazz sounding
• rounded walls and lower baffle = classical sounding

Once you have found the tone you like then test tuning, intonation, and response (throughout your usual playing compass) to see if you are happy with these aspects. You may be able to improve on general response by trying the same mouthpiece with a different facing length, if the tip opening changes you might need to change reed also.

If you are unhappy with the compromise between tone and tuning etc, but you still like the tone then try other mouthpieces with similar chambers.

Looking for tuning, intonation and response?

If your main concerns are tuning, intonation and response, and the tone and dynamic control are less important, then approach the testing procedure the other way round.

Test each mouthpiece and try to locate a position on the cork where it is possible to play the instrument easily and evenly throughout its compass and to play in tune +/- 20 cents.

Once a basic mouthpiece design has been found that satisfies the above demands then consider the tone and dynamic control. If these aspects are poor then try the same make mouthpiece but with a different facing length and/or tip opening. (Remember to match the reed to the tip opening). Also try the same make mouthpiece in different materials.

If the same model mouthpiece is available with a different chamber/baffle design then try this but be wary of affecting tuning and intonation.

If you are still unhappy with the tone then try other makes of mouthpieces that are of similar length, bore, and chamber design, and that fit onto the same place on crook BUT are different in some or all of the following aspects: width of side and tip rails; thickness of tip rail; sharpness of edge to ramp; (lastly height and length of baffle).

If you are still unhappy then start again from scratch looking at mouthpieces with different chamber designs until you find a new basic design which satisfies the demands of tuning, intonation, response. Then try variations on this design until find one that produces a suitable tone.

NB. It is quite possible that an instrument will have reasonable tuning and an even response when matched to completely different basic designs of mouthpiece. So if one type of mouthpiece does give you what you want try other different designs as well - this can be a long process!