") Jp is generally accepted that the mouthpiece is M\ ghe most important piece of equipment a brass ‘player owns, yet most teachers invest very little time helping the student select this relatively inex- sive item. Choosing a proper mouthpiece Hoesn't have to be a burden. However, it is necessary to have good comparative specifications gs well as an understanding of mouthpiece char- acteristics. This article is designed to help the teacher guide the student toward selecting a prop- , ermouthpiece. Certain variatidns in a mouthpiece’s design will have predictable relative effects for any player. Welll start by looking at some of these general tendencies. yeaa ———— ve ———— Eat | Ls, al Cup Diameter The student should use the widest diameter he can manage; it permits more of the lip to vibrate, gf Producing a larger sound. A wide cup needn't limit endurance. It will discourage the player from us: ing excessive pressure for high register playing, r thereby encouraging proper use of the lip ¢ Muscles. There is no need to select a very small cup for the beginning player. It will only lead him into bad habits. Consider 24.5-26 millimeters as a good i Tange for the young student. Most advanced ,| Players will use diameters of 25.4-26.4 millimeters. jc, Cup Depth i-, Cup depth is critical and may have a greater im- Ii Pact on a mouthpiece’s characteristics than cup ne diameter. A deeper cup will give a darker tone and ur Will improve low register response. However, it y May flatten the high register and could lower the is Overall pitch of the instrument. It may also _ lessen endurance. A shallower cup will have the id OPPosite effects. A cup with a more V-shaped bot- s tom will produce the same results as a deeper cup. The beginner will probably be most comfortable with a medium or medium-shallow cup. The more advanced player will want to select the deepest R Euphonium Mouthpieces — * A Teacher's Guide David R. Werden cup appropriate for his needs. The shallower cups would only be chosen for players needing a brilliant high register. Throat Diameter The throat is the narrowest part of the mouth- piece's interior, and may be specified in milli- meters, inches, or drill bit sizes (the letter designa- tion of the bit which fits most snugly through the throat). A large throat offers the player a bigger sound and makes the low range play easier, it may also make the extreme high register easier to at tain, However, it could diminish endurance and make the high range too sharp. A small throat could restrict the high range and make it as well as make the low register difficult to play For the beginner select a medium throat (6.5-7mm). Encourage the more advanced student totry a larger throat (7-7.5mm). Backbore The backbore lies between the throat and the end of the shank. It is difficult to describe numerically, as design variations occur only in its shape. A tight or closed backbore is one in which the inner walls of the shank are more c vex; an open backbore is one in which the inner walls are more concave. To think of it another way, an open backbore is one which increases in size rapidly beyond the throat. A tight backbore increases in size very little beyond the throat until about halfway down the shank where it opens more rapidly to meet the end of the mouthpiece. ‘An open backbore offers a darker sound and greater volume potential, but lessens endurance and ease of response. A tight backbore may flatten the high register and make the low register stuffy. It will also brighten the sound. With the major mouthpiece brands, you can pro- bably ignore the backbore in your process of selec tion. A mouthpiece chosen carefully for its other characteristics will generally have an appropriate backbore. Rim Width and Shape Rim width and shape can affect endurance, flex: ibility, and sharpness of attacks. Most players should use a medium-wide rim, which will allow optimum comfort and endurance by distributing mouthpiece pressure over a larger area. A wide rim (known as a cushion rim) might be necessary for players with very thick lips if they find the David R. Werden is principal and solo eupho- niumist with the U.S. Coast Guard Band an named 1980 "Euphonium Player of the Yea' Sounding Brass magazine. He is a clinician for Boosey and Hawkes, and euphoniuist with the Atlaniic Tuba Quartet and the U.S. Coast Guard Tuba Quartet. cen vn aMe wsuMANTALST 29medium-wide rim uncomfortable. However, for most players the wide rim will limit flexibility and may encourage the use of too much mouthpiece pressure. A narrow rim increases flexibility, but its tendency to cut off the circulation of blood in the lips will decrease endurance. The rim should be relatively flat for good pressure distribution. One that is too rounded will offer more flexibility at the expense of endurance, and will make the mouthpiece feel as though it has. alarger cup The rim should have a relatively sharp inner edge to promote cleaner attacks. There should be just enough curvature of the rim to keep the inner ‘edge from digging into the lips. Plating Mouthpieces are made of brass and plated with silver or gold. The gold is more expensive, but may allow a little more flexibility because it has a smoother surface, Once the plating wears off the rim, the mouth- piece must be replated or discarded. Bare brass against the lips could cause a serious infection. This is a problem the teacher must help keep an eye on, as most young players are not aware of the danger. Shank Size Insist that your student buy a mouthpiece with the proper shank size for his instrument. Using an adaptor is never satisfactory. It will degrade tone, intonation, and response. Baritones and euphoniums require one of three shank sizes: 1) small, tenor trombone size (all Yamahas, all true English-style baritone horns, and most American bell-front instruments), 2) middle, or euphonium size (pre-1974 Besson and Boosey & Hawkes euphoniums, Willson eupho- niums, and Conn model 24 and’25 euphoniums), and 3) large, or bass trombone size (newer Besson and Boosey & Hawkes euphoniums, Hirsbrunner cuphoniums, and new King euphoniums). While it is fairly easy to find models with large or small shanks, it can sometimes be difficult to find one with the middle size shank. If your student can't, find this middle size on the mouthpiece he wants, have him buy the large size. It is then a simple matter for any good repair shop to shave it down to fit correctly. The proper technique is to shave the shank just enough so that it extends about one inch into the receiver Detachable Rims Some manufacturers will prepare their mouth- pieces with a removable rim (called a screw rim) for special needs. If your student is sometimes re- quired to play outdoors in cold weather, you might have him consider a screw-rim mouthpiece. He can then obtain a lucite rim for his cold- weather playing. This type of rim will never feel cold and won't freeze onto the lips. Another option is for the player to use his regular rim on two or more different mouthpiece bodies. This practice is useful when the player doubles on another instrument that requires a dif- ferent size cup, such as trombone or baritone 24 te msimusuntatst ay 8 horn. It is also useful when the player needs to different shank sizes for different instrumer With either of these examples, your student ne change only what is required, always keeping | same rim he is accustomed to playing General Advice Remember that each student is an individu with a unique physical makeup and his own c cept of tone. The mouthpiece that works well | one student may be the wrong choice for anoth Always have each student try the mouthpi under consideration on his own instrument. It is very important to matah the mouthpiece the instrument. For example a deep cup ora lat throat and backbore will probably prove unsat factory when used with a small-bore instrume Conversely, a shallow cup or tight backbore m keep your student from getting the most out o| large-bore instrument. Offer to go with your student when he tries ¢ mouthpieces. Even an advanced player finds a s ond opinion valuable. It may also be helpful take along an electronic tuner to assess the into tion of the mouthpiece in the high and | registers. Encourage your student to cover ; aspects of his playing — high and low, loud a soft, tongued and slurred. Some Instrument/Mouthpiece Combinations Nc In Use In the United States Player: Instrument/mouthpiece U.S. Army Band David Cobbs: Besson/Lehman bowl, Wick rim Lee Dummer: Besson/Lehman 2 Gary Schumaker: Besson/Schilke 51D © U.S. Marine Band Lucas Spiros: Yamaha/Giardinelli Spiros, Glenn Call: Boosey & Hawkes/Lehman 1, 2, & 4 S. Navy Band John Hadderly: Willson/Schilke 51D John Bowman: Willson/Schilke 51D *U.S.A/F. Band Brian Bowman: Willson/Schilke 51D *US.CG. Band David Werden: Boosey & Hawkes/Wick 4BL Roger Behrend: Willson/Schilke 51D U.S.A. Field Band Carlyle Weber: Yamaha/Perantucci 3 Don Burleson: Besson/Lehman 1 West Point Band Arden Norton: Besson/Wick 44M Buddy Baker: Yamaha, Conn/Remington (Conn) Larry Campbell: Hirsbrunner/Perantucci 3 Paul Droste: Yamaha/Schilke 51D Karl Humble: Boosey & Hawkes/Custom design Arthur Lehman: Boosey & Hawkes/Lehman 3 Earle Louder: Hirsbrunner, Besson/Bach 9, Bach 5G Michael Mamminga: Boosey & HawkesiWick 6BM Rich Matteson: Yamaha/Giardinelli Matteson Dick Nash: Yamaha/Bach 11 Denis Winter: Willson/Perantucci 3S You'll probably find that the best mouthpiece for most players falls somewhere in the mid-range ifthe available sizes, Very few players will be hap- h, Ov-with the very largest or smallest sizes. Often it Pies only a small change in a particular design Glement to produce noticeable results. For exam Te if the student is basically happy with his Prouthpiece but finds his high register is flat, have him try a model with similar dimensions but a > gore open throat ; MA mouthpiece’s inner dimensions are critical cand a very small build-up of dirt could affect its performance. Instruct your student to clean his Prouthpiece cach week with soap and water. Also fave him buy a mouthpiece brush, which he can use to clean the throat and backbore. Your stu- it gent may polish a silver-plated mouthpiece occa- 1) Sionally if necessary, using a mild silver polish, © Since gold plating is relatively soft, it should never be polished. 1" Hfyou wish to read a more detailed discussion of c mouthpieces, get the booklet entitled Ev bouchure and Mouthpiece Manual (Vincent Bach, @ Division of Selmer, Box 310, Elkhart, Indiana). \ “According to questionnaires filled out by | euphonium players in North America and the British Isles, the three most popular mouthpiece brands in use are Bach, Denis Wick, and Schilke |All dimensions are given in millimeters. Cup epth designations: shallow .edium shallow ank size designations: mall, tenor trombone size jiddle, “old Besson” euphonium size large, bass trombone size stucel Mouthpieces ‘Music Company 1414 South Main Street ‘Oak, Michi cup. Diameter Depth Shonk Note MD TEA may MD TE Some Older Models for Comparison E Cop. Throot Cup Model Diemeter Diameter Depth Shenk King 11M m1 60 ms OT | King mat us 72 eT | Kosi kup (88h) 25.0 67 ™ E Besson G70 algee a5 MDB Remington 25.75 6 MD OTB Til refer to those brands to recommend a few models as good basic mouthpieces. Use these if your student doesn't know where to begin in choosing a proper mouthpiece. Your beginning students could try a Bach 6/AL, a Wick 6BY (or 6BM for medium shanks, and 6BL for large shanks), and a Schilke 51. After the student's em- bouchure is well-developed, encourage him to change to a larger mouthpiece. Your more ad- vanced students could try a Bach 4G or 3G, a Wick 4AY or 4BS (or 4AM for medium shanks, and 4AL or 4BL for large shanks), or a Schilke 51D. Asa teacher, you should know which brands are available at your local music stores, and may want to ask dealers to carry some of the more common models so your students will have the opportunity to test-play them. Specifications are included here for most of the commonly used mouthpiece brands. Most figures obtained from the manufacturers although some are the result of direct measurement. Fol. lowing the tables is a list of instrumentimouth. piece combinations used by some of the promi- nent players in the United States, based partly on information obtained from questionnaires. ‘The list is admittedly incomplete, but is included as a matter of interest, not for the purpose of making specific recommendations. Mouthpiece Specification Tables Vincent Bach Division of the Selmer Company Box 310 Elkhart, Indiana (800-248-7426) $16-20 ‘Middl ize shank or screw-rim by special order Cop Throat Cup ‘Model Diameter Diameter Depth Shank Note we mss MT 4s Se MT Nc 247 5850 MST u 2475.05 MDOT 9 um 585 MD OT euew 2475 585 MST a 8 75° 585 MOT IC), 5/2478, ae IMS. AT. 7 275 505 MOT onc a 50S MST CHA 254 5.05 MD OTB CHAM 254 653 MD OTB GuAL 254 663 MD OTB 6 25 585 Mt 5 5 ee MY sos 255663 MDB 5G RL STD ES 8 sos 5 70 8 6 Sc! 2928.0. 8S) MSs T 4 20 «585M T AG, TO sD 8 2 3 262 665 «MD OT 3 670 8 n 1-Wide, cushion rim f2Rounded rim Nery rounded rim6 Giardinelli Band instrument Company 181 West 46th Street Now York, New York (212-575-5959) $23-One-plece (gold-$35) {$27-Serew-rim (gold-$47) Sym.T 25.8 64 mo 36M 260 675 Mo 36-260 70 > 2M 68 4 M 30 63 64 mo 26m 265 6.75 MD 20 | 265 75 Spiros 285 74 > Sym. 267 715 > A.Nery deep, V-shaped cup Schilke Music Products, Inc. 529 S. Wabath Avenue Chicago, Ilinois (312-922-0570) $25.32, $37-44 in gold. Middle size shank $5 extra (shank will be cup Th cup. ‘Model Diameter Diameter Depth 4082251 635 5 4 (2259 6.35 ms 4B 2995.94 s a m2 5.94 Ms “A 7357 615 s aaa 2428 6.38 ry 455 43 615 ms. 4 4385 ™ 4% 4546.35 ™ 4602476 6.35 ° a 4876.18 Ms ar segaiaaae? BAS ™ a7ca 251 6.5 ™ 5254 675 ™ 5B 2543 7.04 Ms 5) 2547.04 ™ 51D 2563 7.04 . 3 a4 GTS ™ 520 25.44 6.35 >. 52255 7.04 > 53 2624 6.35 mo oF sz as mo 788784 CY 1. Dorsey model Nery deop cup #3-Rounded rim #4For beginner 5-Recommended for baritone/ euphonium #6: Cushion rim #7 Recommended for euphonium Shonk Note Te Te Te n ” n Lehman Mouthpiece Robert J. Pallansch 2808 Woodlawn Avenue Falls Church, Virginia (703-532-0137) $40-One-pioce $55-Serow-rim Custom model. Usually made rim copied on Lehman bow!. No gold plating offered. cup. Throat ‘Model Diameter Diam 7 254 76 2 254 76 3 254 76 deeper 4 25.4 76 ‘extremely deep Denis Wick Boorey & Hawkos P.O. Box 130 Oceanside, New York. (516-678-2500) All mouthpieces gold plated $27.32 cup Throat Cup ‘Model Diameter Diameter Depth ins 4a medium MS lcs 250 medium MS ms (250 medium MS. os 254 70 ™ eer 25.4 70 ™ oom 254 70 ™ el 254 70 ™ 58s (25.75 725 mo Se (25.75 725 mo SAL 25.75 7:25 D 45-260 75 Mo aL 260 75 Mo aay 26.0 73 > 4AM 26.0 75 . “AL 260 75 . SAL 64 N/A D za «270 NA ° 11.Good for baritone horn ‘#P.Recommended for Euphonium Yamaha International Corporation Box 7271 Grand Rapids, Michigan (616-942-9223) 3 Gold not available customer's own FEB Vshon TES cup Shenk Note T 1 : a T t n e 2 8 T 8 2 T n 8 2 T 2 E n 8 2 8 n 8 cup. Depth shank ms OT ™ 1 ™ T We reT . T > T . T