‘What’s the difference between alto clef and Greek?’
Some trombone players actually read Greek!’
After discussing the reed last month it must be time to attempt the brass mouthpiece this month. It must be noted that there is NO perfect mouthpiece and one that may suit a particular player (however good they are) may not necessarily be the one to work for you. We can however help what we hear coming out by controlling how we put the air in – if you know what I mean?
The Mouthpiece consists of the rim, cup, throat and backbore. Bringing these various components into proper relationship constitutes the art of superior mouthpiece production.
The Rim – A well-constructed mouthpiece should have a medium-wide rim with a fairly sharp inner edge. If the mouthpiece is properly placed, it will permit the lips to move slightly forward and backward. For high tones, a player will draw the lips further back; while for the low tones, the lip muscles will relax, permitting the lips to protrude.
A player with a normal embouchure and fairly muscular lips should prefer a medium-wide rim, which will allow both flexibility and endurance. A too-wide rim will damp down lip muscles and embouchure flexibility, and the effect will be noticeable on quick tonal changes.
Players with very thick lips, however, can use a wide rim to advantage, as a medium-wide rim might dig into the soft tissues of the lips and interfere with the blood circulation.
A narrow rim offers a trumpet or trombone player greater flexibility, but again tends to dig into the flesh of the lips, decreasing endurance. Horn players often prefer a medium-narrow rim because their instrument covers so wide a range. The medium-narrow rim enables the horn player to move the lips much more easily.
