I recently travelled to San Antonio, Texas to attend the Texas Music Educators Association (TMEA) Convention in San Antonio, Texas. This convention is a big one that attracts a large number of instrument dealers (both manufacturers and retailers) who exhibit their instruments there so that can be auditioned and tested by the many musicians and music educators who attend the conference. This article describes the results of my findings and opinions on some of the best instruments that I played on at this conference.
Since most of us know about the fine reputations of some the more established trumpet brands (such as Bach, Yamaha, Schilke, and Blackburn), this article will focus mostly on some more surprising positive findings that I discovered while testing instruments that fall into one of these three categories: (1) Instrument brands that are relatively new; (2) Instrument brands that have only recently been distributed to the United States; or (3) Instruments whose less well-known brand names that are deserving of wider recognition and should therefore be considered when purchasing a new instrument.
First, let’s look at a couple of great new trumpet lines that are imported from Germany. First is the Cannonball trumpet. Both trumpet models in this Big Bell Stone Series professional trumpet line, the 725, and the 789RL (reverse leadpipe) are excellent Bb trumpets that both compare very favorably with the Bach Stradivarius trumpet, which is the standard against which all other trumpets must be measured. (I especially like the reverse leadpipe model.) These instruments come in four different finish options: silver plated, retro-gold laquered, unlaquered, and black nickel plated. The instruments sound truly great in all four finish options. (See the Cannonball link for pictures of the different finishes and for additional specifications and details. Interestingly, standard features on these instruments include some extra “bling” for the trumpet: semi-precious stone valve buttons and matching resonance stone (on the body of the instrument.) Different types of stones are used as an option on these instruments. These instruments were represented at TMEA by Melhart Music Center of McAllen, Texas.
Another outstanding trumpet brand that is newly available in the USA is K & H (Kühnl & Hoyer). My favorite horns in their trumpet line are the Malte Burba Universal II professional Bb trumpet and the Malte Burba Classicum C trumpet. Again, I think that these instruments compare very favorably to Bachs and they appear to be well-crafted. The C trumpet has an especially interesting design because of the fact that the bell is set further back than other brands of Cs, so that it appears to be a shorter bell model instrument. The result is that this instrument balances in your hands very nicely and is extremely comfortable to hold in playing position. An unusual feature of both of these models is the straight braces that connect the bell to the instrument. K & H also has some other nice Bb models that are geared more toward jazz and lead trumpet players who might want a slighter brighter sound and slightly less-restricted feel. (Check the links in this paragraph for specifications and details on all of the K & H trumpets.)
Another brand that really surprised me and got my attention was the R. S. Berkeley line of trumpets (and cornets and flugelhorns.) Each one of the Berkeley trumpets and cornets that I played had a beautiful sound and feel, had really nice features, and the prices of these instruments is amazingly low. Another great bargain from this company is the R. S. Berkeley FLU668 flugelhorn, which I think is the most beautiful-sounding three-valve flugelhorn that I have ever played on. Its features include a third valve slide trigger. Berkeley also makes a piccolo trumpet, which is a real dog. For some reason, it doesn’t seem to be of the same high quality as the regular Bb trumpets and cornets in the line. The valve action, tuning, and tone quality of the piccolo trumpet were all very poor. But don’t let this scare you away from the Bb trumpets and cornets, which I liked very much. (Check the links in this paragraph for specifications and details of all of these Berkeley instruments.)
Last, but certainly not least, is the Getzen line of trumpets, cornets, and flugelhorns. Getzen is a brand that has been around for a long time (since 1962) but yet is still not as well-known or as widely recognized as the ubiquitous Bach or Yamaha brands. This is unfortunate, because Getzen makes some excellent instruments that are as good as or better than any others that are currently available, and many well-known professionals play these instruments. I played on every instrument (trumpets, cornets, and flugelhorns) at the Getzen booth, and I did not find one single instrument there that I did not like. My favorite Getzen models include the 3052 Custom Bb Trumpet (compares very favorably with the Bach Stradivarius Bb) and the 3071 Custom Series C Trumpet, with #29 heavy gold brass bell (an outstanding alternative to my old Bach Stradivarius 229 bell, 25H leadpipe C trumpet, which is my standard against which all other C trumpets are measured.) Even though (unlike Mike Vax), I am primarily a classical trumpet player, I also really liked the 3001MV Artist Model Vax Model Bb Trumpet. Mike Vax himself was there at the Getzen booth and it was a pleasure seeing and talking with the legendary lead trumpet player.
And speaking of legends…..
While in San Antonio, I also went to The Landing (a famous jazz club on the River Walk in San Antonio, at the bottom of the Hyatt hotel, downtown.) There I heard the fantastic resident jazz band that plays there almost every night, led by the legendary jazz cornet player, Jim Cullum. I really enjoyed getting to visit and talk with Jim in between sets. We talked shop a lot, and I also got to hear many of Jim’s great stories about some of the numerous wonderful, famous musicians that he has known and performed with over the years. Jim has played a Getzen cornet for many years now, and I also love the entire line of Getzen cornets (and I tried all of these out at this convention.) Even the Getzen student model cornets and student model trumpets are great!
Getzen also makes my absolute favorite flugelhorn, the four-valve 896 Eterna Flugelhorn. What a beautiful, great-playing instrument! (Which is why I own one myself.) I also played on all of the piccolo trumpets that were exhibited at the TMEA convention (including all models of the ever-popular Schilke piccolos), and I concluded that my favorite piccolo trumpet is still the Getzen Model 940S Eterna piccolo trumpet (I have owned one of these myself for a long time.) A recent improvement to this model is the addition of Blackburn leadpipes that now come standard with this instrument. Many of us professional piccolo trumpet players with older instruments had replaced the original leadpipes with Blackburn leadpipes (which makes for a major upgrade in quality.) The Getzen company recognized this trend and in November of 2007 decided to contract the Blackburn company to make its Eterna piccolo trumpet leadpipes. With the Blackburn leadpipes, I don’t think that this instrument can be beat. Sure, you could pay a lot more for a Schilke or some other brand of piccolo trumpet, but in my opinion, they just aren’t as good as the Getzen 940S Eterna piccolo trumpet. Getzen offers a high quality trumpet line with very reasonable prices. Getzen is a brand that should definitely be considered when shopping for a new instrument of any kind (trumpets in any key, cornet, or flugelhorn.)
Friday, February 29, 2008
Sunday, February 3, 2008
PART 2: How To Choose Trumpet Mouthpieces, Piccolo Trumpet Mouthpieces, & Lead Trumpet Mouthpieces
(Part 2 of a two-part article)
In part 1 of this article, I discussed the various component features of trumpet mouthpieces and what effect they have on sound and performance. I also discussed what types of mouthpieces work best for piccolo trumpet and lead trumpet playing and what types of mouthpieces work best for classical and general trumpet playing and gave some practice and playing tips for those who switch back and forth between two or more different mouthpieces.
Below, in part 2, I will discuss my own personal mouthpiece preferences, will suggest some good mouthpieces for beginner and student trumpet and cornet players, will cover a few more miscellaneous mouthpiece details, and will discuss the importance of practicing once you have found the perfect mouthpiece.
MY PERSONAL TRUMPET MOUTHPIECE PREFERENCES:
(1) FOR ME, the perfect "bigger/classical/legit" mouthpiece is: Bach 10 & 3/4 CW with a #25 throat and a #24 backbore. The rim diameter size of this mouthpiece is actually "medium-small", but the larger throat and more open backbore make the overall mouthpiece volume fairly large. It sounds like a huge mouthpiece, with a rich tone, but the smaller rim diameter actually facilitates upper register playing so that I could even use this mouthpiece for lead and piccolo trumpet playing (although not preferred for piccolo trumpet ever) as well as for all-around playing! And, I can also play on this mouthpiece for a very long time without getting tired, even when my chops are out of shape! You might like this mouthpiece too (This custom mouthpiece can be special ordered through any Bach dealer, including local and the Internet music stores mentioned above, or any other Bach dealer, or it can be ordered online directly from Bach.), OR you might prefer a similar mouthpiece with a larger rim diameter (such as a Bach 3CW with #25 throat and #24 backbore).
(2) FOR ME, the perfect "smaller specialty/piccolo/lead trumpet" mouthpiece is: A Parduba 4 & 1/2 underpart with a Bach 10 & 3/4 CW rim (First, I ordered the screw-on rim from the Bach factory, then sent it and a Parduba 4 & 1/2 mouthpiece to Bob Reeves custom trumpet & mouthpiece shop (in California) to have the Parduba rim cut off and custom machine work done to enable me to screw the Bach rim onto the Parduba underpart. If I had to play on a non-custom, stock mouthpiece for piccolo trumpet and lead trumpet playing, I would play on a Parduba 4 & 1/2 mouthpiece. In fact, I did play on this mouthpiece for many years before customizing it by changing the rim to a Bach 10 & 3/4 CW. I changed rims for two reasons: (1) It is the same rim that I use on my “big” trumpet mouthpiece, so changing between instruments is a little easier; (2) The Bach mouthpiece rim is much more comfortable. It is not as flat and sharp on the edges as the original Parduba rim. I love the Parduba double-cup mouthpiece because it gives such a full, rich, fat sound on the piccolo trumpet and on the Bb (soprano) trumpet when playing lead trumpet parts. Most other smaller specialty mouthpieces that are designed for playing piccolo or lead trumpet get such a tiny, thin sound that they make the piccolo trumpet sound like a rubber-bulb bicycle horn, and they sound stuffy in the lower register when used on the larger Bb trumpet (lead trumpet playing). It is also difficult to generate a lot of volume with them on either instrument.
(3) I do also sometimes use (in very special instances) a different mouthpiece for piccolo trumpet playing or lead playing that is extremely high, such as the Bach Second Brandenburg Concerto (piccolo trumpet) or some of those classic Billy May’s big band arrangements for Frank Sinatra (lead trumpet.) This extra-shallow, tight backbore mouthpiece is a Bob Reeves ES692SL, but with a Bach 10 ¾ CW rim put on it. (This custom screw-rim work was done for me by Bob Reeves.) This mouthpiece is similar in size and playing feel to a Schilke or Yamaha 6a4a, the same size mouthpiece that was designed and used by the late great lead trumpet player Bill Chase. I also use this mouthpiece when I am playing piccolo trumpet with a string quartet or other soft ensemble, so that I don’t over-power the ensemble with loud trumpet volume. Because of this mouthpiece’s smaller internal volume, it is easier for me to play more softly on it than it is on my “larger” Parduba piccolo/lead trumpet mouthpiece, which has a larger internal volume.
Bob Reeves makes many excellent mouthpieces for all kinds of trumpet needs, including other lead trumpet and piccolo mouthpieces that are similar to the 13A4a and 14A4a. (See the Bob Reeves website for more information.)
Jet-Tone also makes many different types of mouthpieces, but is most famous for its smaller, tighter, lead trumpet mouthpieces. (See the Jet-Tone Mouthpieces website for more information.)
MOUTHPIECES FOR BEGINNERS AND STUDENTS:
I still think that, in general, a good medium sized mouthpiece is best for beginners and younger players. Bach 5C, 6C, or 7C (or 5CW, 6CW, 7CW) is a good choice. Players with extraordinarily large lips may prefer a larger mouthpiece rim size, such as a Bach 3C.
PERFECT PRACTICE MAKES PERFECT:
Regardless of what mouthpiece or mouthpieces you finally settle on, the thing that really matters most for your playing is PRACTICE, and listening to recordings of great trumpet players and trying to imitate their tone qualities. Over the years, there have been many great players who have played on many different kinds and sizes of mouthpieces with great success. Practicing correctly and wisely (so as to always keep your lips and embouchure in good condition), and practicing regularly is even more important to your playing than what kind of mouthpiece or instrument that you play on.
And speaking of practicing: The next article that I post here will include trumpet practice tips and will include suggestions on what to practice and how to practice in order to achieve and maintain the best playing results possible.
Randy
Randy Dunn
Professional Trumpet soloist
Website: http://www.dunn2music.com
Music Video Demos: http://www.youtube.com/HoustonTrumpet
In part 1 of this article, I discussed the various component features of trumpet mouthpieces and what effect they have on sound and performance. I also discussed what types of mouthpieces work best for piccolo trumpet and lead trumpet playing and what types of mouthpieces work best for classical and general trumpet playing and gave some practice and playing tips for those who switch back and forth between two or more different mouthpieces.
Below, in part 2, I will discuss my own personal mouthpiece preferences, will suggest some good mouthpieces for beginner and student trumpet and cornet players, will cover a few more miscellaneous mouthpiece details, and will discuss the importance of practicing once you have found the perfect mouthpiece.
MY PERSONAL TRUMPET MOUTHPIECE PREFERENCES:
(1) FOR ME, the perfect "bigger/classical/legit" mouthpiece is: Bach 10 & 3/4 CW with a #25 throat and a #24 backbore. The rim diameter size of this mouthpiece is actually "medium-small", but the larger throat and more open backbore make the overall mouthpiece volume fairly large. It sounds like a huge mouthpiece, with a rich tone, but the smaller rim diameter actually facilitates upper register playing so that I could even use this mouthpiece for lead and piccolo trumpet playing (although not preferred for piccolo trumpet ever) as well as for all-around playing! And, I can also play on this mouthpiece for a very long time without getting tired, even when my chops are out of shape! You might like this mouthpiece too (This custom mouthpiece can be special ordered through any Bach dealer, including local and the Internet music stores mentioned above, or any other Bach dealer, or it can be ordered online directly from Bach.), OR you might prefer a similar mouthpiece with a larger rim diameter (such as a Bach 3CW with #25 throat and #24 backbore).
(2) FOR ME, the perfect "smaller specialty/piccolo/lead trumpet" mouthpiece is: A Parduba 4 & 1/2 underpart with a Bach 10 & 3/4 CW rim (First, I ordered the screw-on rim from the Bach factory, then sent it and a Parduba 4 & 1/2 mouthpiece to Bob Reeves custom trumpet & mouthpiece shop (in California) to have the Parduba rim cut off and custom machine work done to enable me to screw the Bach rim onto the Parduba underpart. If I had to play on a non-custom, stock mouthpiece for piccolo trumpet and lead trumpet playing, I would play on a Parduba 4 & 1/2 mouthpiece. In fact, I did play on this mouthpiece for many years before customizing it by changing the rim to a Bach 10 & 3/4 CW. I changed rims for two reasons: (1) It is the same rim that I use on my “big” trumpet mouthpiece, so changing between instruments is a little easier; (2) The Bach mouthpiece rim is much more comfortable. It is not as flat and sharp on the edges as the original Parduba rim. I love the Parduba double-cup mouthpiece because it gives such a full, rich, fat sound on the piccolo trumpet and on the Bb (soprano) trumpet when playing lead trumpet parts. Most other smaller specialty mouthpieces that are designed for playing piccolo or lead trumpet get such a tiny, thin sound that they make the piccolo trumpet sound like a rubber-bulb bicycle horn, and they sound stuffy in the lower register when used on the larger Bb trumpet (lead trumpet playing). It is also difficult to generate a lot of volume with them on either instrument.
(3) I do also sometimes use (in very special instances) a different mouthpiece for piccolo trumpet playing or lead playing that is extremely high, such as the Bach Second Brandenburg Concerto (piccolo trumpet) or some of those classic Billy May’s big band arrangements for Frank Sinatra (lead trumpet.) This extra-shallow, tight backbore mouthpiece is a Bob Reeves ES692SL, but with a Bach 10 ¾ CW rim put on it. (This custom screw-rim work was done for me by Bob Reeves.) This mouthpiece is similar in size and playing feel to a Schilke or Yamaha 6a4a, the same size mouthpiece that was designed and used by the late great lead trumpet player Bill Chase. I also use this mouthpiece when I am playing piccolo trumpet with a string quartet or other soft ensemble, so that I don’t over-power the ensemble with loud trumpet volume. Because of this mouthpiece’s smaller internal volume, it is easier for me to play more softly on it than it is on my “larger” Parduba piccolo/lead trumpet mouthpiece, which has a larger internal volume.
Bob Reeves makes many excellent mouthpieces for all kinds of trumpet needs, including other lead trumpet and piccolo mouthpieces that are similar to the 13A4a and 14A4a. (See the Bob Reeves website for more information.)
Jet-Tone also makes many different types of mouthpieces, but is most famous for its smaller, tighter, lead trumpet mouthpieces. (See the Jet-Tone Mouthpieces website for more information.)
MOUTHPIECES FOR BEGINNERS AND STUDENTS:
I still think that, in general, a good medium sized mouthpiece is best for beginners and younger players. Bach 5C, 6C, or 7C (or 5CW, 6CW, 7CW) is a good choice. Players with extraordinarily large lips may prefer a larger mouthpiece rim size, such as a Bach 3C.
PERFECT PRACTICE MAKES PERFECT:
Regardless of what mouthpiece or mouthpieces you finally settle on, the thing that really matters most for your playing is PRACTICE, and listening to recordings of great trumpet players and trying to imitate their tone qualities. Over the years, there have been many great players who have played on many different kinds and sizes of mouthpieces with great success. Practicing correctly and wisely (so as to always keep your lips and embouchure in good condition), and practicing regularly is even more important to your playing than what kind of mouthpiece or instrument that you play on.
And speaking of practicing: The next article that I post here will include trumpet practice tips and will include suggestions on what to practice and how to practice in order to achieve and maintain the best playing results possible.
Randy
Randy Dunn
Professional Trumpet soloist
Website: http://www.dunn2music.com
Music Video Demos: http://www.youtube.com/HoustonTrumpet
PART 1: How To Choose Trumpet Mouthpieces, Piccolo Trumpet Mouthpieces, & Lead Trumpet Mouthpieces
(Part 1 of a Two-Part Article)
The purpose of this article is to provide help in choosing trumpet mouthpieces for various applications, including use for music of all styles, classical music, lead trumpet playing, jazz and pop, and piccolo trumpet. Because there are so many brands, sizes, and options available when choosing trumpet mouthpieces, it helps to be familiar with the various mouthpiece component features and to know what effect these features have on trumpet performance. The mouthpiece is definitely the most important part of the instrument, and a well-chosen, good quality mouthpiece can make a poor quality trumpet sound good, and can make a good quality trumpet sound fantastic.
PICCOLO TRUMPET AND LEAD TRUMPET MOUTHPIECES:
As stated in my previous article “Piccolo Trumpet Answers”, if you wish to play the piccolo trumpet, you will need to get some type of a generally “smaller” high-note specialty mouthpiece, such as a Schilke 14A4a or Yamaha 14A4a (approximately the same rim diameter as a Bach 3C) or 13A4a (approximately the same rim diameter as a Bach 7C). These mouthpieces are very popular with many piccolo trumpet players as well as lead trumpet players. (The Schilke 14a4a was the first piccolo and lead trumpet mouthpiece that I ever used, and I played on it for many years.) The “A4a” mouthpieces made by Schilke and Yamaha (who uses Schike’s mouthpiece numbering system) have shallow cups and tight backbores which facilitate upper-register playing. Bob Reeves also makes some excellent mouthpieces that are similar to these types of mouthpieces, but with a different numbering system. You can go to the Bob Reeves website for more information, but basically, for piccolo or lead trumpet, you would want one of their mouthpieces that has an ES cup (Extra Shallow) with a 692sL backbore (standard trumpet mouthpiece length) or perhaps a 692s backbore (short trumpet shank model). You can add a Bob Reeves Rim to this mouthpiece configuration that is similar in size to your regular all-around/classical Bb trumpet mouthpiece rim (Their website gives the equivalent rim sizes for both Bach and Schilke/Yamaha mouthpiece rim sizes.)
Parduba double-cup mouthpieces are also excellent for piccolo trumpet and lead trumpet playing. I like these mouthpieces a lot because they sound like larger mouthpieces, with a fat, rich, powerful sound, yet are relatively easy to play in the upper register (this effect is achieved by the unusual double cup configuration—a shallow first cup, and a deeper, funnel-like, V-shaped second cup.) I especially like the Parduba 4 & 1/2 mouthpiece. I played on this mouthpiece for many years until finally deciding to improve upon it slightly by adding onto it the same rim that I use on my bigger, all-around trumpet mouthpiece (see below). Almost all trumpet mouthpiece manufacturers make some mouthpieces that are well-suited for the piccolo trumpet. Refer to the manufacturers’ trumpet mouthpiece catalogs or websites for more information, and try out any of these that sound promising to you.
ABOUT PLAYING AND PRACTICING ON LEAD AND PICCOLO TRUMPET MOUTHPIECES:
If you get a high note specialty mouthpiece, make sure that you only use it for extended or prolonged upper-register playing—like lead trumpet in a jazz band, "screech" trumpet solos, demanding 1st trumpet marching band arrangements, piccolo trumpet playing, etc. NEVER use such a mouthpiece for playing "classical" Bb or C trumpet music (including various concert band and orchestra trumpet auditions and performances, chamber music and solo & ensemble contests, concert & sight-reading band and orchestra contests, etc.) Also do not use the smaller specialty mouthpiece to play your warm-ups, practice routines, or other general practicing on. These tiny little "pea-shooter" mouthpieces generally don't have a rich enough sound in the middle and lower registers for this kind of music, and do not encourage the development and maintenance of a strong embouchure and playing endurance. They might sound good for certain special uses in the extreme upper register, but sound they tend to sound "thin" and "edgy" in the other registers, especially when used to play classical music, where a full, rich tone quality is always important.
Also, make sure to do most of your practicing on your bigger "classical trumpet" mouthpiece. You will enjoy the more beautiful tone quality and this will help you to build both high-range and endurance. Only practice on the smaller upper register "specialty" mouthpiece when you are practicing music that you will actually perform with it (such as lead trumpet parts, high jazz solos, piccolo trumpet, high first trumpet marching band or drum corps music, etc.) If the only mouthpiece you ever play on is the smaller "specialty" mouthpiece, then you will probably lose endurance & range, as well as lose your beautiful tone quality. (I know from personal experience, having tried this myself many years ago.) NEVER SPEND MORE THAN HALF OF YOUR PLAYING TIME (MAXIMUM) EACH DAY PLAYING ON THE SMALLER MOUTHPIECE!
TRUMPET MOUTHPIECES FOR GENERAL USE ON LARGER INSTRUMENTS:
And now for a few comments about the joys of a beautiful, rich trumpet tone achieved by a "larger, classical-legit" trumpet mouthpiece and a brief synopsis of some of my personal thoughts on these "larger/richer" mouthpieces:
1. In general, I think that Bach makes some of the best ones, with a lot of choices in features. The Vincent Bach set the standard for these types of mouthpieces rather early on, so most other mouthpiece brands often compare their mouthpieces to those made by Bach, even if they use a different mouthpiece numbering system. There are some other manufacturers that also make some excellent general use and classical trumpet mouthpieces, including Bob Reeves, Schilke, and Yamaha (among many others.)
2. No matter what size rim, throat, and backbore you prefer, size C cups seem to get the best, richest sound for classical/legit music on Bb or C (soprano) trumpets. (e.g., 7C, 3C, 1C, 1/2C, 5C, 6C, 10C, 10 &1/2C, 10 & 3/4 C etc.) [NOTE: These rim sizes and cups refer to those used by Bach and other companies that use a similar numbering system for their mouthpieces. For other brands, refer to the mouthpiece catalogs for size equivalencies.] Shallower cups (such as D and E cups) don’t emphasize the fundamentals and the lower overtones of the pitches enough, and therefore sound rather thin. Deeper cups (such as B & A cups) don’t emphasize the higher overtones enough, and therefore sound too dark. A mouthpiece cup that is either too shallow or too deep will not produce the rich, well-balanced, full-bodied tone that is most desirable for classical trumpet music.
3. For my big/general trumpet playing mouthpiece that I use on my larger trumpets such as the Bb or C trumpet, instead of the standard Bach backbore, I personally prefer the Bach #24 backbore (so do many outstanding orchestral/classical/legit trumpet players that I know.) The #24 backbore is more open than the standard size backbore and has a different shape that will make your tone quality richer and more beautiful. Probably the best thing you can do to improve your tone (even if it is pretty good already) is to get a Bach mouthpiece with a custom #24 backbore. The #24 backbore works best with a custom, enlarged throat size also (See the next item).
4. For my big/general trumpet playing mouthpiece that I use on my larger trumpets such as the Bb or C trumpet, I prefer a #25 throat (hole), which is 3 sizes larger than the standard throat size (#28), and 2 sizes larger than the standard Bach Megatone mouthpiece throat size (#27). This (#25) also happens to be the same throat size preferred (for many years) by Lew Soloff, jazz trumpet star, formerly with Blood, Sweat, and Tears. I have tried several different throat sizes, and this one seems perfect for me. Some very fine players prefer even larger throat sizes. Some examples of this: Phillip Smith (New York Philharmonic principal trumpeter) plays on a 1C with a #22 throat with a #24 backbore. Jazz trumpet great Arturo Sandoval plays on a 3C with a #22 throat with a #24 backbore. A larger throat makes it easier to blow (less resistance), which can improve tone and ease of playing in all registers and also seems to help with accuracy and clean articulation. HOWEVER, if you make the throat too large (for you personally), then there is not enough resistance, and you will get tired very fast, and it becomes more difficult to play notes in the extreme upper-register.
5. I also have (in recent years) come to prefer the Bach wide-rim "W" mouthpieces. (e.g., 7CW, 3CW, 1CW, 5CW, 10 & 3/4 CW, etc. I got the idea to try these mouthpieces from Ronald Romm (former trumpet with The Canadian Brass), who said that the wide-rim mouthpieces help his endurance and keep his lips from getting beat up. (I have always admired Ron’s incredible endurance.) I now totally agree with him—these mouthpieces have the same benefits for me. The wider rim spreads the mouthpiece pressure over a larger surface area (same effect as snowshoes on the snow, only with a mouthpiece on your lips) and actually encourages you to use less pressure when playing, which is always a good thing (helps both endurance and tone quality.) Some people have said that the wider rims hinder flexibility, but the Bach W rims have a nice shape that does not produce this negative effect with me (nor with Ron Romm.) I can do lip-trills, lip glisses, lipslurs, etc. just as easily and accurately on these rims as I can on any other rim.
I once heard the great jazz trumpeters Allen Vizutti and Bobby Shew discussing what size mouthpiece that trumpet players should play on for best results. Vizutti expressed his belief that “Anyone who plays on a mouthpiece that is either too small or too large is a fool.” Shew agreed with him. Their point was (and I agree), that you generally don’t want to play on a mouthpiece that is so big that you have to sacrifice high range and endurance. On the other hand, you don’t want to play on a mouthpiece that is so small that you have to: sacrifice beauty, fullness, and richness of tone quality; or accept a stuffy (not open sounding) lower register; or be unable to achieve louder dynamic levels (especially important when trying to achieve ensemble balance in large symphony orchestras or big bands).
In part 2 of this article, I will discuss my own personal mouthpiece preferences, suggest some good mouthpieces for beginners and students, and will discuss the importance of practicing once you have found the perfect mouthpiece.
Randy
Randy Dunn
Professional Trumpet Soloist
Website: http://www.dunn2music.com
Music Video Demos: http://www.youtube.com/HoustonTrumpet
The purpose of this article is to provide help in choosing trumpet mouthpieces for various applications, including use for music of all styles, classical music, lead trumpet playing, jazz and pop, and piccolo trumpet. Because there are so many brands, sizes, and options available when choosing trumpet mouthpieces, it helps to be familiar with the various mouthpiece component features and to know what effect these features have on trumpet performance. The mouthpiece is definitely the most important part of the instrument, and a well-chosen, good quality mouthpiece can make a poor quality trumpet sound good, and can make a good quality trumpet sound fantastic.
PICCOLO TRUMPET AND LEAD TRUMPET MOUTHPIECES:
As stated in my previous article “Piccolo Trumpet Answers”, if you wish to play the piccolo trumpet, you will need to get some type of a generally “smaller” high-note specialty mouthpiece, such as a Schilke 14A4a or Yamaha 14A4a (approximately the same rim diameter as a Bach 3C) or 13A4a (approximately the same rim diameter as a Bach 7C). These mouthpieces are very popular with many piccolo trumpet players as well as lead trumpet players. (The Schilke 14a4a was the first piccolo and lead trumpet mouthpiece that I ever used, and I played on it for many years.) The “A4a” mouthpieces made by Schilke and Yamaha (who uses Schike’s mouthpiece numbering system) have shallow cups and tight backbores which facilitate upper-register playing. Bob Reeves also makes some excellent mouthpieces that are similar to these types of mouthpieces, but with a different numbering system. You can go to the Bob Reeves website for more information, but basically, for piccolo or lead trumpet, you would want one of their mouthpieces that has an ES cup (Extra Shallow) with a 692sL backbore (standard trumpet mouthpiece length) or perhaps a 692s backbore (short trumpet shank model). You can add a Bob Reeves Rim to this mouthpiece configuration that is similar in size to your regular all-around/classical Bb trumpet mouthpiece rim (Their website gives the equivalent rim sizes for both Bach and Schilke/Yamaha mouthpiece rim sizes.)
Parduba double-cup mouthpieces are also excellent for piccolo trumpet and lead trumpet playing. I like these mouthpieces a lot because they sound like larger mouthpieces, with a fat, rich, powerful sound, yet are relatively easy to play in the upper register (this effect is achieved by the unusual double cup configuration—a shallow first cup, and a deeper, funnel-like, V-shaped second cup.) I especially like the Parduba 4 & 1/2 mouthpiece. I played on this mouthpiece for many years until finally deciding to improve upon it slightly by adding onto it the same rim that I use on my bigger, all-around trumpet mouthpiece (see below). Almost all trumpet mouthpiece manufacturers make some mouthpieces that are well-suited for the piccolo trumpet. Refer to the manufacturers’ trumpet mouthpiece catalogs or websites for more information, and try out any of these that sound promising to you.
ABOUT PLAYING AND PRACTICING ON LEAD AND PICCOLO TRUMPET MOUTHPIECES:
If you get a high note specialty mouthpiece, make sure that you only use it for extended or prolonged upper-register playing—like lead trumpet in a jazz band, "screech" trumpet solos, demanding 1st trumpet marching band arrangements, piccolo trumpet playing, etc. NEVER use such a mouthpiece for playing "classical" Bb or C trumpet music (including various concert band and orchestra trumpet auditions and performances, chamber music and solo & ensemble contests, concert & sight-reading band and orchestra contests, etc.) Also do not use the smaller specialty mouthpiece to play your warm-ups, practice routines, or other general practicing on. These tiny little "pea-shooter" mouthpieces generally don't have a rich enough sound in the middle and lower registers for this kind of music, and do not encourage the development and maintenance of a strong embouchure and playing endurance. They might sound good for certain special uses in the extreme upper register, but sound they tend to sound "thin" and "edgy" in the other registers, especially when used to play classical music, where a full, rich tone quality is always important.
Also, make sure to do most of your practicing on your bigger "classical trumpet" mouthpiece. You will enjoy the more beautiful tone quality and this will help you to build both high-range and endurance. Only practice on the smaller upper register "specialty" mouthpiece when you are practicing music that you will actually perform with it (such as lead trumpet parts, high jazz solos, piccolo trumpet, high first trumpet marching band or drum corps music, etc.) If the only mouthpiece you ever play on is the smaller "specialty" mouthpiece, then you will probably lose endurance & range, as well as lose your beautiful tone quality. (I know from personal experience, having tried this myself many years ago.) NEVER SPEND MORE THAN HALF OF YOUR PLAYING TIME (MAXIMUM) EACH DAY PLAYING ON THE SMALLER MOUTHPIECE!
TRUMPET MOUTHPIECES FOR GENERAL USE ON LARGER INSTRUMENTS:
And now for a few comments about the joys of a beautiful, rich trumpet tone achieved by a "larger, classical-legit" trumpet mouthpiece and a brief synopsis of some of my personal thoughts on these "larger/richer" mouthpieces:
1. In general, I think that Bach makes some of the best ones, with a lot of choices in features. The Vincent Bach set the standard for these types of mouthpieces rather early on, so most other mouthpiece brands often compare their mouthpieces to those made by Bach, even if they use a different mouthpiece numbering system. There are some other manufacturers that also make some excellent general use and classical trumpet mouthpieces, including Bob Reeves, Schilke, and Yamaha (among many others.)
2. No matter what size rim, throat, and backbore you prefer, size C cups seem to get the best, richest sound for classical/legit music on Bb or C (soprano) trumpets. (e.g., 7C, 3C, 1C, 1/2C, 5C, 6C, 10C, 10 &1/2C, 10 & 3/4 C etc.) [NOTE: These rim sizes and cups refer to those used by Bach and other companies that use a similar numbering system for their mouthpieces. For other brands, refer to the mouthpiece catalogs for size equivalencies.] Shallower cups (such as D and E cups) don’t emphasize the fundamentals and the lower overtones of the pitches enough, and therefore sound rather thin. Deeper cups (such as B & A cups) don’t emphasize the higher overtones enough, and therefore sound too dark. A mouthpiece cup that is either too shallow or too deep will not produce the rich, well-balanced, full-bodied tone that is most desirable for classical trumpet music.
3. For my big/general trumpet playing mouthpiece that I use on my larger trumpets such as the Bb or C trumpet, instead of the standard Bach backbore, I personally prefer the Bach #24 backbore (so do many outstanding orchestral/classical/legit trumpet players that I know.) The #24 backbore is more open than the standard size backbore and has a different shape that will make your tone quality richer and more beautiful. Probably the best thing you can do to improve your tone (even if it is pretty good already) is to get a Bach mouthpiece with a custom #24 backbore. The #24 backbore works best with a custom, enlarged throat size also (See the next item).
4. For my big/general trumpet playing mouthpiece that I use on my larger trumpets such as the Bb or C trumpet, I prefer a #25 throat (hole), which is 3 sizes larger than the standard throat size (#28), and 2 sizes larger than the standard Bach Megatone mouthpiece throat size (#27). This (#25) also happens to be the same throat size preferred (for many years) by Lew Soloff, jazz trumpet star, formerly with Blood, Sweat, and Tears. I have tried several different throat sizes, and this one seems perfect for me. Some very fine players prefer even larger throat sizes. Some examples of this: Phillip Smith (New York Philharmonic principal trumpeter) plays on a 1C with a #22 throat with a #24 backbore. Jazz trumpet great Arturo Sandoval plays on a 3C with a #22 throat with a #24 backbore. A larger throat makes it easier to blow (less resistance), which can improve tone and ease of playing in all registers and also seems to help with accuracy and clean articulation. HOWEVER, if you make the throat too large (for you personally), then there is not enough resistance, and you will get tired very fast, and it becomes more difficult to play notes in the extreme upper-register.
5. I also have (in recent years) come to prefer the Bach wide-rim "W" mouthpieces. (e.g., 7CW, 3CW, 1CW, 5CW, 10 & 3/4 CW, etc. I got the idea to try these mouthpieces from Ronald Romm (former trumpet with The Canadian Brass), who said that the wide-rim mouthpieces help his endurance and keep his lips from getting beat up. (I have always admired Ron’s incredible endurance.) I now totally agree with him—these mouthpieces have the same benefits for me. The wider rim spreads the mouthpiece pressure over a larger surface area (same effect as snowshoes on the snow, only with a mouthpiece on your lips) and actually encourages you to use less pressure when playing, which is always a good thing (helps both endurance and tone quality.) Some people have said that the wider rims hinder flexibility, but the Bach W rims have a nice shape that does not produce this negative effect with me (nor with Ron Romm.) I can do lip-trills, lip glisses, lipslurs, etc. just as easily and accurately on these rims as I can on any other rim.
I once heard the great jazz trumpeters Allen Vizutti and Bobby Shew discussing what size mouthpiece that trumpet players should play on for best results. Vizutti expressed his belief that “Anyone who plays on a mouthpiece that is either too small or too large is a fool.” Shew agreed with him. Their point was (and I agree), that you generally don’t want to play on a mouthpiece that is so big that you have to sacrifice high range and endurance. On the other hand, you don’t want to play on a mouthpiece that is so small that you have to: sacrifice beauty, fullness, and richness of tone quality; or accept a stuffy (not open sounding) lower register; or be unable to achieve louder dynamic levels (especially important when trying to achieve ensemble balance in large symphony orchestras or big bands).
In part 2 of this article, I will discuss my own personal mouthpiece preferences, suggest some good mouthpieces for beginners and students, and will discuss the importance of practicing once you have found the perfect mouthpiece.
Randy
Randy Dunn
Professional Trumpet Soloist
Website: http://www.dunn2music.com
Music Video Demos: http://www.youtube.com/HoustonTrumpet
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