It seems as if most serious trumpet players (including cornet and flugelhorn players) spend a good part of their lives searching for new mouthpieces. Everyone is always looking for that almost mythical trumpeter’s Holy Grail: The perfect trumpet mouthpiece that facilitates high range, has a rich, beautiful tone quality in all registers, increases endurance, and feels comfortable on the lips. Until locating this seemingly unattainable mouthpiece that is perfect in every way, each trumpet player seems to be temporarily content with finding a new mouthpiece that is at least a slight improvement over their last mouthpiece. But, hope springs eternal that the perfect mouthpiece will eventually be found and that the trumpet player will eventually be able to happily settle down with a permanent mouthpiece and will be able to end his long quest, never having to search for that elusive perfect mouthpiece again.
I am fortunate to finally be at the point where I don’t buy new mouthpieces very often anymore, nor am I even exited about trying out new mouthpieces anymore. This is because I have found my perfect trumpet (and cornet and flugelhorn) mouthpieces. For many years now, I have played on basically the same mouthpieces. These are mouthpieces that I consider perfect (at least perfect for me—although many other professional players that I know who have tried them like them also.) So I haven’t changed my classical-legit/all-around mouthpiece or my piccolo trumpet/lead trumpet mouthpiece or my (rarely used) Brandenburg/extreme lead trumpet mouthpieces in several years now.
These perfect mouthpieces of mine do everything that I want them to, and I can’t imagine finding mouthpieces that I would like better for their purposes or that would be an improvement over these mouthpieces in any way. I have described these perfect mouthpieces of mine in detail in my previous Blog article, “How to Choose Trumpet Mouthpieces, Piccolo Trumpet Mouthpieces, and Lead Trumpet Mouthpieces, PART 2”.
Until very recently (December 2008), the only one of my mouthpieces that I still felt might need to be replaced and upgraded was my flugelhorn mouthpiece. Most trumpet players tend not to give their search for the perfect flugelhorn mouthpiece the same relentless attention as their search for the perfect trumpet mouthpiece since, for most trumpet players, the flugelhorn is merely a secondary doubling instrument and isn’t usually used as much as the trumpet. (Unless you’re somebody like Chuck Mangione, of course.)
I liked my old flugelhorn mouthpiece just fine. It was a Bach 10 & ¾ CW Flugelhorn mouthpiece, which had the same rim as all of my “perfect” trumpet and cornet mouthpieces that I have used for many years and have no intention of switching from. The rim of my Bach flugelhorn mouthpiece was comfortable and the tone was beautiful. The only thing that I didn’t like about this mouthpiece was that it seemed difficult to play on in the upper register, and playing for extended periods of time on it in the upper register caused fatigue and caused my endurance to suffer greatly.
I have discussed this issue of flugelhorn range and endurance problems with many other professional trumpet/flugelhorn players, and always got the same types of responses like,
“Well, you know the flugelhorn is really an alto instrument anyway, so it’s not really designed to play as high as the trumpet is.” Also, many other pro players that I have talked to about this issue have responded, “Well, if you find a great flugelhorn mouthpiece that is easy to play high notes on, yet still has a good sound—even in the low register—and also increases your endurance, well let me know, because I need one too!”
While it is true that, for section work and for most solo work the flugelhorn is an alto range instrument (and this is generally the range that the flugelhorn is used in the most and sounds best in), hearing some of those great jazz flugelhorn players (who are few in number) who have had a great command of the upper register (Freddie Hubbard is a good example that comes quickly to mind) had convinced me that there must be a better flugelhorn mouthpiece out there somewhere. Either that, or these outstanding flugelhorn players must simply be practicing about 8 hours a day in order to build up their chops and endurance to play the way that they do. Finding a better flugelhorn mouthpiece had become more important to me in recent years because I found myself using the flugelhorn more often, not only as a jazz solo and section instrument, but also as a classical solo instrument.
One day, while recommending to a friend that he check out the Parduba trumpet mouthpieces (for a lead trumpet/piccolo trumpet mouthpiece that would boost his high range), I noticed that Parduba also makes flugelhorn mouthpieces. Hmmmmm……..I had never even seen a Parduba flugelhorn mouthpiece before, but I thought it might be worth a try, since I have happily used a Parduba 4 & ½ trumpet (& cornet) mouthpiece as my piccolo trumpet/lead trumpet mouthpiece for many years (although I have replaced the original Parduba rim on this mouthpiece with a Bach 10 & ¾ CW screw-rim, which is much more comfortable.
So…….I ordered a Parduba 4 & ½ flugelhorn mouthpiece. I ordered the mouthpiece directly from Dick Akright, who manufactures, distributes, and sells the Parduba mouthpieces. He made my Parduba flugelhorn mouthpiece for me very quickly and I received it in a very short time after ordering it. (Fast service is always a great thing, but is especially important when it pertains to the seemingly life-long quest for a perfect mouthpiece!)
I pessimistically figured that I would try out my new Parduba flugelhorn mouthpiece with one of three results: (A) I would not like it at all, or (B) I might “sort of like it”, but would need to try some other, nearby sizes to find one that would work a little better, or (C)—best case scenario, I thought—I might possibly like it a little better than my Bach 10 & ¾ CW flugelhorn mouthpiece, but would need to replace the original Parduba rim with the Bach rim, for the sake of comfort and slightly better endurance.
To my surprise and delight, none of the above expected scenarios proved to be true. The Parduba 4 & ½ flugelhorn mouthpiece turned out to be my once elusive perfect flugelhorn mouthpiece. It has a beautiful sound and it instantly kicked my flugelhorn range up into extreme lead trumpet territory and almost infinitely increased my endurance. And yet, this mouthpiece also sounds great in the low register, even on pedal tone notes and on low alto and tenor register notes that use the fourth valve (I play a Getzen Eterna 4-valve flugelhorn.) And, the rim on the Parduba flugelhorn mouthpiece is very comfortable; even more comfortable than the rim on my old Bach 10 & ¾ CW flugelhorn mouthpiece.
The Parduba flugelhorn mouthpiece sounds slightly brighter (and richer) than my old Bach flugelhorn mouthpiece, yet still gets that dark, velvety sound that is characteristic of the flugelhorn. The slightly brighter sound is actually a plus for solo work, because if the sound is too dark, it is harder to hear the flugelhorn over the other instruments in the ensemble that it is playing with. The Parduba flugelhorn mouthpiece also increases the player’s high range due to the fact that it, like the Parduba trumpet and cornet mouthpieces, has a double cup. There is a shallow, bowl-shaped first cup, with a very deep, V-shaped (flugelhorn-style) second cup that sits inside of and at the bottom of the first cup. The shallow first cup facilitates notes in the high register, while the deep second cup allows for a big and beautiful tone quality. I don’t know what the specifications of the bore (throat) and backbore of the Parduba flugelhorn mouthpiece are, but I am guessing that they are both tighter (smaller) than the Bach flugelhorn mouthpiece. At any rate, they seem to be perfect in size and shape.
I have finally found the perfect flugelhorn mouthpiece and would encourage anyone who is looking for a similar flugelhorn mouthpiece solution to try some Parduba flugelhorn mouthpieces. It might be the best move you’ve ever made, and hopefully the last such mouthpiece move for you.
By the way—I also occasionally double on trombone, and when I do, I play on a Parduba 3-Star trombone mouthpiece (not to be confused with the Parduba #3 trombone mouthpiece). It’s a great mouthpiece for trumpet players who double on trombone, because the inner rim diameter of this mouthpiece is about the same as that of the largest trumpet mouthpieces. And yet, because of the double cup, the rich sound and range (both high and low) are incredible. And it is much easier for trumpet players to switch back and forth between trombone and trumpet when using this mouthpiece than it is when using a more standard, larger-diameter rim trombone mouthpiece.
Randy
Randy Dunn
Professional Trumpet soloist
Website: http://www.dunn2music.com
Music Video Demos: http://www.youtube.com/HoustonTrumpet
Showing posts with label Parduba. Show all posts
Showing posts with label Parduba. Show all posts
Tuesday, January 20, 2009
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
Wednesday, January 9, 2008
Instruments and Mouthpieces that I use
Instruments and mouthpieces used by professional trumpet player Randy Dunn.
Because many people ask me about what equipment I play on (what kinds of trumpets and what mouthpieces), here is the answer to that question, in the form of a detailed list:
Equipment that I play on:
Bb Trumpet: Bach Stradivarius, model 37, ML bore (mid 70’s);
C Trumpet: Bach Stradivarius, 229 bell with 25H leadpipe, L bore (mid 80’s);
Eb/D Trumpet: Yamaha model TYR-731 (70’s? An early Schilke design copy by Yamaha);
A/Bb Piccolo Trumpet: Getzen Eterna 4-valve with trumpet mouthpiece receivers (made in the 1970s?) But, when playing the piccolo trumpet in A, I use a Blackburn leadpipe (I feel like the original Getzen A leadpipe that came with the instrument was too open, without enough resistance.) When playing the piccolo in Bb, I use the original Getzen Bb piccolo leadpipe. I have also added a 4th valve slide throw ring to this instrument to aid in tuning (and I operate this throw ring with my left hand pinky.)
Flugelhorn: Getzen Eterna 4-valve;
Herald Trumpet: E. K. Blessing ML bore.
I also have a couple of cornets and a pocket trumpet, but I rarely use these professionally.
My trumpet mouthpieces are all my own custom designs/configurations:
(1) Bach 10 & ¾ CW with a 25 throat and 24 backbore: My all-around mouthpiece (for the larger trumpets.) This is the mouthpiece that I play on most of the time and that I do most of my practice routines on.
(2) Parduba 4 & ½ (double-cup) with a Bach 10 & ¾ CW rim (put together for me with a screw-on rim by Bob Reeves): This is the mouthpiece that I use almost always on the piccolo trumpet and for some lead trumpet playing (for lead parts that require staying above the staff for a long time.) It facilitates the upper register, yet still gets a big, fat sound.
(3) Bob Reeves ES 692SL with a Bach 10 & ¾ CW rim (put together for me with a screw-on rim by Bob Reeves): This is my “Brandenburg” mouthpiece, the one that I use on piccolo trumpet when playing extreme high register pieces such as the Bach Brandenburg Concerto #2. I also have started using this mouthpiece when playing piccolo trumpet with small string chamber groups (like string quartets) because the sound is much smaller (softer) than what I can get with my Parduba mouthpiece (see #2 above), making it easier for me to balance with the soft strings. I also use it for extreme upper-register screaming (when I want to do something like play a double high C in a jazz or pop band, and want to make sure that I nail it.)
(4) Parduba 4 & ½ (double-cup) flugelhorn mouthpiece. (NOTE: This is a standard model flugelhorn mouthpiece, and is not customized in any way. I even think that the original rim on it is very comfortable.) This is my #1 flugelhorn mouthpiece, and I use it for playing most flugelhorn solos and even for most section work that I do. This mouthpiece makes it very easy for me to play in the extreme upper register, yet it still gets a characteristically dark flugelhorn sound, and also sounds great in the extreme (extended) lower register. This is the flugelhorn mouthpiece that I now use almost all of the time.
(5) Bach 10 & ¾ CW FL flugelhorn mouthpiece. This is the flugelhorn mouthpiece that I had used for many years before discovering the Parduba flugelhorn mouthpiece. I still use it a little (although infrequently), as when I am playing something on the flugelhorn that I want to have an extra-dark tone quality and that doesn't require extreme upper register or even soprano/trumpet register playing. (This mouthpiece is more for playing alto lines, which is what the flugelhorn typically most often does anyway.) When using this mouthpiece, I don't like to have to play above a high A (on the first ledger line above the staff.) (NOTE: This is also a standard mouthpiece, and is not customized in any way.)
In future articles, I will explain how I arrived at choosing these particular mouthpieces and I will describe their specific features. I will also be posting some general suggestions and advice on how to choose your own personal trumpet mouthpieces that will work best for you based on what types of music that you play and also based on your own unique individual needs and physical characteristics.
Randy
Randy Dunn
Trumpet Soloist
http://bandsites.org/dunn2music/
http://www.youtube.com/HoustonTrumpet (YouTube demo videos)
Because many people ask me about what equipment I play on (what kinds of trumpets and what mouthpieces), here is the answer to that question, in the form of a detailed list:
Equipment that I play on:
Bb Trumpet: Bach Stradivarius, model 37, ML bore (mid 70’s);
C Trumpet: Bach Stradivarius, 229 bell with 25H leadpipe, L bore (mid 80’s);
Eb/D Trumpet: Yamaha model TYR-731 (70’s? An early Schilke design copy by Yamaha);
A/Bb Piccolo Trumpet: Getzen Eterna 4-valve with trumpet mouthpiece receivers (made in the 1970s?) But, when playing the piccolo trumpet in A, I use a Blackburn leadpipe (I feel like the original Getzen A leadpipe that came with the instrument was too open, without enough resistance.) When playing the piccolo in Bb, I use the original Getzen Bb piccolo leadpipe. I have also added a 4th valve slide throw ring to this instrument to aid in tuning (and I operate this throw ring with my left hand pinky.)
Flugelhorn: Getzen Eterna 4-valve;
Herald Trumpet: E. K. Blessing ML bore.
I also have a couple of cornets and a pocket trumpet, but I rarely use these professionally.
My trumpet mouthpieces are all my own custom designs/configurations:
(1) Bach 10 & ¾ CW with a 25 throat and 24 backbore: My all-around mouthpiece (for the larger trumpets.) This is the mouthpiece that I play on most of the time and that I do most of my practice routines on.
(2) Parduba 4 & ½ (double-cup) with a Bach 10 & ¾ CW rim (put together for me with a screw-on rim by Bob Reeves): This is the mouthpiece that I use almost always on the piccolo trumpet and for some lead trumpet playing (for lead parts that require staying above the staff for a long time.) It facilitates the upper register, yet still gets a big, fat sound.
(3) Bob Reeves ES 692SL with a Bach 10 & ¾ CW rim (put together for me with a screw-on rim by Bob Reeves): This is my “Brandenburg” mouthpiece, the one that I use on piccolo trumpet when playing extreme high register pieces such as the Bach Brandenburg Concerto #2. I also have started using this mouthpiece when playing piccolo trumpet with small string chamber groups (like string quartets) because the sound is much smaller (softer) than what I can get with my Parduba mouthpiece (see #2 above), making it easier for me to balance with the soft strings. I also use it for extreme upper-register screaming (when I want to do something like play a double high C in a jazz or pop band, and want to make sure that I nail it.)
(4) Parduba 4 & ½ (double-cup) flugelhorn mouthpiece. (NOTE: This is a standard model flugelhorn mouthpiece, and is not customized in any way. I even think that the original rim on it is very comfortable.) This is my #1 flugelhorn mouthpiece, and I use it for playing most flugelhorn solos and even for most section work that I do. This mouthpiece makes it very easy for me to play in the extreme upper register, yet it still gets a characteristically dark flugelhorn sound, and also sounds great in the extreme (extended) lower register. This is the flugelhorn mouthpiece that I now use almost all of the time.
(5) Bach 10 & ¾ CW FL flugelhorn mouthpiece. This is the flugelhorn mouthpiece that I had used for many years before discovering the Parduba flugelhorn mouthpiece. I still use it a little (although infrequently), as when I am playing something on the flugelhorn that I want to have an extra-dark tone quality and that doesn't require extreme upper register or even soprano/trumpet register playing. (This mouthpiece is more for playing alto lines, which is what the flugelhorn typically most often does anyway.) When using this mouthpiece, I don't like to have to play above a high A (on the first ledger line above the staff.) (NOTE: This is also a standard mouthpiece, and is not customized in any way.)
In future articles, I will explain how I arrived at choosing these particular mouthpieces and I will describe their specific features. I will also be posting some general suggestions and advice on how to choose your own personal trumpet mouthpieces that will work best for you based on what types of music that you play and also based on your own unique individual needs and physical characteristics.
Randy
Randy Dunn
Trumpet Soloist
http://bandsites.org/dunn2music/
http://www.youtube.com/HoustonTrumpet (YouTube demo videos)
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