Introduction
The Rim
Cup Depth and Diameter
Cup Shape
The Throat
The Backbore
The Shank
Material, Weight and Thickness
Numbering Systems
Selecting a Mouthpiece

Introduction

In selecting a mouthpiece one needs to consider a variety of factors, including the player's teeth, jaw, and shape of the lips (thickness and width), as well as the strength of the embouchure.  The desired tone quality is also important, as is the ease of playing the upper and lower range, endurance, intonation, and the type of playing done most of the time.

In selecting a mouthpiece design, at least five areas must be considered.  They are: the rim, the cup, the throat, the backbore, and the shank. Each is discussed in turn below:

The Rim

The size and shape of the rim is particularly important because it has the most significant effect on endurance and flexibility.  A narrow rim is gives greater flexibility, but tends to reduce endurance.  A wide rim, on the other hand, provides a better cushion for the lips, thus allowing a performer to play continuously for longer periods.

Cup Depth and Diameter

The diameter of the cup (as measured from the inner edges of the rim) is important because it determines the area in which the lips will vibrate.  It is therefore the most important factor determining the size of the sound.  Larger cup diameters result in a greater proportion of the lips vibrating inside the mouthpiece and will thus result in a larger volume.  Smaller diameters, on the other hand, tend to impede the airflow and thus produce a smaller sound. 

That said, players with thick lips seem to do better with larger cup diameters, while those with thin lips may get equally fine results with smaller diameters.  Deep cups produce a darker sound and are more responsive in the lower register, while shallow cups improve endurance, favor upper register playing and give a brighter sound.

Vincent Bach argues that players should emulate outstanding virtuosos such as Herbert Clark, Jules Levy, Theodore Hoch and Paris Chambers and use wide, deep cups. By diligent practice, he points out, such players were able to produce an enormous volume of tone and reach from pedal C up to high F and beyond.  They did not pinch high notes, as many do today, by using small, shallow-cupped mouthpieces.

As a general rule, however, it is better to encourage a student to use progressively larger size mouthpieces only as his embouchure develops.  A large cup volume produces a fuller and more resonant tone. It also encourages the development of more lip control.

Cup Shape

The shape of the cup is also important.  U-shaped cups have a brighter sound and are easier to play in the high register.  V-shaped cups on the other hand,  produce a darker sound and are easier to play in the lower register.  Some mouthpieces, particularly those designed for French horns, have a combination of the “U” and “V” shapes to make the instrument easier to play throughout its register. 

The Throat

The diameter of the throat shoulder or edge has an important influence on the timbre or tonal characteristics of a brass instrument.  Large throats darken the tone and give it body, but they also require lots of air from the player.  Smaller diameter throats produce high resistance, making for a faster response and brilliant tone.  Some suggest that a smaller throat also helps produce an easier high register.  However, it can also choke the tone, make high notes flat and low tones too sharp.

The Backbore

Many brass teachers and students tend to neglect the importance of the backbore. Part of the trouble is that the backbore is not so readily visible to the naked eye. The more important reason, perhaps, is a lack of understanding of the importance of its shape. According to experts such as Renold Schilke, it is not unusual to find mouthpieces that are superior in every respect except for the backbore. If the backbore expands rapidly, the tone will tend to be larger in volume.  Unfortunately, this will also decrease the resistance of the mouthpiece.  The player’s endurance will decline correspondingly and he will have more difficulty controlling the tone, especially when playing very quiet passages.  A smaller backbore will do the reverse.

The Shank

The shank is intended to fit the backbore into the instrument in such a way that a continuous taper is formed with the leadpipe.  Unfortunately, there is no international standard here, and European-made mouthpieces do not always sit well in US-made instruments.  Just how significant this is in affecting the tone is a matter of some debate among mouthpiece designers.  What is certain, however, is that when mouthpieces made on one continent are used on instruments made on another, they often go too far or not far enough into the leadpipe, thus affecting the instrument’s pitch center. 

Material, Weight and Thickness

Most mouthpieces are made of brass, with silver or gold plating added.  Silver is durable and will not flake or peel.  However, there are some players whose skin appears allergic to the metal.  Gold plated mouthpieces, although more expensive, provide the smoothest feel and enhance lip flexibility.  Some manufacturers such as Yamaha also produce mouthpieces made of solid silver.  The latter are said to have a darker, more powerful tone.  Unfortunately, because of the increased resistance associated with them, they are really only suitable for experienced players. 

Numbering System

Unfortunately, there is no standard numbering system indicating mouthpiece size, so it is important to understand the system used by each manufacturer when ordering or making comparisons between different brands.  In the case of Vincent Bach and Dennis Wick, progressively lower numbers indicate larger cup diameters.  With Shilke and Yamaha, it is the other way around.  A letter (A, B, C, etc.) placed after the number usually indicates the depth of the cup.  Again, however, there is no widely accepted system and it is important to refer carefully to the catalogues of the respective manufacturers. Vincent Bach models begin with “A” indicating the deepest cup, while Shilke model “A” mouthpiece indicates a small cup. Direct comparison between brands is further complicated by other design differences.  One of the most significant discrepancies between Bach and Schilke mouthpieces, for instance, is that Bach mouthpieces have a sharper edge (or bite) on the inner rim.  This helps in the production of clean attacks, but makes slurs more difficult to execute.  Standard Schilke mouthpieces also have larger backbores than those in the Bach range. 

Selecting a Mouthpiece

Since individuals vary considerably in terms of physiology, the following table is presented only as a general guide.  At more advanced levels, the type of music being played and the desired sound quality also influences the selection of a particular mouthpiece.  The table has been compiled from various sources, including the brochures issued by the following mouthpiece manufacturers: Denis Wick, Vincent Bach, Schilke and Yamaha. An asterisk (*) placed after a model number indicates that it is primarily designed for playing jazz. Although the catalogues issued by manufacturers sometimes seem to suggest otherwise, trombone and euphonium mouthpieces are not interchangeable.  A euphonium requires a deeper and more conical cup to achieve a true euphonium sound.

When ordering cornet mouthpieces it is important to specify whether the instrument has been designed to accept large or small shanks.  Trombones and Euphoniums also differ, with some using large shank mouthpieces and some using small shank mouthpieces. As a general rule of thumb, large bore instruments take large shanks while small and medium bore instruments take small ones.  When in doubt, the safest way out is to indicate clearly the make and model of the instrument the mouthpiece you are ordering is intended to fit. 

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