Mouthpiece Nomenclature

Here we will talk about the many components of mouthpiece technology and how they relate to one another.

The materal is the foundation of a mouthpiece and has important influence over all playing characteristics. But in order for the material to function properly a good design is required. A mouthpiece’s design consists of the bore, chamber and facing and each should work in harmony with one another.

Wood was used before the advent of hard rubber and was plagued with problems. As a wood mouthpiece warms up, the dimensions would change causing intonation problems. The mouthpiece can “warp” causing an ineffective relationship between the reed and facing. Wood can create a variety of tone shapes and colors, but is usually responsible for a colorful warm sound, easy response and good blow-through. A good wood mouthpiece can sound very pleasing…when it works properly.

Ivory was used in the old days in an attempt to find a material that sounds good but is more stable than wood. Ivory is more dense than wood and has a more resistant feel. The sound has depth and point, but the response is not as quick.

Hard rubber, also known as Ebonite, Vulcanite, and sometimes known as India rubber, Steel Ebonite, and Caoutchouc, replaced wood and ivory as the new wonder material. Hard rubber is stable and has a wonderful acoustic range. Depending on its density, the sound, response, and resistance can be modified to suit most tonal concepts. Since its inception, rubber has remained the chosen material for clarinet mouthpieces.

Glass creates a very different playing experience. It is very resistant to the blow-through and it can create a dark but colorful flute like sound. Usually, when playing on glass mouthpieces it is necessary to play on softer and very vibrant reeds.

Metal in the form of brass, bronze or aluminum is usually plated gold or silver and is used much more in saxophone mouthpieces for its quick to resonate sound. It is often paired with a higher baffle for added brightness and volume.

Plastic is commonly used in student mouthpieces for its ease of manufacturing and therefore low cost. As there are many types of plastics, there are many ranges of sounds, but generally it is understood that plastic is not capable of producing the depth and range of sounds that rubber can produce.

Chamber consists of the baffle, sidewalls, and throat. The chamber must work in harmony with the natural resonance characteristics of the hard rubber and should be constructed in a manner to best suit the tonal concepts of the player. The chamber can allow for lots of variation as long as the total volume of the mouthpiece is correct.

Baffle is one of the most important parts of a mouthpiece’s design. It is the ramp that slopes down into the bore. A baffle’s depth and shape are crucial and affect pitch sound and response. Baffles usually have concavities on two axes, and their radii are very important. Baffles with a straight or very slight radius down into the bore will create a more resonant, focused sound, and quicker response. Baffles with a deeper more swooped shape will create a mellower, slower responding mouthpiece. The concavity that runs across the baffle from either sidewall is important in creating a multi-dimensional sound. Baffles that are flat tend to create sounds with limited scope.

Sidewalls greatly affect the mouthpieces playability. The distance between sidewalls influences a mouthpieces tonal character and resistance level. Sidewalls that are closer together can create a more stable playing platform, but the danger is that if the sidewalls are too close together, the sound becomes tight and inflexible. If the sidewalls are too far apart, the important working-resistance is reduced and the sound becomes washed out.

Throat is in part responsible for the sound’s concentration. The sidewalls run down the chamber to the narrowest point at the throat. This is at the juncture between the chamber and the bore. A narrow throat creates a more concentrated sound and a wide throat creates a broader sound.

Bore serves the chamber. Indeed the bore influences the sound, but its primary role is to balance the chamber to create the perfect total volume. Volume affects pitch and this is the bores greatest role. If a bore is too big, the pitch can go flat and the sound can become diffused. If the bore is smaller, pitch will rise and the sound can become more resonant. If the bore is too small the mouthpiece may lack depth and size of sound and the pitch will most likely be very sharp.

Facing has influence over everything. The facing is the curve that the reed vibrates against. A facing’s length, opening, nature, efficiency, and symmetry will affect the playability of the mouthpiece.

Length refers to the point where the curve departs from the table. It is the part of the curve that is farthest from the tip. Generally, a facing with a long length feels more close and free and a facing with a short curve will feel more open and resistant.

Opening is the gap between the tip of the reed and the tip of the mouthpiece. An open mouthpiece is usually fitted with a flatter curve to reduce resistance. A close mouthpiece is usually fitted with a more extreme nature to the curve to create the correct amount of working resistance. Generally, more open mouthpieces require more embouchure pressure and maintenance to function. More close mouthpieces require less embouchure pressure and tend to have more hold. Often people seeking a very dark sound prefer more open facings.

Nature refers to the type of curve. Curves can vary substantially, as some are nearly flat and others have a more extreme nature. Curves that are flatter tend to be free blowing and curves that are more extreme tend to have more resistance. The key is to match the nature of the curve to the tip opening and length.

Efficiency occurs when the mouthpiece holds the sound with the least amount of embouchure pressure. When the length, nature of curve and tip opening are all working together the facing becomes efficient. An efficient curve creates a fluid and resonant playing experience.

Symmetry refers to the balance between side rails. If a facing is not balanced, the mouthpiece is effectively detuned and loses resonance. A facing that is balanced is more likely to respond reliably, sound clear and project easily.