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Mouthpiece Size and the Development of Range on the Trumpet 1
According to Professor Jens Lindemann (2010) from The University of California, 90%
of the trumpet players play on a mouthpiece that’s too big (Artists House Music. (2010, March).
https://youtu.be/2ktNxEX8Ggw). The most well known trumpet brands sell their instruments, as
standard, with a 7C (as measured by Vincent Bach) mouthpiece, which is commonly associated
with beginners. It’s common to see trumpet players beginning with a 7C and gradually
increasing the size of the rim, and sometimes the depth, with the years. The most common
mouthpiece for orchestral playing, still according with Professor Lindemann, is the 1 1/2C.
Tommaso Bianco and Vincent Freour (2012) stated there’s a positive correlation between
lips tension and mouthpiece force (Bianco, Tommaso ; Freour, Vincent ; Cossette, Isabelle ;
Bevilacqua, Frédéric ; Caussé, René (2012). Measures of Facial Muscle Activation, Intra-oral
Pressure and Mouthpiece Force in Trumpet Playing. Journal of New Music Research Vol. 41(1),
49-65) . That corroborates the statement of many trumpet “screamers” when they say that a
mouthpiece with less volume generates more compression, which is needed for the upper register
(Haas, August (2011). The Art of Playing Trumpet in the Upper Register. University of Miami
Scholarly Repository).
Mouthpiece Size and the Development of Range on the Trumpet 2
Considering those studies, the present project intends to analyse the impact of scaling
down the size of the mouthpiece on the development of the upper register in a pedagogical
approach.
Literature Review
The control of pitch by the lower lip is accomplished in the following manner: In the first
place, it increases frequency by squeezing against the upper lip, the resistance of the upper lip to
this action increasing its stiffness; hence, the pitch is raised in much the same way in which it is
raised where a reed or string are present. In the second place, the lower lip increases frequency
by restricting the vibratory movement more and more to the part of the lip closest to the opening
between the lips, the frequency rising as the vibrating mass decreases.
- On this work, Henderson states that the upper lip is vibrating against the force that
about the application of syllables to facilitate trumpet technique. While some authors do not
advocate the practice (e.g., Carter, 1966; Schneider, 1982; Stoutamire, 1972), others support the
notion and offer various examples for incorporating syllables into exercises and rehearsal (e.g.,
Fitzgerald, 1949; Jenkins, 1970; Lillya, 1991; McKee, 1962; Ridgeon, 1986; Whitehill, 1966).
However, there is a consensus among all of these practitioners indicating that the trumpet can be
Mouthpiece Size and the Development of Range on the Trumpet 3
divided into three ranges - low, middle, and high - and those that support the use of syllables
typically suggest "toh" or "doh," "tah" or "dah," and "tee or "dee," correspondingly.
- On this citation the researchers dialog on the fact that tongue arche is not a consensus
among trumpet teachers, thus this work attempts to bring some light to the discussion.
videotape recorder to document a number of oral cavity operations that contribute to trumpet
played a variety of exercises in all registers. Data revealed that all participants arched the tongue,
and that there was a more exaggerated arch for the soft, slurred arpeggio passages and less for
loud tongued passages. Results also indicated that when ascending into the upper register, the
opening between the teeth got smaller and tongue placement for articulation moved further back
behind the upper teeth. In a later study, Amstutz (1970) found that the tongue rises as the pitch
ascends and lowers as the pitch descends, suggesting that the back of the tongue is a critical
- After applying the tests we can verify a tendency towards tongue arching on trumpet
The finding that both register and intensity positively affect the embouchure muscle
activity supports the conventional wisdom rather than the suggestion sometimes found in the
Mouthpiece Size and the Development of Range on the Trumpet 4
brass pedagogical literature that there is, or should be, unchanging muscular tension levels in all
registers and at all intensities. Also, the finding that register has a greater effect than intensity on
- The authors analyzed how the muscles, specially the corners of the mouth, work
The way each parameter of the mouthpiece construction influences both the embouchure
and its acoustic behavior has been investigated by Forza (2000): Rim shape and profile, external
and inner rim edge, cup shape, profile, volume, depth, and width are all factors that contribute to
determining the final acoustic output of a brass instrument. In fact, the mouthpiece, by acting as
oscillation that greatly affects the entire sound system (Backus, 1976; Campbell and Greated,
1987). Also the volume of the mouthpiece plays a relevant role in determining the quality of the
soundfor it inversely correlates with its popping frequency (Benade, 1975). Recent
measurements carried out by Pyle (2010) also suggest that the mouthpiece cup volume is a key
- The authors imply here that the different mouthpieces setups interfere both on
Although no direct measurements of the mechanical properties of the lips have been
conducted, some authors hypothesized their relation with other variables. For example, Elliott
and Bowsher (1982) claimed that the tension of the lips should scale linearly with frequency,
while Vergez and Rodet (2001) suggested that this might be positively correlated with the
mouthpiece force.
- The mouthpiece force as a variable; the correlation between mouthpiece force and
A large cup diameter generally achieves a big full sound and is intended for
low-to-middle register playing. A large cup requires work from more muscles in the face, and
endurance can therefore suffer. With a medium cup diameter, the air pressure forces more of the
energy into the upper partials, with a corresponding increase of brilliance and a brighter sound.41
A small cup diameter will increase the aforementioned qualities, thus producing a much brighter,
laser–like sound. A small cup diameter can also increase endurance and is generally used to
Compression is used to pressurize the airstream to capacity so that higher pitches and
brighter sounds are produced. Some of the most common styles of music that utilize compression
while playing are commercial, rock, Latin, and big band jazz. When playing in the upper register,
the two most important items to remember are compression and speed of air. Without a high
degree of fast moving air and compression, it is extremely difficult to play in the upper register.
Those studies are important to establish how trumpet players should approach the upper
register. All the variables, like air compression, air speed and muscles work are apparently
affected by the mouthpiece set up. But they don’t elucidate on how scaling down the mouthpiece
can affect players that are still developing the upper register. The lack of this pedagogical
The present project intends to analyse the impact of scaling down the size of the
mouthpieces can affect the development of the upper register? If they can, how profound it is?
The finds of those questions could lead band directors and trumpet teachers to a better
Methodology
The researcher intends to apply the same method for upper range development, in this
case Louis Maggio System for Brass, for two different groups of high school trumpet players.
The sampling method will be clustering the groups from high school bands.
A pre-test will be applied to measure how high each group can play, by scoring the
highest notes they can play on simple arpeggios from the method, and then new mouthpieces will
be provided for both groups. For one of the groups the researcher will provide the following
mouthpieces: 1C, 1 ¼ C and 1 ½ C. For the other group, the following smaller mouthpieces will
be provided: 3C, 5C and 7C. After 16 weeks the same test will be applied to measure the range
References
René (2012). Measures of Facial Muscle Activation, Intra-oral Pressure and Mouthpiece Force
Haas, August (2011). The Art of Playing Trumpet in the Upper Register. Open Access
Haas, August (2011). The Art of Playing Trumpet in the Upper Register. Open Access
Slurring by Middle School Trumpet Students. Contributions to Music Education Vol. 36, No. 1,
41-51.
Embouchure Muscle Function in Trumpet Playing. Journal of Research in Music Education Vol.
Mouthpiece Size and the Development of Range on the Trumpet 9
manufacturing and tone quality. The Journal of the Acoustical Society of America Vol. 134(5),
3872-86.