EXPERIENCE IN DESIGN
Having "put my neck out" as a crafter of mouthpieces, it was not long before I received calls from anxious horn players. Their queries ranged wide and far, from amateur to professional, from military bandsmen to Principals in major orchestras.
They have called in hope of enlightenment, and in all cases I have enjoyed discussing their needs. And I have learned by exchanging ideas and experimenting along with them.
Naturally, to identify problems associated with variations in mouthpiece design, I have to maintain my playing, so lathe-time and practice-time sometimes compete at Moosewood.
HORN SPECIFIC
It has been my intention from the beginning (c. 1973) that custom mouthpieces ought to be "horn-specific". This means that Model "x" will respond better than Model "y" in the same horn. But Model "y" will, in turn, respond better than Model "x" in a different horn.
Thus, if you contact me, wanting a C4 mouthpiece for your Alexander, be prepared for some advice. An Alex ceases to sound like an Alex with such a free-blowing mouthpiece. Maybe you want your Alex to have a more "open" feel! In that case, I will help you obtain this quality.
OK. I've sent you a mouthpiece to try. What should you do with it?
First: We assume that the rim is one you are used to; or a copy of your old favorite. Don't think of comparing mouthpieces with different rims; you'll only get confused. (If you are trying a new rim, it ought to be similar to your regular rim, perhaps with differences in one or two aspects.)
Second: Warm up normally using the new mouthpiece.
Ready?? OK!
Third: If this mouthpiece is for general playing, check out its response by: (a) slurring octaves, starting on low "G"-to- 2nd line G, G#, A, and upwards. Are the octaves in tune? Do the notes stay in tune as you reach the top of the Treble Clef and ascend above? Horns are not perfect: I mean "easy intonation" here.
(b) Is there ease of blowing & sustaining notes throughout the staff? Do the notes "lock in" easily, without tendency to wander? (We assume your horn does not leak, which will make higher notes wander badly...) Or perhaps, do the notes lock in a bit TOO much?
(c) Is the tone clean and clear? Is it as "Bright" or "Dark" as you would like? Either "Bright" or "Dark" is a component of quality Horn tone, and will vary depending on where you perform.
Players with a naturally dark tone may want to brighten it to suit. For this I suggest a mouthpiece with more resistance and less cubic volume. The free-blowing mouthpiece helps the "bright-toned" player who wants more darkness. Many times, the work at hand will favor a lighter or a darker tone, as in performing Mozart or Mahler. A second mouthpiece, using the same rim, will make this adaptation easier.
Fourth: Staccato scales and arpeggios, two and three octaves. Are the notes where they ought to be? Are the "targets" nice and broad? Do you feel confident about your accuracy on the new mouthpiece, or is your old one better?
Fifth: Piano and Pianissimo attacks, especially in the high range. Still confident? Is the tone quality holding up nicely? (How about the passage in the Ravel G Major??)
Sixth: Forte and Fortissimo passages; low, middle & high register. Is the tone steady; does the horn project easily without distortion? Is there more/less "edge" than you want? Is there sufficient resistance, or do you feel "winded" in fortissimo passages? It is assumed that you are "in shape!"
Finally: Play something MELODIC, free from mental constraints, such as rhythmically complex, technically over-involved, cerebral stuff. I recommend the intro to "Stardust", but that probably dates me. (Desafinado is another great choice, unless you are truly locked-in to printed music...) Nevertheless, such free-roaming pieces of lyricism will give you the final word on the flexibility & comfort qualities in the new mouthpiece. If you can easily express yourself with this mouthpiece, you have found "The One".
GET A SECOND OPINION!
These tips should help you through the trial of a new mouthpiece. Another good test of tone and projection is to take a trusted colleague to the hall and have him/her listen from the seats. Many of us do not know how we sound at a distance. Get a second opinion. (Maybe NOT a rival's opinion!)
An added note of importance in evaluating the MegaMoose or Cartouche High-Mass Mouthpieces: At first trial, the MegaMoose underpart may feel somewhat flat to you in the upper range. This is because you have been compensating for the less-than optimal projection and intonation in standard-weight mouthpieces. You may even discover that your body usage has been compensating for less-than optimal response. Have you been slumping, tucking your neck in, closing off your throat? When evaluating the MegaMoose with your listening colleague, ask him/her if there is a difference in the power of sound and clarity. As you become accustomed to practicing and performing on the MegaMoose you will be astonished at how much effort was formerly expended, using your over-light mouthpiece! Naturally, I recommend the MegaMoose for concert hall use, but suggest the standard-weight or stem-weighted underpart for chamber music and pit work.
THE FINAL TEST
The final test is in the context of ensemble playing. Can you hear yourself? Can your colleagues hear you easily? Does the mouthpiece/horn combination seem to make your ensemble playing easier and more enjoyable? Do you blend better with: your section, with the brasses, woodwinds, strings, with your accompanist?
In the long haul, a good match between yourself, the mouthpiece and horn will show up in better endurance, better intonation and overall ease of playing.
And of course, the final goal is, as they say in Zen literature, "complete annihilation", where the whole focus is on the music and the "means-whereby" is left behind.
- Thomas Greer, Moosewood Hornists' Requisites