The bracketed numbers tell you how many of each instrument are in the ensemble.
Titles with no bracketed numbers are assumed to use "Standard Instrumentation." The following is considered to be Standard Instrumentation:
Note the "2+1" portion means "2 oboes plus english horn" Thus a double reed quartet of 2 oboes, english horn and bassoon will look like this: Whenever this occurs, we will separate the first four digits with commas for clarity. These are linked to their respective principal instruments with either a "d" if the same player doubles the instrument, or a "+" if an extra player is required. Sometimes there are instruments in the ensemble other than those shown above. This woodwind quartet is for 1 Flute, no Oboe, 1 Clarinet, 1 Bassoon, 1 Horn and Piano. Any additional instruments (Piano in this example) are indicated by "w/" (meaning "with") or by using a plus sign. The first number stands for Flute, the second for Oboe, the third for Clarinet, the fourth for Bassoon, and the fifth (separated from the woodwinds by a dash) is for Horn. The bracketed numbers tell you the precise instrumentation of the ensemble. Rimsky-Korsakov Quintet in Bb Item: 26746 For these reasons wood and crystal are not suitable materials for saxophone mouthpieces.Following many of the titles in our Wind Ensemble catalog, you will see a set of numbers enclosed in square brackets, as in this example: Wood cracks easily and warps from the effects of moisture and temperature.
Crystal holds the facing well, but is easily chipped if bumped. Hard rubber breaks easily when bumped, warps over time or from heat (even from sunlight), and wears on the tip and side rails from reed vibration. Hard rubber is a poor material for mouthpieces even though it is easy to tool and to set into vibration when played. Frederick Hemke and many other fine artists.Īnother quality of metal (and plastic/synthetic) mouthpieces is durability. The Selmer (Paris) metal mouthpiece is a very fine classical type mouthpiece and is used by Dr. The most common metal mouthpiece used by them was the Otto Link metal, which has a large round chamber, and produces a dark, “hollow” tone. The old big band tenor men wanted a smooth, warm tone, not a bright edgy rock and roll tone as is common now. Hard rubber or plastic mouthpieces vibrate and add overtones to the sound. This idea has probably come about from the number of jazz saxophonists, usually tenor players, who use metal mouthpieces. It is a common misconception that metal mouthpieces are only for jazz, and that hard rubber (or plastic) mouthpieces are for concert playing. Changing only the tip opening will cause a subtle change in tone quality in that softer reeds are used, which vibrate with more rich overtones. The chamber and material of the mouthpiece have a greater effect on tone quality than the tip opening. Large tip openings require softer reeds, and may cause embouchure fatigue. Larger tip openings allow more flexibility in pitch, which is great for jazz, but may cause problems for young players.
Small tip openings require hard reeds to keep from choking up at loud volumes, have less flexibility in pitch, and have a cold, hard tone. 015″ larger than classical mouthpieces, and with softer reeds (#2 to #2 1/2). These mouthpieces are usually played with tip openings about. This gives more “edge”, or brilliance to the tone. Jazz type mouthpieces generally have smaller, more square chambers, which encourage production of higher overtones. These mouthpieces are usually played with moderate tip openings (the gap between the tip of the reed and tip of the mouthpiece) and reeds in the #3 to #3 1/2 range. In general, classical and concert band mouthpieces have large, round chambers which produce a tone quality rich in fundamental and low overtones. Also, a facing that is considered “medium” for jazz or rock is “open” for concert band or “classical” playing. Facing sizes are numbered, or lettered, differently by each manufacturer, a #4 in one brand may be the same size as a #3 or letter size in another brand. Even worse, he may be told to buy a size number without being aware there are no standard size numbers. He will usually be advised to buy a particular brand and size (Selmer C*, etc.) or, more vaguely, a “medium size” facing. Mouthpiece Facings, Chambers, and MaterialsĪ young saxophonist usually purchases a new mouthpiece during his junior high or high school years, either because of damage to his “stock” mouthpiece or the desire for an improved tone.