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Some certain works and phrases of works have interesting applications when it comes to testing mouthpieces and horns. In some recent lessons I have come back to the topic of “connections” of notes in relation to mouthpieces, and, more specifically, in relation to the connections found in Maxime-Alphonse book 4 number 12.
Eventually “connections” becomes an accuracy topic. If you can’t connect easily from note to note you will have chipped notes creep in. You also tend to think it is you, some problem you have, rather than an equipment issue that is the cause.
For sure some teachers and players also don’t realize this general issue and the large impact it has. Which brings me back to this specific etude, which is excellent for testing mouthpieces (and horns). It should be easy. Easy notes, easy range, beautiful and singing.
If you miss notes in every phrase it can be a function of how stiff your horn feels when it moves from note to note. It will very much benefit you to try several mouthpieces on some phrases such as found in this etude. There is no one perfect mouthpiece for this, as your horn will also have slots and they can feel from note to note looser or stiffer. Plus there is the issue of mouthpiece fit. Larger shank mouthpieces, that fit in less far, will tend to feel stiffer, with more tendency toward what some call bumps and clicks.
Horn makers tend to set up their horn for a mouthpiece they prefer. But again, this is part of why you need to experiment. You are you. You have to find your balance in relation to sound and sound production.
In my own case, I’ve found myself going back to two mouthpiece models I used before the current one. This is probably partially a manifestation of the “mouthpiece wheel of doom” theory, where you do experiments and then end up where you started. Still, the trials are worth the effort, and it is a good way to focus your practice as you can see quickly which ones actually work better in this etude. Give it a try!
