WOODWINDS
Jenn Garrison is a saxophonist and former woodwind retail specialist living
in the Metro Vancouver area.
By Jenn Garrison
Sax Reeds & Mouthpieces:
Finding the Right Fit
M
aybe you’re just starting out on your journey with the
saxophone, or maybe you’ve been playing for some
time and are experimenting with your instrument in
search of ways to improve your performance. In any
case, here’s some general advice about reeds and
mouthpieces to take into consideration. The good news is there’s no
shortage of options out there…
Getting Started
First off, saxophone mouthpieces are basically interchangeable; in most
cases, they’ll fit any neck, and if they don’t, you can typically shave down
or replace the cork attachment.
Starting out, you’re likely going to be using a standard mouthpiece
and standard (2 1/2) reed. From there, as you develop in terms of the
length of your tones, your chops and embouchure, etc., you may be
inclined to start exploring other reed and mouthpiece combinations
to fit your tastes and intentions.
Together in Harmony
Now let’s talk about the relationship between reed and mouthpiece
selection.
Reeds
With reeds, while you’ve got considerations like wood vs. synthetic, the
main differentiator is thickness. Reeds are gauged using a basic numbered
scale, with low-to-high representing thin-to-thick. The typical range here
is 2-5, and again, most of us will have started out with a thin 2 or 2 1/2.
Generally speaking, the thinner the reed, the brighter the tone. That’s
because thinner reeds vibrate more easily (which is also what makes
them optimal for starting out). That also means more volume, which is
why thinner reeds are typically favoured by soloists or those playing in
more contemporary styles.
The thicker reeds (4 or 5) typically require more skill and experience
to manipulate, and will produce a wider, bigger, and warmer sound.
Keep in mind that you’ll be replacing your reed relatively often, which
is where the consideration for a synthetic, resin-based solution comes
into play. They last longer and are easier to maintain, though wood
remains a popular choice for professional players.
Mouthpieces
There are two basic types of saxophone mouthpieces: jazz and classical.
Classical mouthpieces tend to have fairly closed tip openings, with
low, flat baffles and smaller chambers. The result is a more rounded and
focused sound that’s conducive to blending with other instruments in
a band or ensemble.
Jazz mouthpieces tend to have wider tip openings, higher baffle
designs, and larger chambers. The result here is more prominent upper
overtones and harmonics, which provide more punch and projection
for styles like rock, pop, and of course, jazz.
The tip opening – the space between the tip of the mouthpiece
and tip of the reed (when attached) – is a key point in the relationship
between the two components. The amount of space correlates to how
(and how much) air flows into the instrument.
A mouthpiece with a narrow tip used in tandem with a thin reed
might result in a tough playing scenario; the thinner the reed, the more
vibration, which could interfere with or completely block air flowing in
through the tip opening.
Other aspects of the relationship are the table, where the reed actually
attaches to the mouthpiece, and the “facing,” which is the length and
slope of the curve at the tip of the mouthpiece that eventually aligns
with the reed.
Ultimately, the mouthpiece you’re using will inform your reed choice,
and your decision will come down to trial-and-error (though you can
certainly get a head start with input from other players or woodwind
retailers/manufacturers).
The more advanced and experienced the player, the more options
they’ll have in terms of interesting and atypical reed and mouthpiece
combinations, and the unique tones they can produce.
With so many options for both reeds and mouthpieces, the
combinations are virtually endless. Try different types, different
sizes – even models from different manufacturers. Start with a
more standard set-up to find your footing, and then get ready
to get creative as your playing develops and performance
opportunities expand.
CANADIAN MUSICIAN 29