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Mellophone Mouthpieces

Russell Greene | August 2014


   


    The most important decisions for band directors usually arise from three basic questions: “How do I want my band to sound?,” “Who are my students?,” and “What do I want my students to be able to do?” Related to these questions there is a decision to be made about mellophone players and which mouthpieces they should use. The question is whether the mellophone player should use a trumpet mouthpiece, a mellophone mouthpiece, or a horn mouthpiece with an adapter. While this question might seem to be simple, it has sparked much debate and brought about polarizing opinions among band directors.
    To get to the heart of this debate, I sat down with Professor Charles “Skip” Snead, who is director of the University of Alabama School of Music and professor of horn. We discussed key considerations involved in mouthpiece selection, the benefits and perils of each choice, as well as a few guidelines that band directors may wish to follow as they make a decision that best suits their program and their students.

Mouthpieces and Sound
    Each year more mouthpiece models are manufactured, which can make the search for the perfect equipment seem more arduous. Although it would be impractical to analyze the dimensions of every mouthpiece model, we can take comfort in knowing that all mouthpieces exhibit a common set of qualities, allowing for an acceptable level of generalization. Each of the three mouthpiece options for the mellophone (trumpet mouthpiece, mellophone mouthpiece, and horn mouthpiece with adapter) has certain general characteristics. In evaluating these mouthpieces, it may help to think of each as part of a spectrum, based on their varying shape, size, tone, range, and volume.
    On one side of the spectrum is the trumpet mouthpiece, which has the longest shank size and the shallowest cup. The trumpet mouthpiece typically has a large, cylindrical back bore, a thick outer rim, a small inner rim diameter, and a semi-cylindrical cup shape. These factors contribute to a projected sound while offering ease in the high range. The thick outer rim of the mouthpiece spreads embouchure pressure over a larger area, which helps to delay fatigue. It should be noted that the size of the mouthpiece helps players keep the embouchure steady as they move quickly across the field. One detriment, however, is that the tone of trumpet mouthpieces can sometimes be rather bright and harsh. Because trumpet mouthpieces are much longer than mellphone and horn mouthpieces, it also creates the risk of major intonation and tone problems. This is not surprising considering that the mouthpiece is being used on an instrument for which it was not designed.
    On the other side of the spectrum is the horn mouthpiece, which has the smallest shank size and a deep, conical cup. This mouthpiece also has a smaller, conical back bore, a comparatively thin outer rim, but a large inner rim diameter. With these qualities, the mouthpiece produces a darker tone and performs well in the middle and lower ranges. The downside, however, is that it does not project well across the ensemble and can be limited in the high range. The thin outer rim also tends to focus embouchure pressure into a small area, which can quickly lead to fatigue. The horn mouthpiece is the smallest of any brass instrument, and, as a result, it is likely to slide off the embouchure when the player is marching in a halftime show. Despite these downsides, the horn mouthpiece has a key benefit, which is that it can be used to produce the iconic horn sound.
    As shown below, the mellophone mouthpiece is an attempt to achieve a middle ground between the horn and trumpet mouthpieces. The larger throat, thick outer rim, and the cylindrical back bore help to facilitate the volume, endurance, and convenience benefits of the trumpet mouthpiece. The cup is more conical than the trumpet mouthpiece (although not as deep as the horn mouthpiece), which allows for a darker sound. Mellophone mouthpieces also allow for great volume and control in the middle range of the instrument, but can be rather piercing in the upper register and difficult to project in the lower register.

Horn Angle and Embouchure
    Ten degrees or more above parallel to the ground is generally considered to be the standard horn angle for marching bands in the United States. Unfortunately for horn players, however, it is difficult to play in this standard marching angle while maintaining the optimal horn embouchure (2⁄3 top lip, 1⁄3 bottom lip). Unless the performer pulls his head back to compensate, the standard marching band angle will cause the player to place a majority of the mouthpiece on the top lip and use more movement from the bottom lip, which will be similar to the recommended trumpet embouchure (1⁄3 top lip, 2⁄3 bottom or half and half). A better, more efficient horn embouchure will typically place the majority of the mouthpiece on the bottom lip, allowing for more of the top lip to manipulate the pitch and air.
    This difficulty that arises with the horn angle is probably more common for players than the mouthpiece problem. A horn angle problem is also especially worrisome because it can lead to complications with the embouchure. If the director does not consistently teach the differences between correct horn and mellophone embouchures, there is the risk that concert horn players will develop bad habits with their embouchure as a result of playing the mellophone.
    To avoid this problem, some band directors will have mellophone players use a horn mouthpiece and play at an angle below parallel to the ground. Although this method may sacrifice volume and projection, the integrity of the horn embouchure is maintained. Other directors, however, may have their players use a mellophone mouthpiece and the correct marching horn angle, but these directors will also need to remind their players to focus on using the correct horn embouchure in concert band.
    Similar considerations should also be made for any trumpet players who play the mellophone during marching season. Each scenario requires directors to assess the type of group they have and determine the right educational and performance goals.

Making the Right Decision
    In considering all of these factors, including the potential benefits and difficulties of each choice, it should be noted that any student or teacher is capable of making anything work. Even if a student plays trumpet in the jazz band, mellophone in the marching band, horn in the concert band, and bassoon in the youth orchestra, that student may still be able to categorize the different skills required for each instrument. If a student is not able to make these distinctions, a good teacher should be able to recognize it and prescribe an appropriate solution.
    Ultimately, there are a number of factors that should be considered in mouthpiece selection. In a final remark in our discussion, Professor Snead said, “If the decisions are focused on the student, they can’t be wrong. When the decisions become centered on something other than the welfare of the student, then poor educational outcomes will result.” Perhaps no truer statement can be made regarding the choices that teachers make each day. Directors who keep in mind the right long-term and short-term goals, while also being mindful of the needs of their students, will end up making the right decisions.