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Discussion Starter · #1 ·
Any recommendations for a good++ mouthpiece for Jazz with a small tip opening? Amanda is using a C* and it's good for classical but her private teacher recommended she get a 'Jazz' mouthpiece.
She is playing a Yamaha YAS-61

Any recommendations would be greatly appreciated.
 
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Any particular reason for the small tip opening? Something like a Meyer 5M is a good mouthpiece and is quite popular in the jazz world. It's not too open and doesn't have a baffle, so you can really work on producing a tone yourself, rather than letting the mouthpiece do all the work. It also depends a lot on what sort of sound you want (bright/dark etc.). I'd seriously recommend going to try some mouthpieces out if you can and see which you prefer, because everyone's different and what one person likes another person might hate! Let me know how you get on.
 

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Discussion Starter · #4 ·
Any particular reason for the small tip opening?
I'm not a 'player' so take this with a grain of salt, but with larger openings she tends to strain to push enough air through, runs out of air, breathes a lot & gets light headed!
It would not surprise me if she was exaggerating the strain, she tends to like 'small' things as she is a small person.
At this point I would rather get a very good mouthpiece with a small opening for Jazz than argue the point that you don't need that much more air going through a slightly larger tip than the C*.
Why argue......I'm just happy that she continues to play.
 

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I'm not a 'player' so take this with a grain of salt, but with larger openings she tends to strain to push enough air through, runs out of air, breathes a lot & gets light headed!
It would not surprise me if she was exaggerating the strain, she tends to like 'small' things as she is a small person.
At this point I would rather get a very good mouthpiece with a small opening for Jazz than argue the point that you don't need that much more air going through a slightly larger tip than the C*.
It is not a larger tip opening that necessarily causes more strain, it is a combination of tip opening, facing curve and reed strength.

The important thing is that the mouthpiece is good for jazz, and that it doesn't put her off because it's a "strain", but dismissing something purely because of the tip opening is not necessarily correct.

I would ask the person who best knows her playing needs, ie her teacher. You will get so many opinions here that it may be confusing. One of those opinions will be that you can play jazz on a C*, which is correct. Another opinion would be that to play jazz a mouthpiece with a wider tip would be better. Which could also be correct.

One thing is certain, a mouthpiece does not supply a jazz tone, which to some people means a brighter tone, to others a dark tone and in this respect I don't believe there really is such a thing as a jazz mouthpiece.

Having said that, a mouthpiece that makes it difficult to play anything but very brightly would probably not be good for classical, but still doesn't make it a "jazz" mouthpiece.
 

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Any recommendations for a good++ mouthpiece for Jazz with a small tip opening? Amanda is using a C* and it's good for classical but her private teacher recommended she get a 'Jazz' mouthpiece.
She is playing a Yamaha YAS-61

Any recommendations would be greatly appreciated.
Meyer 5M is too closed, IMO. I'd go with a 6M. Some of her 'dizziness' could be from too hard of a reed. The thing to do is to use at least a 1/2 strength less on a Meyer, and make sure that the throat is relaxed, and the tongue arched high in the rear, so that the air is accelerated. Truthfully, the Meyer is not that much more 'open' a C* is .067, and a Meyer 6M is .076
 

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IMHO a 5 is not at all to closed. Many of the great alto players of all time played a Meyer 5 including richie cole cannonball and phill woods to name a few
 

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IMHO a 5 is not at all to closed. Many of the great alto players of all time played a Meyer 5 including richie cole cannonball and phill woods to name a few
The numbering systems on Meyers changed. A Meyer New York 5 (.080) is a modern Meyer 7.
Google Ralph Morgan's article 'A Meyer is A Meyer is a Meyer'.
 

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Most of the Meyer NYUSA pieces are the same opening as the modern ones. I have 2 that measure the same as the new Meyers.
I think it's the earlier Meyers that tend to be wider, but Phil and Cannonball have/had NYUSA mouthpieces.
Ralph talks about 1970 and onward Meyers as 'New Meyers'. Surely Cannonball and Phil's pieces were purchased before 1970. He also mentions other design changes.

Anyway, if the tip opening is between .071 of a modern meyer and the .067 of a C*, what's the point in changing mouthpieces? They're nearly identical in tip opening. four thousandths of an inch is manini.
 
G

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It is not a larger tip opening that necessarily causes more strain, it is a combination of tip opening, facing curve and reed strength.

The important thing is that the mouthpiece is good for jazz, and that it doesn't put her off because it's a "strain", but dismissing something purely because of the tip opening is not necessarily correct.

I would ask the person who best knows her playing needs, ie her teacher. You will get so many opinions here that it may be confusing. One of those opinions will be that you can play jazz on a C*, which is correct. Another opinion would be that to play jazz a mouthpiece with a wider tip would be better. Which could also be correct.

One thing is certain, a mouthpiece does not supply a jazz tone, which to some people means a brighter tone, to others a dark tone and in this respect I don't believe there really is such a thing as a jazz mouthpiece.

Having said that, a mouthpiece that makes it difficult to play anything but very brightly would probably not be good for classical, but still doesn't make it a "jazz" mouthpiece.
+1 on everything Pete said.

Mouthpieces are a very subjective thing and it's not merely the tip opening that affects the sound. I find that reeds can make quite a difference and that simply adjusting my embouchure or changing things such as how much mouthpiece I have in my mouth, how much of the reed I cover with my lip and so on, can have a dramatic effect on my tone.
 

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I play a Meyer 9, phil refaced (measures .092) with RSJ 2H. It takes plenty of air, and is no more difficult to blow than my S80 C* with a VanDoren blue box 3. The sound, however is REALLY different.
 

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I recommend the hard rubber Vandoren V16 A5 or A6 medium chamber to my jazz students. They are well made, are based on the classic jazz alto design and are more affordable for a young person than any custom piece.
 

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Discussion Starter · #15 ·
Thanks for all the replies.
I suppose I need to get with the teacher.
He had Amanda go from a 2.5 reed to 3 on the C*.
She actually liked a Rousseau JDX5 with the 2.5 reeds, but found it to be too difficult with the 3's.
OK, you are going to ask why she did not stay with the 2.5 reeds....I just asked myself that & don't know.
I also don't know what what he meant be a more Jazzy sound, as from what I gather from Pete, that is a bit ambiguous.
I believe we have a Meyer (USA) and Meyer lig around.....can't remember the opening but will check tonight.
 

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When's Amanda going to post?
 

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Just today I bought a new Vandoren V16 A7 M mouthpiece after playing three different V16 alto pieces. The ones I rejected were the A7 S and an A6 M. Now I'm trying to find suitable reeds at home. But what works for me or anyone else on this board may not work for Amanda. We are all different. I was using a Meyer 6S-Medium Chamber (much better for me than a 6M-Medium Chamber), a Brilhart Ebolin # with Fibracell reed, and the Selmer S-80 C* with synthetic reed.

About "jazz" mouthpieces; it is MY opinion that it isn't the mouthpiece so much as the tone the player achieves coupled with the notes he/she plays. I've played plenty of jazz on a Selmer S-80 C*. One thing that helped me put some punch in the S-80 C* was a Fibracell synthetic reed (Premier 1 1/2 worked great for me). The synthetics seem to give me more sound than do comparable cane reeds. Maybe Amanda could try different reeds including synthetics for her jazz music. DAVE
 

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Discussion Starter · #18 ·
When she gets over her shyness!!
Don't hold your breathe.
Go to the end of this video to see how she's, for lack of a better word, embarrass of the applause at her solo.
DON"T listen to the solo.....band teacher was supposed to make an arrangement for the song & did not get to the arrangement until the last week.
Drummer thinks it's a rock tune or something!!!
 

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When she gets over her shyness!!
Don't hold your breathe.
Go to the end of this video to see how she's, for lack of a better word, embarrass of the applause at her solo.
DON"T listen to the solo.....band teacher was supposed to make an arrangement for the song & did not get to the arrangement until the last week.
Drummer thinks it's a rock tune or something!!!
Good job. She's doing very well.
 
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