eTop Twenty

Yamaha 14B4 Trumpet Mouthpiece
This is a great everyday mouthpiece that you would use for 60-80% of your playing. It has a nice tone, the flatter cushion rim (size ‘4’), combined with the medium smaller cup (size ‘B’) allow versatility between the octaves without sacrificing sound on the low notes. Nice flexibility capability. This might be your end-all mouthpiece, or at least a nice place to start your exploration. Order this mouthpiece distribute outstanding saxophone and clarinet mouthpieces and woodwind accessories. Remlé Musical Products, Inc. has been under the direction of Elmer Beechler’s daughter, Judy Beechler Roan, for the past sixteen years. We believe we make the best mouthpieces in the world for the professional musician and players who want to play well for the simple pleasure and joy of it.
A former employee of Bach once told me that when mouthpiece sales were down, he would then “as a keepsake of their visit to the Bach factory” give people the tool we commonly refer to as a hand reamer, or jeweler’s reamer (five, four, or three sided English pin broach).
Parke-Hagstrom Trumpet Mouthpiece

tuba mouthpiece
alto saxophone mouthpiece

This professional mouthpiece has been customized by John Hagstrom of the Chicago Symphony Orchestra. It is a very flexible, rich sounding, and free blowing mouthpiece. This mouthpiece is designed to allow you to express the extreme fortes of Wagner or the delicate pianissimos of Debussy while retaining tonal control. It is not just for orchestral music! This is a very nice ‘upgraded’ everyday mouthpiece. Order this mouthpiece
As late as the 30’s and into the 40’s mouthpiece sizes did not appreciably change or increase. I believe that Harry Glanz played a Bach 6C through out his career in New York. Adolph Herseth won his job in Chicago playing a Bach 7B. While some say Georges Mager played a very large diameter (as offered in the Schilke model 20D2D), I have been told by others that the diameter was actually much smaller in the early part of his career and that he went larger only later.Needless to say, the shape of the outside of the mouthpiece, provided there is adequate thickness of metal in the wall, has nothing to do with its playing qualities.

Finally, it is a physical impossibility to provide all the ideal features in any one mouthpiece; at best, a superior mouthpiece is an intelligent compromise of the major factors. The performer, thus, should strive for the optimum combination of factors. These will vary with the individual and the demands of the job and its playing standards. As a whole, one should favor tone quality and accurate intonation to ease of playing high notes unless the latter is a “must”. No mouthpiece is perfect, and no mouthpiece will sound better than the player behind it. The player is still the major variable.