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lonelyangel · 03-07-2006, 09:49 PM

In my bag today are my Giardinelli 6S and 6M plus my 6Flugel. Also a Warburton 3S with a Kanstul G3 backbore, a Bach 3CW, a Bach 3C megatone, a Bach 11/2C, a Mount Vernon 7C an Olds 3C, a GR66M, a Bob Findley Marcinkiewicz and a Bach 3C cornet mouthpiece.

99% of my trumpet playing - including picc and smaller horns - is done with the same 6S which I have used for 28 years now. However, when I am working, particularly in the studio, you have to produce the goods - right there and then - and thats why I carry the other pieces. I do not have any hang ups about switching to another piece to play a particular piece, or phrase, or solo or even a single note if i feel it will help me to get the job done.

All other things being equal - in other words my chops feel reasonably fresh and in good shape, then I will stick with the 6s but all the pieces in my bag have their place, even if its only a psychological reasurance that they are there if I need them. Very occasionally if I am very tired or my chops are a bit bruised, stiff or unresponsive I will keep switching during a gig or a session - trying to find a bit of life in my sound. I think that the change in mouthpiece means that a different part of the vibrating surfaces of your lips can come into play, but I invariably return to the 6S after a few minutes.

Today for example I have been guesting as 1st trumpet in a chamber orchestra (the Northern Sinfonia based in Newcastle)recording an album for saxophonist and composer Tim Garland featuring the legendary Chic Corea. Despite the intimate nature of the music and the small size of the orchestra I was able to play most of the session on the 6S. This meant that I had to concentrate on making a full and resonant sound that would blend with the classical brass players and the single woodwind section and to focus hard on clean, subtle production and the placement of notes to match the feel of the section. Because the music was so technically demanding and we were under such time pressure - we recorded 45 minutes of very complex contemporary classical/jazz compositions from sight in two three hour sessions - I wanted the security of playing on my most familiar mouthpiece. I did use the 6M for a couple of more lyrical ballad type pieces and in one number switched on to it for a particular phrase where I needed to tounge harder but did not want to sound too strident.

I'll keep you posted about when that one comes out - Tim is a remarkable talent and his music is very rewarding to play and to listen to.

Most of the guys I work with in London carry a similar amount of ironware about with them - although some are more discreet than others - and most of them too use their regular piece for the lions share of their playing. I will be popping down to Ronnie Scotts club later in the week to hear Lou Soloff's quintet - a master of the art. Last time I was working there I was playing in a section with Derek Watkins, John Barclay and Guy Barker and between us we must have had a dozen pieces on the stand - even though Guy was on his Raja!

My advice to a developing player would still be to find one mouthpiece and stick with it for a while - 4 or 5 years maybe - before going on a safari. However it could be that using a multitude of pieces will work well for you. Let your ears be the judge.

I once asked Richard Edwards - one of the finest session trombonists in town - which mouthpiece he played. he emptied a dozen pieces out of his pouch and said take your pick. He went on to explain that he just used whatever felt good that morning and if it stopped feeling good he switched. He said that a mouthpiece doesn't change but his chops change and feel different all the time, so why should he expect to sound good on just one piece all the time.

Food for thought....?

Noel.

03-07-2006, 09:49 PM	#17 (permalink)
lonelyangel Pianissimo User Join Date: Nov 2003 Location: London Posts: 196	In my bag today are my Giardinelli 6S and 6M plus my 6Flugel. Also a Warburton 3S with a Kanstul G3 backbore, a Bach 3CW, a Bach 3C megatone, a Bach 11/2C, a Mount Vernon 7C an Olds 3C, a GR66M, a Bob Findley Marcinkiewicz and a Bach 3C cornet mouthpiece. 99% of my trumpet playing - including picc and smaller horns - is done with the same 6S which I have used for 28 years now. However, when I am working, particularly in the studio, you have to produce the goods - right there and then - and thats why I carry the other pieces. I do not have any hang ups about switching to another piece to play a particular piece, or phrase, or solo or even a single note if i feel it will help me to get the job done. All other things being equal - in other words my chops feel reasonably fresh and in good shape, then I will stick with the 6s but all the pieces in my bag have their place, even if its only a psychological reasurance that they are there if I need them. Very occasionally if I am very tired or my chops are a bit bruised, stiff or unresponsive I will keep switching during a gig or a session - trying to find a bit of life in my sound. I think that the change in mouthpiece means that a different part of the vibrating surfaces of your lips can come into play, but I invariably return to the 6S after a few minutes. Today for example I have been guesting as 1st trumpet in a chamber orchestra (the Northern Sinfonia based in Newcastle)recording an album for saxophonist and composer Tim Garland featuring the legendary Chic Corea. Despite the intimate nature of the music and the small size of the orchestra I was able to play most of the session on the 6S. This meant that I had to concentrate on making a full and resonant sound that would blend with the classical brass players and the single woodwind section and to focus hard on clean, subtle production and the placement of notes to match the feel of the section. Because the music was so technically demanding and we were under such time pressure - we recorded 45 minutes of very complex contemporary classical/jazz compositions from sight in two three hour sessions - I wanted the security of playing on my most familiar mouthpiece. I did use the 6M for a couple of more lyrical ballad type pieces and in one number switched on to it for a particular phrase where I needed to tounge harder but did not want to sound too strident. I'll keep you posted about when that one comes out - Tim is a remarkable talent and his music is very rewarding to play and to listen to. Most of the guys I work with in London carry a similar amount of ironware about with them - although some are more discreet than others - and most of them too use their regular piece for the lions share of their playing. I will be popping down to Ronnie Scotts club later in the week to hear Lou Soloff's quintet - a master of the art. Last time I was working there I was playing in a section with Derek Watkins, John Barclay and Guy Barker and between us we must have had a dozen pieces on the stand - even though Guy was on his Raja! My advice to a developing player would still be to find one mouthpiece and stick with it for a while - 4 or 5 years maybe - before going on a safari. However it could be that using a multitude of pieces will work well for you. Let your ears be the judge. I once asked Richard Edwards - one of the finest session trombonists in town - which mouthpiece he played. he emptied a dozen pieces out of his pouch and said take your pick. He went on to explain that he just used whatever felt good that morning and if it stopped feeling good he switched. He said that a mouthpiece doesn't change but his chops change and feel different all the time, so why should he expect to sound good on just one piece all the time. Food for thought....? Noel. __________________ Noel Langley - Eclipse Artist noel@eclipsetrumpets.com Eclipse Medium Yellow, scratch gold Eclipse Medium Heavy Red, custom 'Diamond Back' in 24ct gold Eclipse Red Brass Flugel Custom Scherzer piccolo with copper Wedgewood bell, finished in scratch gold Giardinelli 6S, 6M, 6FL Bach 3CW