Anello Mouthpieces

Emil Anello's Mouthpiece School

Emil Anello conducted numerous mouthpiece clinics around the country where he discussed the fundamentals of saxophone and clarinet mouthpieces. The information contains his advice on a variety of mouthpiece topics, including basic terminology, mouthpiece materials and design, facing considerations, shopping and caring for a mouthpiece. Notes and schematics compiled from Emil Anello clinic presentations.

Main reasons for different mouthpiece requirements among individuals:

  • Facial & Muscle Differences
  • Bone Structure of Face
  • Teeth Formation
  • Different Lip Structure

Materials used in Mouthpieces

  • Hard Rubber (Ebonite-Molded or Rod) – A very good material. It has a low coefficient of expansion and contraction. Hard rubber is considered a thermoset material because high heat causes changes to the molecular structure, and the material cannot be changed back to the original by further application of high temperature.
  • Glass – Typically used for clarinet mouthpieces only. Any advantages of glass materials are permanent. However, low or high room temperatures can affect intonation.
  • Metal – Brass or Stainless Steel. Advantages include rugged material and wall thickness can be thin due to strength. However, tone control can be a problem for some individuals and the tone tends to be “buzzy.”
  • Plastic – Considered to be thermoplastic. High heat manufacturing process does not change the molecular structure, and the material has more elastic memory than other materials. Therefore, tends to warp causing intonation and reed problems. Advantage – low cost and good for new students.
Micrometer and assorted tools

Material: Hard Rubber versus Plastic

Plastic =
Temporary Shape

Plastic mouthpieces are considered thermoplastic.

The application of heat DOES NOT change the molecular structure of plastic, but merely allows it to be shaped, temporarily, into a plastic shape.

Hard rubber is considered a thermosetting material, where applying heat (as in molding) PERMANENTLY changes the molecular structure of the material. The resulting form is a fixed endpoint.

Plastic Mouhtpieces =
Plastic Memory

Because of their temporary nature, plastic mouthpieces have what is known in the industry as plastic memory.

Over time, the material slowly reverts to its original state - the shape before it "became a mouthpiece". This causes constant disruption of the original facing.

With plastic mouthpieces, warping is common and causes squeaking and tonal imbalances between registers.

Plastic Mouthpieces =
Sensitivity to Temperature

Plastics have a higher coefficient of expansion and contraction.

Plastic Mouthpieces are highly sensitive to differences in surrounding temperatures.

This extreme sensitivity to even modest temperature differences causes intonation problems.

Mouthpiece Facing

Length of Lay

  • Definition: The shape of a curve from the flat of the table to the extreme mouthpiece tip. It is widely accepted that the arc is formed from a perfect circle. Various measurements along the length of lay are sometimes used for those with special desired effects.

    All Anello Brand Mouthpieces are finished with regular length of lay.

    Length of Lay

    Length of Lay - Emil Anello Blueprint

Length of Lay - Long Facing

  • Can weaken tones
  • Requires shorter bite (embouchure)
  • Hard reed required
Length of Lay Diagram

Tip Opening

  • Very Wide Tip Opening
    • Makes soft playing difficult
    • Gives false sense of volume
    • Course tone
    • Requires soft reed unless embouchure muscles are very strong
    • Difficult to staccato tongue
    • Avoid very wide tip opening until your embouchure is very secure and the wide tip really achieves the desired response.
  • Narrow Tip Opening
    • Hard reed required
    • Produces thin tone
    • High register can be sharp
    • Not recommended for musicians doubling on saxophone and clarinet
    • Advantages:
      • Good for staccato tonguing
      • Can be helpful for certain ensemble work, but not adequate to deliver over broad musical demands.
      • Sometimes facial & muscular area and lip structure can benefit from narrow tip opening, but make sure embouchure is secure before exploring.
Extreme Tip Opening

Opening at Extreme Tip vs. Opening End of Tip Rail - Emil Anello Blueprint

Mouthpiece Parts Labeled

Baffle

  • Definition: The portion back of the tip opening that receives the first shock of vibrations leaving the reed.
  • Considered most important area of mouthpiece outside of actual chamber construction.

High Baffle

  • Gives extra edge or buzz to the sound
  • Tone projects good, but can be rough
  • Can cause squeaks
  • Mostly saxophone use
  • Makes for freer blowing, less resistance

Low Baffle

  • Produces dark sound
  • Lacks projection power (especially saxophone)
  • Creates more resistance and becomes hard to blow
  • More suitable in clarinet mouthpiece construction

Tip Rail

  • Broad Tip Rail
    • Excellent for soft playing
    • Projection is poor
    • Gives a pure sound but without quality
    • Lacks flexibility
    • More resistance
    • Almost any reed can be applied, curve in reed not a factor
    • Advantage – Reduce squeaks
    • Note – some embouchures can cause squeaking conditions regardless of reed or mouthpiece condition
  • Narrow Tip Rail
    • Dangerous for squeaking
    • Reed must fit perfectly
    • Reed selection more critical – must have curve to match mouthpiece
    • Narrow rail offers little resistance, therefore difficult to control

Selection of Mouthpiece – Depends Mainly on Four Factors

  1. Intonation – Foremost requirement. If not in tune in all registers, the mouthpiece is worthless.
  2. Security – Must be absent of squeaks. An absolute necessity. However, if the mouthpiece has all qualities but this one, an experienced refacer can correct this by working on the baffle or the tip rail width. A certain type of embouchure can invite squeaks. Make sure to try different reeds to make sure problem is really with the mouthpiece.
  3. Response – Need free blowing, but with enough resistance for proper control. Too much freedom is not only tiring, but can cause intonation and tonguing problems.
  4. Tone Quality – Must have the quality of tone desired immediately – regardless of reeds used. A refacing will not change tone quality. Refacing only make mouthpieces more compatible to the reeds most generally desired.
  5. Note: The chamber is the most important part of the mouthpiece – the facing is secondary.

Advice for Mouthpiece Selection

  1. Stick with medium facings and stable mouthpiece materials.
  2. As experience grows, a musician can be more selective as to the type of tone quality desired and playing style requirements.
  3. Doubling between clarinet and saxophone and other reed instruments will require certain sacrifices as to type of mouthpiece most suitable for doubling.
  4. Compatibility between mouthpieces
    • Clarinet mouthpieces with high resistance should not be used with a saxophone mouthpiece that is very free blowing – this will affect tone, tonguing, and intonation on all instruments.
  5. Even if all qualities found in the mouthpiece are to your liking, but remains out of tune in one or all registers – it is not the mouthpiece for you. It will not start to play in tune even after getting used to it, and will force you to favor certain notes to get them as close to pitch as possible.
  6. Mouthpieces that have a table with slight concavity may be desired by certain musicians, but serves no purpose, except to open tip beyond true reading when clamped by ligature. The tone eventual gets dull when cane swells to fill the concavity.

Advice on Shopping for a Mouthpiece by Emil Anello

  • Before beginning a search for a new mouthpiece, make sure that your instrument is in top condition. A mouthpiece can be blamed for difficult blowing due to leaky pads, etc.
  • A thorough study or reed care and selection could help solve problems usually blamed on a mouthpiece.
  • Do not get mouthpiece-itis! If you have a mouthpiece that has given you good service and response, stay with it. However, don’t be afraid to try out different mouthpieces from time to time, if only to convince your self that change is not necessary.
  • Don’t be taken in by an attractive box, long streamline, slick shape, ultra-shiny appearance, exotic lettering, color of mouthpiece, and general popularity of a mouthpiece.
  • Oddly enough, some of the worst appearing mouthpieces play the best and some of the best appearing mouthpieces play the worst!
  • Try to get a mouthpiece over a trial period. Use it at a job or in your own practice area – A music store studio can be deceiving.

Care of Mouthpieces after Purchasing

  1. Clean periodically in lukewarm soapy water. Place tape on cork of clarinet mouthpiece.
  2. Do not run a swab thru a mouthpiece. It wears out the chamber and darkens the tone.
  3. Do not expose to extreme temperatures.
  4. To remove saliva build-up, use a solution of 50% hydrochloric acid and 50% water.