SOPRANOPLANET Mouthpieces
SOPRANOPLANET Mouthpieces
Hi. My name is Joe Giardullo and I am the guy that specializes in mouthpieces for soprano saxophone. At this time, I am the ONLY guy that does this. Maybe it's because I performed as a dedicated soprano player for most of my career. In any event, my aim is to make playing soprano sax a fun and enriching activity, and to dispel as much of the very bad information about soprano sax playing put out there by people who have little to no useful knowledge or experience to share. Some mean well; others are just impediments to anybody coming to terms with the special thing that is soprano playing.
The soprano is NOT a beast. Most of the issues faced by reasonably competent players are well known and easily fixed.
That said, I post videos here that can be of help. You can decide for yourself.
Stop by SOPRANOPLANET.COM or drop me an email if you have any specific questions. I'll offer any help I can offer.
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Thank you!!! It worked! You are the Leonard Susskind of the sax world.
Glad it helped!
Which of your mouthpieces would you say is the most versatile for switching between classical and jazz?
I think there are two distinct classical traditions on soprano: the Rascher school and what I call the French school. For somebody that comes from the Rascher school, I'd recommend my Signature Model mouthpiece. But the French school has a much more focused, brighter sound in general and that lends itself to having a mouthpiece that can work well in that classical circumstance and also work well in a jazz setting. For that situation, I would recommend my Open Sky 2. The primary reason is that the Signature has a larger chamber than the Open Sky 2, so the Signature would lean to the Rascher side and the Open Sky 2, with a smaller chamber, would lean to the much more focused French side. I hope that makes sense. let me know if you have any questions.
You are wise man! Just bought alto and my goal switch to soprano, after getting some practice!
Go for it!
Thank you Joe, I think I can adapt this to Tenor practice
Man oh man! No one has ever said- tune low. Makes so much more sense. I will try this out. ✌️🤟🎷
Be sure to post your results. Let There are a lot of folks who need to know what works and what doesn't work. :-)
Hey Joe, I'm assuming this will work on alto sax also...?
Can't hurt. But, I don't know if many alto players tend to play with a short air column, like a lot of soprano players do. The goal is tuning up the HORN not one particular note. Get the horn warm and in tune and then the rest will follow, unless the player introduces issues or the horn has some peculiarities in its scale. My 1927 King soprano has a middle A ( concert G) that was flat and I had to vent the g# key sometimes to nail it.
So your saying after you warm of the sax… play a low ? I’m kinda new to transposing on alto sax what note would I play to see if it’s really in tune, thanks
Typically, folks tune to concert A440. On Bb saxophones ( soprano, tenor), that note is a B, and tuning soprano to the low B helps to get the whole horn in tune with itself, as I described. On Eb saxophones ( baritone, alto, sopranino) a concert A440 is an F# fingering. I don't know if that is what you are asking, but that's how I understand your question. You should learn/know the concert sound you get on your Eb alto for each note, in my opinion. Same for all saxophonists: know the concert pitch associated with the fingerings.
Thank you so much for your extremely informative and helpful video. I took up the straight soprano saxophone two years ago, and just recently I bought a curved one too which sounds lovely. It has a very mellow and rich tone, and the top register comes out really softly and pure. I'm as pleased as punch with my new saxophone, looking forward to practising more tomorrow, and I will try out what you have suggested. I recently heard the lovely song by Norah Jones called "Don't know why". Do you know it? So bluesy and gentle, it would sound lovely on my curved soprano. Gonna give it a try tomorrow. Enjoy the rest of the Bank Holiday. 🤩
Thanks for your kind words. Playing soprano sax is such a joy!
Great tips for a great sound on soprano.
Why do you have plastic tape(?) wrapped around the cork of your soprano?
It's teflon tape (plumber's tape) and I play so many different soprano mouthpieces every week, all with different shank bores, so my cork gets compressed. Then some mouthpieces are too big on the cork. The tape lets me deal with that easily. It goes on easy and comes off easy. Otherwise, I'd be changing corks every day or more.
Why is the mouthpiece - resistance / stuffiness so prevalent with soprano mouthpieces compared to say tenor mouthpieces?
I explain it in the video. There are different kinds of resistance. The soprano mouthpiece, being so much smaller, has less margin for error in the manufacturing and set-up of the mouthpiece. Poor or non-existent quality control means more soprano mouthpieces will have significant problems. There is also the cascading effect of these quality issues that cause players to contribute to the resistance problem. For instance, when a mouthpiece has a bad table the reed does not respond easily. Because of that, a player will play a lighter reed than usual, and that lighter reed will "sound" quicker but will also want to shut down because it is, basically, too light for the facing. But there are multiple kinds of resistance that can happen at the same time. Not least, a lot of players overblow the soprano, which can create acoustical resistance. It's complex but easily resolved.
Lovin' my Open Sky 2
Lovin' my Open Sky 2!
Does this technique for checking the table on a hard rubber mouthpiece also work for metal mouthpieces?
This technique creates a slightly polished surface, leaving a duller surface on low areas. On metal pieces, it can be more difficult, sometimes impossible, to see the difference. This is true for some hard rubber pieces as well. But, for some metal pieces, yes it will work. Clean the table with water first to remove any gunk. Then proceed, doing it for a longer period of time and with some solid pressure as you work. Then, look very closely, maybe with some magnification if you have it.
Great! Thanks for sharing.
I think it is the tool used to "flatten" is rotary flat on an angle, I've used a flat stone counter top and very fine sandpaper, with lots of caution to fix it.
Thank you this helped me a lot
Great. Being really in tune changes everything about how a soprano responds and resonates. have fun!
If I play a HR 7* on Tenor and a NY 6 on alto would choosing a Soprano MP be the same opening?
I play a bigger tip on soprano than I do on tenor or alto, by a lot Tip openings on soprano don't mean a lot. It all depends on what a player is after. It's also likely that your tenor and alto pieces may not actually be what they say they are. It happens all the time. Unless, you've measured the tips, or had somebody do it for you, you really have no idea what tip opening or facing you're playing. Players should, at minimum, know that information for certain, imo, unless they just love those pieces. Then, it doesn't matter.
Like the deeper sound of a soprano. Most sound so thin to me
Most soprano mouthpiece are so poorly made that it is a miracle that some play at all. It's not that the designs are bad, but that there is no real understanding of what is necessary for a soprano piece to play well.
Getting to know your new Soprano first
Thank you! I rented a soprano sax a few days ago, not having played for about 20 years (and playing tenor back in gradeschool when I did). I know that I don't know what I'm doing, but this advice is also helpful for me to narrow in on things as I get back into practice.
Nice sound . The depth of the tone is full and pleading. Also look forward to your release of this piece
..meant "pleasing"!
It's up on the website now.@@geneoliveri3907
Yeah Joe! Sound very good on this. Interesting!
Thanks. I actually refined it a little more today. I could feel it needed a slight adjustment. After I made it, the piece opened up even more.
It's up on the website now.
Looking forward to the release of this new mouthpiece!
It's up on the website now.
If the mouthpiece table is found not flat, how to fix it?
It should be flattened by a mouthpiece expert because flattening the table usually means also restoring the facing curve, which is usually altered when the table is flattened.. I do that work, as do many others.
Thanks for posting these videos. I find them to be very helpful. I think I'll try this with But Beautiful. I hope you are doing well.
Glad they are of use! So, play But Beautiful really slow (I call it "Ray Charles" slow), give each note their full value, be attentive to the sound entering each note and also coming out of the note.. In other words, you get to decide if you like how you enter and exit each note or you don't. More progress comes from "not liking" things and working to get it to be what you want. You will recognize a lot of things in a hurry and it will become almost addicting to do this work daily for 20 minutes. or more. All's good.
Had this with my morning coffee. Both strong. Prepared to meet the day now. Well…some of it anyway. Will need more later. 👍🏼👏🏼
Like to send my mp
Sure, But first send me an email at [email protected] and tell me what you are experiencing.
Thx!
This is a really rewarding way to practice. Soul Eyes is the tune I've picked to work on to begin with. Many thanks from a UK viewer.
Thanks. Take it very slowly, almost Ray Charles slow. That's a good melody for this work.
Just curious, Joe: What's the tip opening on that Missing Link you're playing in this video, and what's the reed brand and strength? Thanks for the helpful advice.
This Missing Link is .065 with # 2 1/2 reed.
Marca American Vintage # 2 1/2
When i run out of breath ,I am not in tune .now I am believing that it is all about the mouthpieces without high baffles.high baffle mouthpieces changed my life.do you agree on high baffle mouthpieces makes everything easier on tuning and breath control ?I heard about you from Fred Varese who plays comfortably .thank you for the great video ❤
There's a lot of information in your comment. First- you should not be running out of breath. Soprano does not require much air at all. If you must blow hard, that suggests a mouthpiece that isn't working correctly or reeds that are too stiff. But, most likely, a mouthpiece with issues. Check the table for flatness (I have a video on how to check). A mouthpiece that is well made and has a high baffle will respond very quickly and easily. I wouldn't say it helps tuning. Most players experience pitch going sharp up high on mouthpieces with noticeable baffles. It's caused by a certain amount of lip pressure but more so by the shrinking space near the tip ( due to the baffle). I've "tuned" soprano mouthpieces for very accomplished classical soprano players by adjusting the area near the tip. High baffled pieces are quicker and require much less effort to speak. The other side of that is they can be "pitchy" ( intonation) and they can also produce a smaller, compact sound. And they can also create difficulties for the bottom end of the horn. So..... the baffle gives and the baffle takes away, so to speak. The "running out of breath", though, is a giveaway. Check the table of your mouthpiece. Also be sure you're using an appropriate strength reed. This is not any "rule" but.... in general a tip opening of 5 likely likes a # 3 reed. A tip of 6 or 7, probably a # 2 1/2. Check that table. That could be the source of the "running out of breath". Watch my video on "checking the table". Let me know what you find or if you have any questions. The soprano isn't the "beast" that a lot of people claim.
@@josephgiardullo7403 thanks for your time 👍❤️i will check the other videos
How about the case of low note don’t speak well especially those under low G?
Send me an email and explain what is happening and your current set-up. It could be a lot of things but maybe we can narrow it down.
This is a good explanation of why the table needs to be evenly flat and matched to the rails out to the intended break point on the facing curve. My first mouthpiece was depressed from mid table to a point out on the side rails. The manufacturer replaced it at no cost, but even the second one has never been able to pass the "suction test". The manufacturer said that the suction test was meaningless. It was only a plastic beginner type mouthpiece, so after a year of use, I replaced it with a better known brand of mouthpiece (hard rubber and 4X the price). My replacement/upgrade mouthpiece does pass the suction test. Your video brings up some questions. First, how much surface of the table and rails do you attempt to get flat when resurfacing? When you resurface the table, does that result in changes to the facing curve and tip opening? Is their a mouthpiece original price point or other criteria where hiring a professional to work on your mouthpiece is not worth it?
I make the entire table flat. That often affects the facing curve, which must be reset. Sometimes the tip opening if affected, but sometimes not. It depends on how much concavity there is on the table. Any mouthpiece worth playing should have a flat table ( or effectively flat, meaning with almost no concavity and none at all at critical places). Of course, if somebody likes playing on a mouthpiece with a bad table, that's their business. But most pieces have bad tables and most players have probably never played on a mouthpiece that is set up properly. Once they do, their perspective changes a lot. I hope that answers your questions.
@@josephgiardullo7403 thank you for your prompt reply. Your series of videos on mouthpieces are exceptionally informative.
Thank you!
Joe, great video.. I followed your advice and I took my Lebayle mouthpiece to a good technician in Italy (Paolo Porta) and he fixed it (table, rails and facing lenght) and now it is perfect... so thank you for your advices ❤
An Opera singer said always breath through your nose and I have for over 30 years and it will never disturb your embouchure open your throat more on the upper register. Overtones play along with great players on sound system. Prac Prac Prac . 🐊
Joe - thanks so much; this is gold. I’ve got two questions. 1). Once the air column and horn are sufficiently warm and it’s time to tune with a low note, what’s the correct methodology? While watching the digital tuner, does one maintain a natural-feeling, neutral embouchure and voicing (suitable for that note) and then adjust the mouthpiece position on the cork to find the sweet spot - the place where the note is best in tune with the least amount of mouth/throat adjustment? 2). If yes to that, how exactly does one work one’s way up the horn? Will further changes to the mouthpiece position be needed to find an “average” placement that will keep most of the notes in tune? Or should the low note tuning position be kept and intonation in the higher notes (especially those sharp-tending palm keys) be achieved via subtle adjustments to the player’s air, embouchure, voicing, etc? Thank you again for giving us so much of your experience and knowledge, just “for the love of the game”. ~ Dave
I subscribe to #2. It will "tell you" about your embouchure, it will make you more conscious of the impact you have on intonation by biting, it will show you just where in the range of the horn that impact starts to show itself. Then, as a player, you must adjust ( not necessarily the mouthpiece position, but your way of delivering the air, your air support, etc). But, first. it will tell you where the mouthpiece should be placed for the horn to be in tune with itself. Any "subtle" changes in mouthpiece position will likely require some subtle change in how you deliver the air. Find what works best for you and your set-up.
Thanks, Joe! That clears it up. I’ve got the mouthpiece positioned so that my low Bb is nicely settled in tune, and everything else on the way up is falling into place just fine mostly with adjustments to air support and tongue position. I very much appreciate your help.
Thanks shall try
Thanks, I already flattened out all of my mouthpieces with 1000/10000 grit stones highly improve playability.
I loved the sound of both of them.. slight preference on the first one you played.. great job, Joe
That's the one I thought a client would like and that's the one he picked from the video clip.
I play a curved Yani, #7 metal mp, over Van Doren 3's. The result is a tone in between the straight soprano, and an alto. The curve matters, or at least that's what my wife says...
Curved necks are different acoustically, no question about it. The angle of the bend has an impact on the way the sound waves travel, as well. More angle or less angles makes a difference.
Nice Advice... hey interested in tour mpc.
Send me an email at [email protected] and tell me what you are looking for in terms of sound and response.
great sound
Love it!
I also recommend opening the throat more.
You aren't doing it right. As a sax repairer . I will tell you that your mouthpiece must almost touch the octave lever for your horn to sit in tune. You don't need all the stress You are talking about
Push your mouthpiece all the way through to the octave lever . Then it will be right
Depending on the mouthpiece design, that can SOMETIMES be the case, but it DEFINITELY is NOT always the case, not even close to always. It only takes a Google search of images of soprano players like Marsalis, Liebman, Lacy, Bloom, Franck, Surman, Garbarek, Kenny G, Grover Washington and on and on to KNOW that. Not one of them comes anywhere close to the end of the cork, much less the pip. For the majority of soprano players, pushing the mouthpiece on up to the pip is not even possible, but if they did it, they would be incredibly sharp. And, there is no "stress" in tuning up. It's what we all do every day. You may be a competent repairer. Stick to that. Your "advice" regarding the mouthpiece placement is plain wrong and will cause many players a lot of trouble.
Depends on your personal mouthpiece pitch.
Doesn’t sound stressful at all, sounds like a good horn being in tune… one thing sax is teaching me is patience.. my sore lower lip is teaching my grace and gratitude… this video taught me a deep way of tuning
Cheers pal
Thank you, very informative. What mouthpiece would you recommend for alto? By the way, your website is down.
Thanks for the heads-up. Alto mouthpieces: they suffer the same issues as soprano, unfortunately. But players seem to not have perhaps as much trouble on the larger horns. That said, havinga flat table and a crisp facing on an alto piece makes it play far better than without. The response becomes quicker and it doesn't shut down up high or get stuffy down low.
Wow! Great Joe!
Thank you. My grassi prestige thanks you as well