Registration of Copyright, Bibliotheque Nationale, , march 2004 Publication Manager : Bernard Van Doren - Editor : Jean-Marie Paul With the contribution of : Anne-Sophie Van Doren (interviews of Vandoren advisors), Jean-Marie Paul (interviews of musicians, new scores). Photos : Nicolas Roux Dit Buisson, Roland Pierry (Photo of mr Deffayet). Desktop publishing : Christophe Hauser / La Maison. Tél. 01 40 90 02 20

Vandoren - 56 rue Lepic, 75018 Paris Tel. (+33) 1 53 41 83 00 • Fax (+33) 1 53 41 83 01 • email : [email protected] • Website : www.vandoren.com ¨ magazine 4

Encounters at 56 rue Lepic - Special Feature The Classical Sax mouthpieces - Interviews Antonio Saiote, Hiroshi Hara - Scores - Postcards - New Products EDITORIAL NEWS IN BRIEF & ENCOUNTERS

The Vandojam on the ear Musicians, I am very plea- first Thursday of the month. Dsed to present to you the latest issue of the Vandoren magazine. Our special feature is devoted to mouthpieces for classical . In this issue, we also pay tribute to Daniel Vandojams were organised in the last quarter of 2003 and the first quarter Deffayet. While Claude of 2004 on the first Thursday of the month with Michel Chéret. About twen- Delangle, his successor at the Paris C.N.S.M., gives ty saxophonists, accompanied by many other musicians, played together at us his thoughts, based on his experience of our 11 Rue Lepic ( Club “Autour de Midi”, not far from Vandoren). See the range of mouthpieces. In-house experts shed light on Interview with Michael Chéret in the Vandojazz magazine. Photos: some of the lesser-known aspects of the www.nrdb.net, “Events” / Log in: vandojam; Password: jam. mouthpiece, which has proved to have great vitality all over the world, as illustrated by the reports and Yoshiyuki Hattori photos of various artists in this issue. Finally, I am master-class. particularly proud to introduce players to the new ”56 rue Lepic” . The outstanding features of this exceptional reed are its high musical qualities, an even finer selection and innovative packaging. I hope you enjoy reading this magazine.

Yoshiyuki Hattori studied in Japan and France. He teaches at the University of Senzoku and at the Shobi Conservatory of Tokyo. He was nota- bly Mr. Hara’s teacher. Since 1974, he has been baritone of the “Quatre Roseaux Ensemble”, which has won several competitions. Bernard VAN DOREN A former leading soloist in the “Kosei” wind , he currently teaches at the University of Nagoya and at three music academies in Tokyo. Between CONTENTS Frankfurt 3 encounters and Berlin ! 6 special feature on the Ulrich Mehlhart, solo clarinet player for the saxophone mouthpieces Radio Frankfurt Orchestra (Hessische 14 interviews Rundfunk), is President of the Association of 18 espace partitions German Clarinet players (DKG). Founded in 1998, the DKG organised its 4th Symposium 20 postcards from October 1-4, in Berlin. http://www. 23 new Products deutsche.klarinetten-gesellschaft.de )

2 NEWS IN BRIEF & ENCOUNTERS

Miscellany ... Vandoren, is also Vandojazz !

A magazine in french entitled Vandojazz has been launched. Its first issue contains a special feature on jazz in France, with interviews by Eric Barret, Jean Christophe Beney, Sylvain Cathala, Michael Cheret, Olivier Temime, Pierrick Pedron and an article by Louis Tainturier about French jazz. You can download it Victoria Soames, clarinettist and founder of the Clarinet Classics record from the site: http://www.vandoren.fr Company, recently became a professor at Goldsmith College, in addi- tion to her teaching roles at Trinity College in London and the Guildhall School of Music & Drama Junior School. As for her “Clarinet Classics” A point in common: firm, it has just released its 46th CD. http://www.victoriasoames.com/. soloists at the National! Richard Edwards is the editor of the C.A.S.S. magazine (Clarinet and Saxophone Society of Great Britain). The “4th British Congress” took place in Birmingham in November with a tribute to the clarinet players of France, Italy and Great Britain. http://www.clarinetandsaxophone.co.uk/. Serge Bertocchi is Chairperson of the Association of French Saxophonists “A. Sax”. As a member of Xasax, he had an opportunity to play a piece by Sciarrino “for 4 saxophone soloists with 100 saxopho- nists in movement” at the Musée d’Orsay on November 17th. He is also a “” (bass sax) expert. http://asaxweb.free.fr/ A reunion between James Gillespie and Guy Deplus.

The two former soloists of the National Orchestra, Guy Dangain and Alessandro Carbonare (http://www.carbonare.com/) met again at Vandoren under the attentive eye of Patrick Scheidecker, Managing Director of Vandoren. Guy Dangain continues to be very active at the Ecole Normale de Musique [French Private Music Conservatory] and in the field of wind instruments (Director of the CMF, Chairman of the “Fédération de Picardie”, and Director of the James Gillespie (Professor at North Texas State University and Editor of the “Harmonie de Beauvais” [The Beauvais ]). As for magazine “The Clarinet”) http://www.clarinet.org/ and Guy Deplus, who Alessando Carbonare, he has joined the Santa Cecilia Orchestra of was filmed in a master class at Vandoren this year, which we hope will be Rome and has just released a wonderful modern music CD (Ref. released as a DVD. (biography: http://www.vandoren.com, artists section) Vandoren 2CL605: F. Zappa, , P. d’Riviera, Yoshimatsu, …)

3 TRIBUTE

A Tribute to .

One year after the death of , the saxophone music world has once again been hit, this time by the death of Daniel Deffayet, who passed away in his Paris home on December 27th, 2002, at the age of 80. He was a teacher at the Paris C.N.S.M. (1968-88) and trained a whole generation of talented saxopho- nists. He was also a remarkable interpreter who, together with his “Quatuor de Saxophones”, was responsible for numerous creations. He performed as a soloist for several major orches- tras, and Von Karajan regularly asked him to play with the Philharmonic Orchestra of Berlin (1966-88). See his biography and a full interview * conducted by Roland Pierry on the site http://www.vandoren.fr

* Excerpts from the interview: The material is not difficult. (…) When I went to see Marcel Mule, he played a metal mouthpiece, and naturally I wanted to play the same thing, to be “like the teacher”. As a transition, he recommended that I buy a “Perfecta” mouthpiece and its corresponding reeds from Vandoren. So, ever since 1938, I have been playing Vandoren reeds. (…) I used a traditional metal mouthpiece and then one with an adjustable facing by Georges Charron until Vandoren came out with its new series of classical mouthpieces. With all this, I have always played Vandoren reeds.

What suits you most in the Vandoren reeds? The timbre and quality of sound. Actually, I think the most important quality, for an instrumentalist, is to have a beautiful sound. You can play a wrong note, but if you do it with a beautiful sound, I would be the first to forgive you. Yes, the finger was in the wrong place but it is of no importance. What is the problem with a wrong note, if it sounds beautiful? It has a stirring tone that “makes the hairs stand up on the back of your neck”. For me, this is the main quality. I have ended up tinkering with them. In my day, we used to do it with a well-sharpened penknife or a razor blade, by placing the reed on a sheet of glass and scraping the tip lightly but without touching the facing. That would be heresy, a mortal sin. Sometimes I scraped the heel of a slightly muted reed to make it sound better. This would lighten it a little bit. That is all. I never did anything else. I should point out that I never actually removed shavings. These adjustments were in fact very minor. Naturally, I tried reeds by other brands, but since 1938, I stayed faithful to Vandoren reeds because in the course of these trials, I never came across reeds that were better than, or even equal to, what I found here. (…). For me, it is only my ears that guide me. (…)

You told us that you owed everything to Marcel Mule. Perhaps one day, people will say the same thing about you … I don’t think so because there was nothing before Marcel Mule. He created everything, whereas I only continued a tradition, I am not a refor- mer. Since in my view all that had been done before me was perfect, I tried to continue along that path.

4 NEWS IN BRIEF & ENCOUNTERS

Jack Brymer, from Ensembles, one world to another … at Vandoren ! passed away on September 16, 2003 at the age of 88. Sharing a Birthday with Mozart, the 27th of January, he had strong affinities with his , which he recorded three times (with Beecham, Davis and Marriner) He was doubtless the first English clarinet player to use The Korean Sax Ensemble with Kim DaeWoo, the vibrato. The author of an excellent book during a tour in February 2003 that brought them to France and on the clarinet, he also played as a soloist for the main Germany. Founded in 1996, this ensemble is usually composed of 50 of London, and was Honorary President of CASS saxophonists (see Kim’s interview in Postcard from Korea at the end of (the British association of Clarinet players and this magazine). http://www.saxophone.or.kr/ Saxophonists). Algirdas Budrys at the CNSM in February

Saxophone Class of (Amsterdam Music Academy) on 3 February 2003. This year, Arno Bornkamp released a double CD of classical saxophone music. http://www.effacta.nl/solisten.htm

Algirdas Budrys (solo clarinet player for the National Henri Jeitz and his clarinet class Orchestra of Lithuania) at a master class of Lithuanian (Luxembourg Music Academy) music that he gave at the CNSM of Paris in February 2003 Henri Jeitz formed the Sigma contemporary music Ensemble and the with the students of Arnaud Leroy, Assistant Professor. Luxembourg Clarinet Choir.

5 the Sax he best classical saxophonists are now T convinced of the quality of our products. At the Competition in Dinant, the six finalists played a Vandoren mouthpiece! And yet the saxophone mouthpiece is a subject that is rarely discussed in books about music or the production of instruments. The purpose of this article is to encourage reflection on certain fundamental points, including the technical vocabulary for the different parts of the mouthpiece, as well as the language to be used. This language must obviously be more subjective if it is to accurately describe the sensations felt when testing material and to define the resulting sound, or the material itself. This analysis has been based on experience acquired by the Vandoren artistic advisers or the musicians themselves. Many of the details given here apply to all types of mouthpieces but a forthcoming issue of the Vandoren magazine will be devoted to mouthpieces for jazz, which have such a wide range of chambers and styles that a separate feature is required. special feature classical mouthpieces

THE DIFFERENT PARTS OF THE SAXOPHONE MOUTHPIECE Mini Glossary BY J EAN-PAUL G AUVIN, VANDOREN ARTISTIC ADVISER AND J EAN R APENNE, PRODUCTION D IRECTOR

Let us examine a diagram of the chin (“menton”). It was the- As for the chamber, its volume a mouthpiece, since a simple refore the upper lip that control- and shape have an effect on the explanation is necessary led the vibration of the reed. grain of the sound and the pitch about certain parameters Later, the mouthpiece was used of the instrument, and even the that are not sufficiently the other way round for greater timbre of certain notes. When known . comfort, the upper lip acting as a reducing the total volume of the cushion between the teeth of the chamber by increasing the The main function of the outer upper jaw and the beak. Most ins- baffle, the air speed is affected form in other words its design, trumentalists have gradually and as a result, il generates is to make the user feel confi- dropped this method, and now the more harmonics. Accuracy is dent. In fact, apart from the teeth usually rest directly on the directly linked to the relationship shape of the tip of the mouthpie- beak. The shape, and in particular between the volume of the cham- ce, the rest can be modified. the angle of the beak, have a ber and the passage of the bore. Naturally, to some people, the considerable influence on comfort The throat varies in shape most important aspect is the but also on the consistency and depending on the maker. The external shape of the mouthpie- richness of the sound. An example most important aspect in this ce, a shape that is more, or less, that will enable you to assess its case is not its shape but its volu- retro or modern can, for instan- importance are two mouthpieces me. In classical mouthpieces, it ce, indirectly “catalogue” a with the same facing, the A28 is usually smaller. Consequently, mouthpiece. However, it should and the latest mouthpiece in the the more compressed the cham- be noted that a lack of thickness Optimum series, the AL4. ber the more it broadens, as the in a shank could weaken the The baffle sculpts the sound at relationship between the chamber interlock between the mouthpie- its source. Its shape, length and and the bore must be respected. ce and the neck. angle are therefore determined The shape of the bore depends on The origin of “mentonnière”, the according to the volume of the the tapering of the neck. It is, in French name for the beak, chamber and the desired timbre. fact, more logical for the bore to be comes from the fact that it was A convex baffle is usually more also shaped as a cone because an intended for resting suitable for a “brilliant” sonority. evenly distributed density of the

3 the classical Sax mouthpieces

TIP-OPENING OUVERTURE EN BOUT

TIP THICKNESS TIP-CONTOUR EPAISSEUR DU BOUT BOUT DU BEC

TIP RAIL FACETTE WINDOW FENETRE OU LUMIERE BEAK BAFFLE FACING-CURVE MENTONNIERE HAUT PLAFOND COURBE SIDE RAILS DE LA TABLE RAILS WALLS (INSIDE) JOUES OU PAROIS (INTERIEURS)

WALLS (OUTSIDE) RAMP TIP FLANCS OU PAROIS (EXTERIEURS) BOUT DE LA RAMPE CHAMBER CHAMBRE RAMP RAMPE TABLE LIGATURE LINES TRAITS DE LIGATURE THROAT GORGE (PASSAGE DE LA PERCE) OU TRAPEZE (CLARINETTES)

BORE PERCE

SHANK TENON

cork facilitates the adjustment of not already tried to compare two be interpreted in terms of a the mouthpiece over the neck. mouthpieces at a glance? It is “closed” mouthpiece, and of Furthermore, its length is of minor certainly very reassuring but course, a shorter curve will pro- importance since it is the way the unfortunately, we are far from duce the sensation of an “open” mouthpiece is fitted that balances reality because the tip opening mouthpiece. Designing the the accuracy of the instrument. alone sheds very little light on facing of a mouthpiece is the The facing has two basic compo- the features of the facing of a domain of a specialist. nents: the flat part on which the mouthpiece: the curve and the The aspect of the tip rail, hence reed will be fixed by the ligature length of the facing are in fact the finish, of this part is a deter- and the rounded part, the curve just as important. mining factor for the sensation of of which is designed to make the The curve must fulfil certain sound production. This implies reed vibrate by leaving a space criteria otherwise the reed will the impression of a “open” or for air to pass. The flat part should, not vibrate correctly. The shape “closed” mouthpiece, a rounder preferably, be very slightly concave of the curve and length of the sound, etc. The ideal width of the to ensure that it is completely facing combined have a great tip rail for a given model is often airtight. influence on the ease of emis- dictated by the curve of the The tip opening is very easy to sion, frequently translated, erro- facing. Even though this is not see (or at least one has this neously, as a mouthpiece that is always true, a wide tip rail is impression), and as a result eve- ‘too open” or “too closed”. For a often synonymous with a more ryone is talking about it. Who has given opening, a longer curve will compact sound. On the other

3 special feature

THE OPINION OF A MUSICIAN

Vincent David Straight to the point …

joined the CNSM* while using a mouthpiece of another make. Very soon, I tried the Vandoren A17 in class. I was looking for something Ithat suited me better, with more sound. At the course held in Gap after the A28 came out and Claude Delangle made me try it, I practised for the Geneva Competition with this mouthpiece. In the past year, when playing chamber music, I again used the A17 as it goes well with my Selmer Series 3 sax due to its generous sonority. For the soprano, an instrument I started playing at a late stage, I chose the S15 as it suits me perfectly, and for the tenor the T20 because it has a good balance. The choice of material should be simple and quick (at least for me). Trying mouthpieces with different openings requires a choice of reeds appropriate to each one. The first phase is not to try to play unfamiliar mouthpieces and reeds (if you are testing a mouthpiece, change that only). A long trial lasting several days then helps to determine the correct strenght of reed. * Paris National Conservatory

VINCENT DAVID PLAYS : S15, A17/A28, T20 MOUTHPIECES, TRAD. REEDS 3 hand, this type of finish requires time and also permits shaping thpiece was much softer than a can undergo some slight changes a selection of “soft” reeds, in under the right conditions. Thanks to new one while at the same time that will eventually give you the other words, more supple but our technology and expertise, we are asserting that the maker had chan- impression that your mouthpiece without deteriorating the thick- able to guarantee order of 1/100th of ged the way it was produced? Some has become softer, even clearer, ness of the sound. The AL3 millimeter. However, ebonite is sen- mouthpieces have been made and it is true. A mouthpiece is not Optimum mouthpiece, with its sitive to heat and can also become according to these criteria. For ins- hard-wearing, so trying out another wide tip rail, is a very good example oxidised at room temperature, tur- tance, the A17 is based upon a mouthpiece from time to time will of a compromise between easy ning into a greenish colour, for ins- used A27, and the A28 is derived help you assess its wear and tear. emission and sound texture. A thin tance. These reactions end up by from both of these models. So it Using two, or even three, mouth- tip rail, like the A28 for instance, hardening the material considerably is important for musicians to clo- pieces in alternation is reassuring would certainly give the AL3 diffe- over time and can therefore modify sely observe the changes that and comfortable. rent dynamics but not without the perception of sound. It is impor- occur to their mouthpiece, over a detriment to the quality of sound. tant not to place the mouthpiece on period of time. It should be noted that a wide tip the flat part of the facing! Since How to clean a mouthpiece. How rail increases the capacity for there is always some friction, pre- should it be cleaned? With slightly adjusting the reed on the mouth- mature wear and tear may eventual- soapy warm water occasionally or See also the opinion piece (higher or lower). ly alter the ease of emission and, with special products. Since the of Otis Murphy (USA) How to care for a mouthpiece. The therefore, the sound. inside of the mouthpiece chamber and Kim Daewoo (Korea) ebonite used (vulcanised rubber) is How many musicians have not obs- is sometimes wiped for hygienic in the “Postcards” Section a material that remains stable over tinately claimed that their old mou- purposes, the aspect of the tip rail on page 21.

9 the classical Sax mouthpieces

THE BIRTH OF A NEW SAXOPHONE MOUTHPIECE: from the prototype to its production

BY J EAN R APENNE, PRODUCTION M ANAGER, VANDOREN The problems

Perfecting the prototype of a saxo- It is actually not very difficult to ficult stage can be envisaged: phone mouthpiece is still a fasci- obtain results. People who tinker mass production. The main diffi- nating undertaking as the possibi- around with instruments and other culty is, actually, not making one lities are so vast. Comparatively more serious repairers can easily mouthpiece but to succeed in speaking, the mouthpiece of a cla- provide a demonstration. If they reproducing it for mass produc- rinet has gradually reached a know their advice will be followed, tion, while retaining all its original stage of near perfection in an they can give musicians back their qualities in the long term. almost exclusively (so-called) confidence temporarily thanks to classical music context where the an appropriate adjustment. But This particular aspect of produc- aesthetic choices are, on the what happens afterwards? The tion is very important because all whole, standardised. adjusted mouthpiece that produ- musicians change their mouth- ced such good results only a few piece sooner or later. It is vital for The creation of an experimental days ago no longer reacts as well them to be able to find the same mouthpiece is the result of with a new reed. Why? familiarity when choosing another numerous operations of model- mouthpiece from the range. It ling and adjusting on an ebonite To be valid, a prototype – like an should be noted here that slight or brass base, with the help of adjusted mouthpiece – must be differences do exist between J EAN R APENNE heat-setting resins. Step by built on a solid foundation, i.e., it mouthpieces from the same step, the musical trials guide the must have solid qualities and not range. These differences, due progress of the work. Research just a few flattering assets that mainly to their manual finishing concentrates on the basic com- will soon be discarded. Only genui- touches, make it possible to offer a ponents of the mouthpiece: the ne know-how and long experience few variations, but the foundation chamber (its size, shape and can make it possible to achieve a nevertheless remains. baffle), the throat, the facing convincing result. It is only under and certain details of the beak. these conditions that the most dif- special feature

The Vandoren solutions

How is it possible to guarantee digitised, it is always possible to machines, equipped with natural the members of the production identical and stable production make new ones in case of wear diamond tools, are checked fre- team, the impressions of musi- over the years? and tear or accidental damage. quently, especially to check the cians are always more important alignments and thus avoid “war- than the production constraints. The mould The first pieces made from the ping” of the facings, a little From perfecting the prototype to experimental mould are tested understood phenomenon that mass production, the birth of a Once the prototype has been fully and the pin is eventually adjusted disturbs emission. For each type mouthpiece is a question of pas- approved by musicians participa- stage by stage until the expected of facing (A27, A28, AL3, T35, sion, imagination and artistic ting in the experiment, an imprint result is obtained. The final mould T25, etc), there are two master sensitivity, but it is also, and of the inside is made with the help is then made (core and envelope) models, kept in a safe place above all, an exercise in patien- of a special material that guaran- in a highly resistant chrome steel. sheltered from light and humidi- ce, hope and technical expertise. tees reproducing exactly the same The “model”, thus perfected, is ty. These are only handled in Thanks to this global approach to shape and size. This imprint is ready for mass production of the cases of absolute necessity. quality, Vandoren succeeds in then digitised by computer in blanks. developing new products that are order to make a first core pin in Finishing touches always innovative and efficient, steel for the testing mould. The Tolerances backed by the assurance of being casting procedures tested by The manual finishing touches to able to make identical models Vandoren for many years permit Every stage of production is the side rails, the top of the five, ten, fifteen and even thirty the production of blanks, the insi- checked on specific evaluation baffle and the tip rail are done by years later! de of which is very close to the benches. The general tolerances, specially trained adjusters/fini- So you should not harbour any finished pieces. Only light fini- extremely precise, are similar to shers. Although each one has a doubts about the quality or the shing touches by hand to match those of micro-mechanics: particular style, every detail is durability of your material. the tip rail are necessary at the - turning of the outer form and carefully controlled with the help Choose a Vandoren saxophone end of the process (but the outer lengthening of the bore: +/- 0.05 of measuring rods to ensure that mouthpiece and concentrate on part itself must be completely mm, the spirit of the original model is the only thing that is important machined). - grinding of the beak and cut- always respected. in the final analysis: the music! In general, only casting processes ting of the tip: +/- 0.01 mm. can produce complex inner forms - milling of the facing: +/- 0/05 Tests (more complex than the forms mm. obtained by machining) while at The facing needs special care Finally, top musicians test the the same time guaranteeing per- since, to guarantee its precision, entire production by carrying out fect reproduction over time. it cannot be adjusted or polished regular tests. All their comments Furthermore, since the pins are after milling. The facing are recorded and checked. For

11 the classical Sax mouthpieces FLEXIBILITY AND RESONANCE ... BY J EAN-PAUL G AUVIN, AR TISTIC A DVISER, VANDOREN

The care given to making a new From the flat part of the facing optimised by this balance of para- promise. Vocabulary is essential. mouthpiece at Vandoren is directly It serves to position the reed, which meters. This vital notion is a deter- The subtleties of defining a linked to the artistic demands of the is fixed by a ligature. The shape of mining factor in the design of sound remains a debate : “clear majority of musicians. In an the curve offers a plethora of sen- mouthpieces. For instance, the AL3 or bright” ; or on the contrary attempt to adjust intonation, sations specific to the emission of Optimum series is outstandingly “dark, round, large…”. All these Adolphe Sax established that the the sound. The vibrating part of the easy from all points of view (emis- terms may lead to confusion and volume of the chamber is in the reed is sensitive to this exponential sion, sound texture, etc). In this indecision. The notions of flexibi- essence the conical extension of the curve. These sensations are, of case, the mouthpiece results in a lity and resonance - themselves neck. Originally, mouthpieces were course, directly linked to the mor- certain sound. On the other hand, associated with phrasing - bring very wide inside, with very narrow phology of the instrumentalists the A28 V5 series tends to have us closer to a truth. openings. The current design of the and the way they play. One particu- the opposite concept, and the mouthpiece has undergone a few lar reed can be appreciated in a instrumentalist will have to modifications in relation to the completely different way depen- appropriate the sound himself latest developments of the instru- ding on the flow and pressure of and forge it, in other words, Five principles ment. The lengthening of the tube, air that the musician applies to it. sculpt its personality. to remember its diameter and, consequently, the The “sensation” erroneously inter- position of the vents have been re- preted by the musician in terms From using strong reeds 1 balanced to obtain greater accuracy. of opening (for example, a mou- At first glance, it can give the The design of a mouthpiece can Therefore, the choice of mouthpiece thpiece that is too opened or too impression of a better control of satisfy a majority of musicians. for artistic reasons can be explained closed) can be determined by the the instrument (dynamics, sonority 2 by the technical features of the length of this curve and not by and richness of the sound) but to The shape of the chamber determined model. For once, feelings are given the actual opening. the detriment of the notion of flexi- by volume is not systematically linked an important place and surprises bility, therefore ease of sound pro- to the parameters for defining sound. can be expected along the way… From the opening duction. At present, the frequent 3 This is the most visible aspect, use of relatively closed mouth- The depth and angle of the baffle J EAN-PAUL G AUVIN so everyone talks about it. Who pieces with facings having a lon- are important criteria. has not compared two mouth- ger or shorter curve, together with pieces at a glance (even a very a choice of strong reeds (31/2 to 4, 4 experienced one)? It is obviously and even higher), leads us to belie- The appearance of certain parts of the mouthpiece, such as the tip rail, very reassuring but unfortunately ve that the present openings are explains the sensation(s) obtained far removed from reality. finally comparable to those used in when blowing into the instrument. Inbetween the artistic “inclina- the 1960s, with the exception of tion” of the musician and the the reed strength, which always 5 The resonance of an instrument acoustic theory, a truth can be remained average (21/2 to 3). depends basically on the way found : the opening of a mouth- musicians handle their embouchure. piece does not systematically From the vocabulary The use of a classical mouthpiece can generate more sound. Your requirements shall be satis- produce jazz sounds and vice versa. fied by our shared passion. We Using the same mouthpiece, the sound of an instrument will vary From the pressure and flow of air know how to develop while from one musician to another. Handling the pressure and flow of remaining within the realms of air is crucial, and resonance is reality all in all an utopian com- special feature

CLAUDE DELANGLE PLAYS : S15, A17/A28, T20 MOUTHPIECES , TRAD. REEDS 3,5

THE OPINION OF A MUSICIAN

s a student, I used a C* Selmer mouthpiece. I was completely satisfied with this mouthpiece. I did not ask Amyself questions about the material but only how to do something with it! When I left the Conservatory, Roland Pierry introduced me to the Vandoren A25 mouthpiece. I started feeling new sensations, looking for new colours, the “grain” of different sounds, according to the repertory. I was not fully satisfied with this mouthpiece but I started to realise in a slightly vague way that I wanted to find my own sonority. In any event, I had to “move” and give up habits that had become too comfortable. I needed to look for a new balance between the sound that was mine in those days, the one I was dreaming about, and the acoustic features of a mouthpiece.

I spent several years changing frequently; the A20, the A27, etc, returning regularly to my landmarks of the C*. In the 1990s, I used the A17 mouthpiece for a long time. It gave me exactly what I was looking for in terms of emission: precision, balance, consistency and clear articulation, etc. When the A28 came out, I was attracted to its rich timbre. It required greater effort on my part, more air, but I was delighted by its warm sonority. However, I continued to feel nostalgic about the accuracy of the A17, to which I finally returned, preferring to select a stronger reed to obtain a warmer sound. The softest reed with the A28 produced a compromise between emission and sound but made me lose some of the high pitch. A small diversion during a few months with the AL3 and AL4 convinced me that they were suitable for playing in an orchestra or for classes (1st and 2nd cycles).

As a soloist, however, I felt a little “constrained”. I recently changed to the A5 with the medium chamber. This mouthpiece is a little too open for me, it gives a rather well rounded sound but it is nowhere near as rich in harmonics as my previous mouthpieces. In a way, there is a kind of struggle between my basic conception and the potential of this mouthpiece. This is why it is good for me. It sets limits to my excesses and helps me explore other horizons. I will probably change again soon but I do not recommend it for my students. In fact, it Claude DELANGLE requires perfect mastery and a precise idea of the colours one is “Choosing a mouthpiece” looking for. It is not much of a guide and can produce disasters! All these successive changes have enabled me to become aware of a strange idea. When you have mastered sound well, it may perhaps be advisable to avoid playing with material that is perfectly in line with your own concept of sound! The tension (gentle) between the objective and the material can generate new musical ideas. On the other hand, I recommend the greatest stability possible during elementary studies, and well-considered and infrequent changes during higher studies. ANTONIO SAIOTE PLAYS : 5RVLYRE 13 SERIES, M30 MOUTHPIECES, 56 RUE LEPIC REEDS N°5

What has been your musical journey? learn by comparing themselves with others or by experimenting. As I learned musical notation according to the French system. I started for myself, when I was 18 years old, I won a scholarship that the clarinet when I was 13 years old (my teacher had studied with U. enabled me to come to Paris to study with and Delécluse), and one year later the violin. This instrument certainly Guy Deplus. Later, I followed the teaching of the German tradition helped me in my present career as an orchestral conductor because under Gerd Starke in Munich. This was an enriching experience for from the age of 14, I was head of section in a symphony orchestra. me even though in the case of some students the influence of dif- At the age of 17, I won the World Younth Orchestra competition and ferent teachers can undermine their development. I had a strong left on tour for Korea and Japan, under the direction of Serge Baudo. urge to create a school in Portugal because it is so important to I then came to visit the Parisian factories for the first time to buy pass down a tradition! “IO S” and Vandoren reeds. Later, as a result of my meeting with Guy Dangain, I participated in a rehearsal of the National What do you think of teacher/student relations? Orchestra of France, and gave my first real recital accompanied on Learning is a question of intelligence. The first thing to tell yourself is : the by Alois Kontarsky. I don’t know. A student should not look upon a teacher as a friend because too much familiarity can harm the relationship. What are your views on training? Teaching means transmitting something that the student may per- What analysis would you draw from your experience with the haps use later. All experiences are instructive for students. They French, German and English-speaking schools?

14 Antonio interview Saiote CLARINET PLAYER AND CONDUCTOR, PORTO, PORTUGAL “The first thing to tell yourself is : I don’t know”

I have learned to compare these schools. In France, colour rather than with a tempo. With romanticism, there is frequently a there is less and less work with the piano and tendency to be too extravagant. chamber music. This is probably due to our indivi- dualistic temperament, which makes us prefer the What priority do you give to material? work of a soloist. We also focus more on theory. In It is important to insist on tradition and not to adopt bad interpre- the United States, there is a lot of orchestral music. tation habits. Today, the “patina” is in the process of being lost. I There is a tradition not to “open” sound, to seek a cannot accept that a student has the same tone for Brahms as for more centred and intimate sound. In Germany, the Beethoven. It is necessary to work the phrasing, which is in line work is perhaps more rigorous and produces excellent with the start and the end, and to always look for good taste results in terms of accuracy. It is necessary to reconcile the because it keeps extravagance under control. As for common notion of freedom and imagination of the Latins with the rigour and sense, this is not something that can be taught. discipline of the Germans and Anglo-Saxons. My theory of contrasts would be “Latin” teachers in Germany or in the USA! What advice would you give about choosing a mouthpiece? The mouthpiece must be adapted to the repertory. Sound is equiva- What advice would you give to young professionals? lent to words, it is like the soul. Having an attractive sound is not Once instrumentalists become professionals, they should not enough. If I hear Rossini with a dark sonority, the student would do adopt the attitude of a star. They should step aside in favour of the better to play Reger or blues. The sound should be placed like a sin- music. They should be capable of not always playing in the same ger, with the harmonics, and the mouthpiece must also have resis- way so that they can be ready to rediscover a work. Perfection does tance. At the moment, I play a 5RV Lyre Series 13 – a model I like very not exist but we can try and approach it, and this is what brings much – with the M30 on the clarinet in A, which is very suitable for satisfaction. this instrument.

What about interpretation? What do you expect of the reeds you play? I have conducted for six years, in particular, with a student of Pierre I allow the reeds to dry out at home, “I know them like the back of Monteux, George Hurst, and this has allowed me to get to know many my hand”. In a concert hall, with a chamber music colleague, I forms of music. In my view, one should above all take time before propo- make my final choice between 4 to 8 reeds selected in advance. sing an interpretation. For example, I differentiate between being When I practise at home, I prefer a stronger reed while at the “impressionist” and “romantic”. With impressionism, one plays with Conservatory, I tend to take one that is not so strong. Appreciating

15 interview Antonio Saiote

a reed is a bit like the bouquet of a wine. You do not choose a wine others will not “merge” with the other instruments, for example, because it is the most expensive one, the darkest or the mildest. there will obviously be different registers for the piano if you are Likewise, the woman you adore is not necessarily the most beauti- only capable of producing a dark sonority. Of course, when you are ful. Over time, you give preference to charisma, intelligence and young, you want a “big” sound (volume rather than timbre, with sensitivity. When a reed is suitable, you quickly forget that it is too the help of strong reeds). You look for an effect for the sake of pro- light or too dark. With some reeds, everything is possible, the lega- ducing an effect, but when you really learn, you start by looking for tos and the staccatos, because the registers are balanced. But something else. Hiroshi Hara WINNER OF THE FIRST PRIZE OF THE INTERNATIONAL SAXOPHONE COMPETITION AT DINANT 2002 “If one finds something good outside, it should be included in the teaching”

What were your first influences? lity and emission of sound compared to the Japanese. The Latins While attending secondary school, I had an opportunity to listen to and Americans each have a different sound, but usually more a recording of the Concertino of Ibert by Marcel Mule. This made beautiful. In 2002, I entered again at Dinant, and won the first me decide to learn how to play the saxophone and to listen to prize. The candidates were different from those of 1994 but the recordings by current French interpreters, such as Claude standard seemed to have remained the same. The following pieces Delangle, Jean-Yves Fourmeau and J.D. Michat. My first teacher, were obligatory to enter the Japanese competition Mr. Y. Hattori taught me a lot, especially the basic techniques. Mr. : Concertino by Ibert, 2nd movement, as a first trial; Sonata by Kanzo Tomioka completed my musical training. Unlike the French Denisov, 2nd and 3rd movements; then Concert Music by Constant; system, I learned music at university. Students enter the Music and as a Finale, the Concerto by Larsson. Academy of Shobi with a level of Bac+3, for two to six years of study, and in my case, two renewable years. Were you subject to any other influences afterwards? I cannot think of anyone in particular. I took on a little bit of the How did you experience the Dinant Competition? vibrato of one musician, the staccato of another. Sports men also I entered for the first time in 1994, without understanding music influenced me, for instance, the personality of Mr. Matsuhi, a too much, I was not ready. Then I won a first prize in Japan in 1996. baseball player in New York. This gave me confidence but also made me realise that I still had a long way to go before reaching a better international level. Many Do you restrict yourself to a classical repertory? Japanese people believe it is sufficient to play a lot in order to be I love classical music, including contemporary classical music. I good. In Dinant, I was surprised by the differences in terms of qua- do not know the Japanese repertory in this field very well. Nor have

16 HIROSHI HARA PLAYS : S15, A28, T27 MOUTHPIECES , TRAD. REEDS 3,5

I practised other types of music much, such as jazz or light music. I play a maximum of one box). Then I allow the reed to rest for seve- ral days before playing it again. I like to replay reeds bought four How is French music perceived in Japan? months previously. With reeds that have been prepared over a per- The Japanese have difficulty in understanding French music. How iod of four months, you can have a number of reeds ready for a can you sing a melody or interpret it without having the same tradi- concert, and they can last for two to three months with this system. tion? This being said, when there is a problem, you should try and solve it yourself without necessarily turning to a particular professor. Do you recommend this system to your students? Yes, I think it is applicable to everyone. Compared to the training you received, would you also like to have had more training for chamber music or the orchestra? How do you choose your mouthpieces? I am satisfied with the training I have already received. If I had to I look for an easy and pure emission. give lessons in the future, I would not like to repeat the same thing because of changes (techniques, etc). If one finds something good Why did you choose the A28? outside, it should be included in the teaching. Two years ago, I had a mouthpiece by another make. But since so many saxophonists play Vandoren, I told myself I should try one. I What are your criteria when choosing material? finally found the A28 that suited me, it is what I was looking for For the reeds, I played Vandoren like everybody else, my teachers, from the point of view of sonority. Each make has its advantages my friends. Now it is based on a carefully considered choice, and I and its differences. am satisfied. I play 3.5 reeds, on the soft side, with a good balan- ce between blowing and sound. Let us talk about the future? Do you have any dreams? Yes, for example, to give a recital in Paris one day. I also dream of How do you select your reeds? Do you alternate them? forming a of saxophones, but I have to find the musicians. I buy one box every month but always have about ten boxes at my disposal. I play a reed for about ten minutes a day (in one day,

17 scores The latest from the Vandoren

times limited finger span of young Gounod, Verdi, Tchaikovsky, CLARINET students, by delaying difficult fin- Borodin, Mozart, Berlioz, Bizet CLASSICAL gering as long as possible and by and Mussorgsky, but also more proposing several solutions to unusual pieces, such as the SAXOPHONE start. 2nd volume: high register. Espana by Charbrier. The CDs offer accompaniments, highlighting a wide variety of ins- truments, in all styles, starting from the initial exercises. CLARINET OR SAXOPHONE

Airs célèbres d’Opéra pour alto sax (or soprano or tenor) or Bp 10 ans avec la clarinette. clarinet and piano, Volume 2. P. Dutrieu, J.M. Foltz, Scores and CD piano playback G. Swierc, G. Thomé. Etudes pour saxophone, Several authors (Ghidoni) I.P.M.C., October 2003, 120 pages Volumes 1 & 2 Leduc Vandoren Ref: 1CL9009 Several authors. Vandoren Ref: 1CS1073 Eleven years after the first edi- Lemoine. 2003. Airs by Donzetti (L’Elisir), tion, a new team (who, notably, Vandoren Ref: 1SA252 Offenbach (Bell Hélène), Verdi worked on the Vandoren collec- These difficult studies by nine Clarinette panorama. (Aida, Rigoletto, Traviata). composers are each dedicated to tions) offers this precious book Philippe Tormen, Reminder of the volume publi- a student of the Paris CNSM. They enriched by new sections (old cla- I.M.D., January 2004 shed in 1997: works by Bizet all focus on a specific contempo- rinet, , etc). A special Vandoren Ref: 1CL8892 (Carmen), Gluck (Orpheus), rary effect (bisbigliando, tone, chapter concentrates on the first Methods, studies, pieces for the Puccini (Tosca), Verdi (Rigoletto, and 10th year. clarinet and piano for the first and Traviata). The Concerto for overblowing, slap, circular brea- second cycles. Interview with Clarinet by Ghidoni, previously thing, etc). Reminder: 56 recrea- authors of methods, ingenuous published in Italy, was released tional studies in 2 volumes by Guy comparative tables of works, by recently by Leduc. Ref. : 1CL9024 Lacour with + CD recorded by year, with numerous criteria. Jean-Yves Fourneau, published Complementary to the book “10 by Billaudot. Ref : 2SAP287 and ans”, mentioned above, and just as 2SAP291. useful for teachers (the author also worked on the Vandoren col- 1CL9024. lections).

Tango-Etudes (or Etudes tanguis- tiques” for alto sax (or clarinet) and piano Astor Piazzola. La clarinette à l’école de Vandoren Ref: 1CS118 4 A Comprehensive Guide to the musique. Vol.1 & 2 + CD. After the Tango-Etudes of 1988, Saxophone Repertoire 1844- Jean-Louis Margo. made in collaboration with Claude 2003. Lemoine, 2003. Les plaisirs de la clarinette. Delangle in 1988, the publisher Londeix, Jean-Marie. Réf. Vandoren : 2CLP241 and Clarinette et piano + CD asked the composer to harmonise Roncorp, 2003, bound, 646 pages 2CLP242. Various authors them. Here at last is a version with Vandoren Ref : 1SA5434. A new method in 2 volumes, each Cloudens, 2003 piano, after meticulous work A new French-English edition of accompanied by a CD. 1st volu- Vandoren Ref: 2CLP23 undertaken by Yann Ollivo on the the famous (and indispensable) me: medium and low registers. Florent Delporte and Marc interpretation of the manuscript. repertory of Jean-Marie Londeix, Changes in fingering techniques Bercovitz made an album of a Some notes on the stave are ambi- now consisting of over 18,000 that take into account the some- selection of famous pieces by guous, and these are indicated. works for the saxophone.

18 To order directly from Vandoren, Sheet Music Store telephone us at (+33) 1 53 41 83 00 or send us a fax at (+33) 1 53 41 83 01, or by e-mail at: [email protected] For information, lists of new scores-CDs, send an e-mail to: [email protected]

Saxophone High Tones: a systema- www.vandobase.com tic approach to the extension of It is now possible to search the range of all the Saxophones: in the catalogue according to subject Soprano, Alto, Tenor and Baritone (e.g. Scores then Methods) 2nd edition or any word in the authors/titles Eugene Rousseau. St Louis (USA). MMB Music. 2002. database (“search”). Vandoren Ref : 1SA5413. This catalogue will be This second edition in English, with J EAN-MARIE P AUL updated regularly. a preface by Claude Delangle, offers additional fingering tech- niques and new acoustics on the high tones. THE SHEET MUSIC STORE AT VANDOREN JAZZ SAXOPHONE

Developing a jazz language +CD (Inside Improvisation Series ; 6). Bergonzi, Jerry Advance, 2003. Vandoren Ref: 2CSP14 The 6th volume of the method (sax and all instruments) by Jerry Bergonzi is based on listening, as in the case of spoken language. Over one hundred specific pieces of advice are discussed to give the improviser more means for expression.

3 postcards Our musicians write

PLAYS : MOUTHPIECES 5RVLYRE, REEDS V12 3,5/4 GUY DANGAIN book is still striking for its some very interesting scores, sharp and topical remarks. which only goes to prove – and this is very reassuring – First of all Shanghai … that one learns something at My stopover in Shanghai, the all stages in life! The venue for the very first students play with good and International Congress on the up-to-date material Clarinet to be organised in (clarinets, mouthpieces and Asia, gave me a delicious reeds). The very successful foretaste of what was to Congress ended brilliantly come. On October 3, this with a magnificent cruise gigantic city woke up to the down the Yang Tse Kiang, sound of numerous and which gave us an opportunity varied preludes, as only to discover “Shanghai by clarinet players from all over Night”, in a symphony of the world know how to play. lights worthy of the greatest Each guest artist gave a cities in the world. As we recital. Richard Vieille and I glided over the water, we saw represented France, and in the sumptuous and magical this capacity, our mission Opera House of Shanghai,

CHINA was to represent the French with Puccini’s Turandot on the

school and its composers and programme. I left this city Guy Dangain to give classes to Chinese with a twinge of regret, for ” clarinet players. I am neither these encounters were CLARINET PLAYER, FORMER SOLOIST, a prophet nor a diplomat, but enriching both from the ORCHESTRE NATIONAL DE FRANCE I can assure you that in the musical and the human Peyrefitte, “The Awakening very near future, we shall get points of view. I continued my to know the “Yo-Yo-Ma” of the journey and landed after a It is 5 o’clock in the morning, of China”. This is normal for I have just clarinet. These young two-hour flight in Canton, and Paris is waking up. returned from China. I again instrumentalists are eager to a town situated at Accompanied by the chirping dip into this remarkable book learn. Their energy at work is the mouth of the Si Kiang. of our great and late by this fine diplomat who breathtaking, and this is lamented flautist, Roger tried, in his time, to shed quite a challenge for a Next, Canton … Bourdin, the refrain from a light on the way the oldest clarinet teacher! But what a I was very warmly received by song by Jacques Dutronc civilisation in the world joy it is for every teacher to be Xi Wei Long, Clarinet Teacher wanders through my mind sought to become the newest carried away by such at the Conservatory of Music and brings me back gradually one through an effervescent enthusiasm. The repertory of (see photo). The Xinghai is a to the memory of reading the present. The pages have these young musicians is very very attractive building in the prophetic book by Alain yellowed over time but the broad. I was able to discover heart of a huge campus that

20 to us …

groups together several It is almost impossible to teaching institutions and imagine the number of students’ residences. musicians and the volume of The complex is composed music for wind instruments of eight departments: that is currently being Musicology – Chinese developed in this vast Traditional Music – country, so rapidly

OTIS MURPHY PLAYS : AL3 MOUTHPIECE , TRAD REEDS N°3. Orchestras – Vocal and and seriously! Our country, Choral Music – Piano and France, should – and I say intonation, and round and

String Instruments – Wind it without acrimony – USA even tone color throughout the full range of the and Brass Instruments – “wake up” and revive “

General Education – and the beacon of Otis instrument put it in a class by itself. I have been Sports. I regret that we in our culture, which ” Murphy France have not adopted this sparkles in the mirror extremely happy with this PROFESSOR, INDIANA kind of integrated system, of the rising sun. mouthpiece. since our students are often UNIVERSITY SCHOOL I strongly recommend far from their music school. It OF MUSIC, USA against any of my students was an immense pleasure for using the same equipment. me to teach in this setting. I try my best to give them Being very attached to wind I have been the classical freedom in choosing the orchestras, I had the privilege saxophone teacher in the equipment that works the of conducting the Orchestra Indiana University School of best for each of them. To my of Young Musicians from the Music since 2001, teaching a amazement, however, all of Music Academy of Canton. On wide range of students in the my 17 saxophone students the programme was Carmen Bachelor of Music, Master of here at Indiana University are by Bizet, a royal – even Music, and Doctor of Music playing the Vandoren imperial – gift! degree programs. I have Optimum AL3 students from many different mouthpiece at this time. Return to Paris … backgrounds and schools of I do not feel sleepy! My playing. Each student has Testing a Saxophone Chinese adventure has something unique to offer, Mouthpiece: inspired me to reflect on the creating a wonderful learning When testing a new perpetuation of music for environment. mouthpiece, I use reeds of wind instruments. This French Over the years, I have tested slightly different strengths. tradition has been a number of different types I play various passages over successfully transmitted by of mouthpieces. When I first the entire range of the the Garde Républicaine in the played the Optimum AL3, I saxophone that are fast and United States and Japan, knew immediately that it was slow, high and low, loud and which in turn passed it on to something special. The AL3’s soft, and long and short. Korea, Taiwan and now China. precise response, exact After becoming acquainted

21

Otis Murphy

with characteristics of the quality has to be even, round, mouthpiece is the best. When playing, teaching, and new mouthpiece, I play the and natural. assisting my students, I close learning about it. Playing the same passages on my my eyes or look away so that I saxophone is one of the most“ current mouthpiece, When my students choose a do not know which mouthpiece natural ways for me to comparing good and bad new mouthpiece, I recommend is being played. I do my best express myself. It is an qualities of each. To me, the usually that they do this with to listen only with my ears, not amazing . response and feel are most someone who can listen and with my eyes. Happy practicing! important. Next, the tone help them judge which I love the saxophone-- KOREA professor in Rotterdam. The first year I taught, mouthpieces ! I am always Kim Daewoo This was the first time my students had not heard interested by new models. PROFESSOR IN SEOUL, I was acquainted to classical of Vandoren. So I introduced Usually I do not use the same PRESIDENT OF THE KOREAN sax sound and repertoire, them to the “Vandoren mouthpieces when I play SAXOPHONE ASSOCIATION along with jazz. I became the difference”… Now I am also in a classical orchestra first Korean student to study playing as a “Selmer Artist” and pop orchestra. in Holland, majoring in sponsored by Nonaka Boeki Co. Last year I broke my A27 and was very unhappy ! We do not have Korean My young students play repertoire for saxophone yet. Vandoren 2 1/2 reeds. Every year I arrange two or They do not have problems three pieces for my with them. We rarely use saxophone ensemble. a reed resurfacer. I like to play pieces like Glazounov or Creston. The future of the sax in Korea ? We played in Paris in 2003 We have to make connections with the Korean Saxophone with the other saxophone Ensemble wich I formed associations in the world. with 20 students. We play We have to learn classical

composers like Massenet, and jazz music from Europe L. Niehaus, J. Kern,... and America, but also to find

I like a warm, round and new ways of merging with somewhat dark sound. traditional Asian music.

” In 2002, I played at the KIM DAEWOO PLAYS : AL3 MOUTHPIECE, TRAD. REEDS 3 Personally, I began to teach “United Nations Center” in

11 years ago, now I have 8-9 New York to celebrate “U.N. Day” on the 21st of October students in each of the 7 “ Universities where I teach, so jazz music with a traditional I began by jazz conducting and saxophone. that makes around 60 Korean orchestra. I arranged & pop, I also learned I was already conductor students ; they are around 16 a saxophone version from the . My father was in Seoul, Korea. years old when they begin, a Korean composer. a conductor, interested I met Claude Delangle and after graduating from high in pop music ; I really wanted Jean-Marie Londeix. school… One of my students, to learn sax,I went to Koln I was also interested Soonsub Jung, graduated in (Cologne), there was no sax to come to Paris, because Rueil-Malmaison, he teaches teacher, so I began to learn of Vandoren and Selmer. in 5 Universities. by myself with a friend. This Anyway I was the friend introduced me in 1989 first korean player I was at Vandoren in 2003 to in Holland to Tom de Vette, to use Vandoren reeds ! try the new AL3 and AL4

22 new products

56 : a very special number ! Glass Reed Resurfacer Named for the home of Vandoren, the 56 Rue Lepic is the newest and Reed Stick addition to Vandoren’s much-heralded line of clarinet reeds. Made from precision etched glass, durable surface, washable Designed from thicker cane, the 56 emits a rich, centered, and for continuous, accurate use. extremely pure sound while providing maximum stability and quick response in all registers. Strength gradations are smaller and more specific,resulting in reeds that are very consistent. The 56 Rue Lepic comes in Vandoren's exclusive humidity balan- ced, factory- fresh packaging. • For Bb clarinet # 2,5 - 3 - 3,5 - 3,5+ - 4 - 5

New jazz ZZ reeds for soprano, alto, tenor and OPTIMUM mouthpiece series In tests with Jazz saxophonists, the artists found the new reed to be immediately responsive without sacrificing the brightness or Available in two tip opening/facing combinations: tone quality required for their style of music. AL3 OPTIMUM mouthpiece : • For Alto and Tenor sax : strengths 1,5 – 2 – 2,5 – 3 Its easy sound production, owing to its new facing, is the result – 3,5 and 4. of a collaboration between a team of saxophonists from diffe- • For Soprano and Baritone: rent backgrounds. strengths 2 – 2 ,5 – 3 – 3,5 AL4 OPTIMUM mouthpiece : and 4 This mouthpiece is inspired by the A28 in terms of tip opening and length of facing, with the new OPTIMUM free-blowing design.