FR2834815A1 - Mouthpiece for musical instrument comprises spout connected at one end to tail having internal bore, and has elliptical interior and exterior contours - Google Patents

Mouthpiece for musical instrument comprises spout connected at one end to tail having internal bore, and has elliptical interior and exterior contours Download PDF

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Publication number
FR2834815A1
FR2834815A1 FR0200358A FR0200358A FR2834815A1 FR 2834815 A1 FR2834815 A1 FR 2834815A1 FR 0200358 A FR0200358 A FR 0200358A FR 0200358 A FR0200358 A FR 0200358A FR 2834815 A1 FR2834815 A1 FR 2834815A1
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Prior art keywords
mouthpiece
elliptical
contour
tail
mouth
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FR0200358A
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French (fr)
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Laurent Ville
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Laurent Ville
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    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10DSTRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D9/00Details of, or accessories for, wind musical instruments
    • G10D9/02Mouthpieces; Reeds; Ligatures
    • G10D9/03Cupped mouthpieces

Abstract

The invention relates to a mouthpiece for musical instruments, in particular for wind instruments, comprising a bowl (12) and a tail (14), said bowl (12) being connected by a first end (10B) to said tail (14 ), while the other end (10A) of said bowl (12) is intended to be applied against the lips of a musician, said tail (14) having a bore (20) forming its internal profile. The mouthpiece has in at least one cross section an elliptical inner contour which can be located, for example, in the vicinity of said connection zone (16) or in said bore (20). The mouthpiece (10) can also have an elliptical outer contour. Keying means arranged on the one hand, on the mouthpiece and on the other hand, on a tube of the musical instrument to which the mouthpiece is intended to be connected, make it possible to identify the orientation of said elliptical contour.

Description

<Desc / Clms Page number 1>

 The present invention relates to a mouthpiece for musical instruments, in particular for wind instruments, comprising a bowl and a tail, said bowl being connected by a first end to said tail, while the other end of said bowl is intended to be applied against the lips of a musician, said tail having a bore forming its internal profile.

 The shape of the mouthpiece and the tube of the musical instrument, to which the mouthpiece is connected, determine the timbre and the sound of the instrument. The mouthpiece bowl plays a role in the timbre and accuracy of the instrument, furthermore its depth and shape influence the timbre of the sound and the response of the instrument in the treble. In general, the internal profile of the mouthpiece, respectively of the tube, commonly called a bore, acts on the harmonics of the instrument.

 Mouthpieces of this type are known which are commonly used for air instruments and the bore of which can vary. Thus, the bore is generally cylindrical or conical for trumpets or horns, for example. The bore can also have several conical parts which then vary around an average conicity.

 However, for known mouths, each cross section of the bore is circular. As the mouthpiece allows the sound vibration induced by the lips and the breath of the musician to be transmitted to the instrument, we understand that its role is important. Indeed, the sound result obtained by an instrument strongly depends on the propagation of the air blown by the musician.

 The object of the invention is to facilitate sound remission and to improve the intonation of a wind instrument, in particular of the brass family, by modifying the shape of the mouthpiece.

 This object is achieved by the fact that the mouthpiece has in at least one cross section an elliptical interior contour.

 The elliptical contour makes it possible to modify the circulation of the air blown by the musician into the instrument through the mouthpiece which he wears on his lips, by creating locally, in the vicinity of the cross section presenting the elliptical contour, a reduction of section in at least one direction relative to the circular section close to the rest of the mouth.

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 For all the rest, in a given section, the internal elliptical contour indicates the shape of an ellipse or more generally a preferably rounded contour, of the shape of a circle deformed in at least one direction, that is to say which has at least one smaller dimension in a direction taken in the plane of the section.

 The bowl and the tail each have their own inner contour; it is therefore understood that the shape given to a connection zone between them can play a role in the tones obtained and their ease of obtaining. With the same way of blowing air into the musical instrument, the musician thus obtains a different sound result.

 Thus, advantageously, the mouth has in the vicinity of a connection zone between the bowl and the tail, a cross section having an elliptical inner contour.

 The bowl and the tail may initially constitute two separate parts linked together in the connection zone to form the mouth. It is not excluded, however, that they are formed in one and the same piece having variations in sections and thicknesses along the mouth. Consequently, the bowl or the tail may have the abovementioned elliptical internal contour.

 However, it seems particularly advantageous that it is the bore of the tail, that is to say its internal profile, which has in at least one cross section an elliptical internal contour.

 The bowl generally has a cone shape, the dimensions of which gradually decrease towards the connection zone with the tail, while the tail of the mouth can either be of constant internal section, or also of conical shape. In the latter case, the conical shape of the tail generally has its smallest section in the connection zone, then commonly called grain.

 It is therefore understood that it may be particularly advantageous to modify the shape of the grain to facilitate obtaining the tones.

 Thus, advantageously, at least the smallest section of the mouth, preferably the grain, has an elliptical interior contour.

 In addition, the tail of the mouth having a bore which has a geometry of revolution which can be cylindrical or conical, it is

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 understands that it can easily have an elliptical cross section along its profile.

 Thus, advantageously, each cross section of the bore of the tail has an elliptical interior contour.

 In addition, the thickness and the external shape of the mouthpiece also condition the acoustic emission of the musical instrument to which it is connected! the mouthpiece advantageously has in at least one cross section an elliptical outer contour.

 Advantageously, the tail is intended to be connected to one end of a circular internal cross-section of a tube of a musical instrument, and the mouthpiece further comprises adaptation means for passing from the elliptical external contour of said at least an elliptical cross section to a circular cross section adapted to said inner cross section of said tube.

 The instrument, in particular its tube, can also be adapted to the particular shape of the mouthpiece. However, when the internal contour of the tube is not elliptical! but rather circular! which is generally the case, means of adaptation between the mouthpiece and the musical instrument are necessary.

 Thus, to allow easy adaptation on a circular inner cross-section tube, of a mouthpiece having an elliptical external contour in the vicinity of the end of the mouthpiece, on the tail side, the mouthpiece has adaptation means, for example a sleeve with a circular external contour of diameter corresponding to the internal diameter of the tube of the instrument to which the mouthpiece is connected and of internal contour corresponding to the external contour of the mouthpiece. The sleeve is simply placed between the mouthpiece and the instrument tube and thus serves as an intermediary between the different contours. The end of the mouth, tail side can also locally have a variation in thickness allowing a circular outline to be obtained.

 Depending on the sounds sought, the musician will choose the type of mouthpiece with the interior and exterior shapes that suit him best.

 When the mouthpiece is of circular section, the musician does not need to orient you neither on the musical instrument to which it is connected, nor

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 on its lips, since in this case, the mouth being of revolution, the propagation of the air takes place symmetrically in the bowl, then in the tail.

 To obtain better sound performance, the musician slightly ajar the mouth so as to make appear an ellipse shape on his lips whose largest axis corresponds to the opening substantially parallel to the direction of commissure of the lips, the smallest axis corresponding to the spacing of the lips relative to each other.

 It follows that the breath of air leaving the musician's mouth also has the shape of an ellipse in section perpendicular to its direction of propagation. To promote the propagation of the latter in the musical instrument, it is preferable, when the mouthpiece has an elliptical section, to orient the latter in relation to the elliptical shape of the mouth.

 Thus, the largest axis of the elliptical section of the mouthpiece is preferably oriented in the same direction as the major axis of the shape of 1 "ellipse corresponding to the opening of the lips. The air then propagates mainly rectilinearly between the lips of the musician and the elliptical section of the mouthpiece, in particular when the elliptical section is of dimensions close to that of the opening of the lips.

 In the musician's standing position, the largest axis of lip opening is substantially horizontal, while the minor axis is substantially vertical. The major axis of the mouth is therefore in this case also preferably substantially horizontal. In fact, it is preferable that the major axes of the opening of the lips and of the elliptical section are substantially parallel, whatever the position of the musician.

 However, when the elliptical contour is only interior and in particular, when it is not located on one of the ends of the tail of the mouth visible respectively by the interior of the bowl or by the end of the mouth side tail, it is not discernible from the outside and therefore difficult to orient by the musician.

 To facilitate this orientation, the edges of the mouthpiece, formed at the end of the bowl which is particularly decisive in the feeling of contact with the lips of a musician, can also have the shape of an ellipse which is then preferably oriented in the same

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 direction that the elliptical section of the mouth, that is to say that the major axes of the ellipses formed respectively by the edges of the mouth and by said elliptical section are substantially parallel.

 However, when the outer contour of the mouthpiece has no elliptical section, it is difficult for the musician to correctly orient the mouthpiece on his lips.

 Thus, to allow proper orientation of the elliptical contour, the mouthpiece also advantageously comprises polarizing means for identifying the orientation of said elliptical contour.

 The musician generally having the habit of orienting his instrument, in particular when he holds the instrument in his hands, like a trumpet for example, it suffices to orient the elliptical section of the mouthpiece in relation to the instrument to ensure proper later orientation of the mouthpiece on the musician's lips.

 Consequently, in order to guarantee the desired orientation of the mouthpiece, as well as good retention in position, the polarizing means advantageously comprise a first polarizing member disposed on an external contour of said mouth and a second polarizing body capable of cooperating with a musical instrument to which the mouthpiece is intended to be connected, said first and second polarizing members being able to cooperate.

 Thus, it suffices to place the second polarizing member on the instrument in a well-defined orientation, then to connect the mouthpiece to the instrument. By making the two polarizing members cooperate, the mouthpiece is naturally oriented in the chosen position.

 The invention will be clearly understood and its advantages will appear better on reading the detailed description which follows, of embodiments shown by way of nonlimiting examples.

 The description refers to the accompanying drawings in which: - Figure 1 is a sectional view of a mouthpiece according to the invention, - Figure 2 is a section of Figure 1 according to arrows II-II, - Figure 3 is a section of FIG. 1 along the arrows III-III, comparable to FIG. 2 in another portion of the mouth,

<Desc / Clms Page number 6>

 - Figure 4 is a side view of the mouth, showing the inside of the mouth from the side of the bowl, - Figure 5 is a view similar to Figure 4, according to another embodiment, - Figure 6 is a section through the end of the mouthpiece, tail side and the tube of a musical instrument, - Figure 7 is a partial perspective view of the tube of Figure 6, - Figure 8 is a partial perspective view of the mouth of Figure 6, and - Figure 9 is a partial perspective view of a mouthpiece according to another embodiment.

 Figure 1 shows a mouth 10 formed by a bowl 12 and a tail 14 of mouth. In the example shown in FIG. 1, the inside of the bowl 12 is conical in a flared shape towards one end of the mouth 10A, while the inside of the tail 14 is conical in a flared shape towards the other end from mouth 10B.

 Thus, the end 10A of the mouth 10 forms the end of the bowl 12 and the other end 10B of the mouth 10 forms one of the ends of the tail 14. The other ends 10A ′ of the bowl 12 and 10B 'of the tail 14 are also respectively connected together in a connection zone 16 to form the mouth 10.

 The connecting zone 16 has an interior section 17 which is the smallest section of the mouth 10. This interior section 17 is commonly called grain. The bowl 12 and the tail 14 of the mouth 10 can be obtained separately to facilitate its realization or else be formed in one and the same piece.

 Depending on the internal shape retained for the tail 14, the entire bore 20 of the tail may have in each cross section an inner contour 22 in the shape of an ellipse, as shown in Figure 2; the length of each of the small and large axes of each elliptical section being either constant when the tail is cylindrical, or progressive when the tail 14 is conical, as shown in FIG. 1.

 Thus, for example, the minor axis d of the elliptical section 22 chosen in the vicinity of the connecting zone 16 is smaller than the minor axis of the

<Desc / Clms Page number 7>

 elliptical section 22 ′ chosen in the vicinity of the end 10 B of the mouth 10. The same applies for their respective major axes D and D ′.

 In this case, the cross section of the grain 17 has an elliptical internal contour 18 having the shortest lengths of minor axis dl8 and major axis D18, as illustrated in FIG. 4.

 Figure 4 shows the example of mouth 10 in which the inner 26 and outer 28 contours of the edges 24 of the bowl 12, intended to be affixed against the lips of the musician, are also elliptical in shape. The particular shape of these edges 24 makes it possible on the one hand to modify the tones obtained with the musical instrument (not shown) to which the mouthpiece 10 is intended to be connected, and on the other hand, above all to orient the mouthpiece in relation to the lips of the musician.

The directions of the minor axes dl8, d26 and d28 and of the major axes D18, D26 and D28, respectively of the grain 17, the interior contour 26 and the exterior contour 28, preferably being substantially parallel,

Figure img00070001

it suffices to orient the edges 24 of the bowl 12 on the lips to orient the bore 20 of the mouthpiece 10. In fact, each transverse section of the bowl 12 can have an elliptical internal contour whose axes would be substantially parallel to those grain 17 of elliptical interior contour 18.

 The orientation operation of an elliptical bore 20 is more difficult to carry out when the edges 24 ′ of the bowl 12 ′ do not have the shape of an ellipse, but of a circle, as for the usual bowls and that 'no outer section is elliptical.

 Indeed, when no external contour is elliptical, and in particular, when the edges 24 of the bowl 12 are circular, the external profile of the mouth 10 does not allow the location of the internal elliptical section to be known. The interior 26 ′ and exterior contours 28 ′ of the bowl 12 are then circular, of respective diameter D 26 ′ and D 28 ′, and in this case no longer serve as a reference for the orientation of the internal ellipse of the mouth. 12.

 However, when the grain 17 has an elliptical cross section 18, as illustrated in FIG. 5, the musician can orient the mouthpiece 10 from the vision he has of the grain 17 through the bowl 12. On the other hand, when the elliptical cross section is

<Desc / Clms Page number 8>

 elsewhere in the tail 14 and in particular when it is situated deeper in the bore 20, the elliptical cross section is no longer easily visible from the outside of the mouth 10. It is then necessary to provide polarizing means which will allow correct orientation of the elliptical section, in particular on the musical instrument to which it is connected, regardless of where this internal elliptical section is located in the mouthpiece.

 FIG. 6 shows such polarizing means, comprising a first polarizing member 30 which cooperates with the external contour of the tail 14 of the mouth 10, for example in the vicinity of the end 10B and a second polarizing member 32 which cooperates with the tube 34 of a musical instrument.

 In this case, the first polarizing member is a first ring 30 which is fitted onto the contour of the tail 14 and which has a tenon 31 capable of cooperating with a mortise 33 formed on the second polarizing member, preferably a second ring 32 arranged on the tube 34 of the musical instrument.

 Thus, it suffices to orient each of the two rings 30 and 32 correctly, with respect to the instrument (not shown) on the one hand and with respect to the elliptical section of the mouthpiece 10 on the other hand, and to connect the '' mouth 10 on the musical instrument. The tenon 31 being received in the mortise 33, the mouth 10 is oriented naturally in the tube 34 of the instrument, guaranteeing the orientation of the elliptical contour. The rings 30 and 32 can cooperate by any other type of connection, such as in particular a screw connection; in this case the pin 31 and the mortise 33 would for example be replaced by two holes kept close together by a bolt type system.

 To ensure a good hold in position, the mobile rings 30 and 32 on the mouth 10 and the tube 34 can be retained, using a pressure screw system for example, or else be fixed definitively respectively on the 'mouth 10 and tube 34 by welding for example.

 As illustrated in FIG. 2, the external profile of the mouth 10 can also have at least one elliptical cross section 23 in the vicinity of the internal elliptical contour 22, so as to follow this

<Desc / Clms Page number 9>

 last and thus maintain a constant thickness e throughout the cross section.

 Similarly, when the entire bore 20 has an elliptical section, each cross section of its outer profile can also be elliptical.

 Thus, as shown in FIG. 3, the external contour of the tail has an elliptical section 23 ', in the vicinity of the internal elliptical contour 22', so as to maintain, for example, a constant thickness e along the tail 12 of the mouthpiece 10. The variations in length of the small and large axes of each elliptical section, interior 22 or exterior 23, make it possible to define this thickness e and to vary it as desired, in particular to obtain local excess thicknesses, making it possible for example to increase the mass of the mouthpiece to reduce vibrations and therefore energy losses. FIG. 1 shows an example of extra thickness 36 of the tail 14 in the vicinity of the end 10B of the mouth 10.

 As with the elliptical inner contour, the elliptical outer contour can be located in at least one cross section on the tail 14 and / or the bowl 12 or else be present along the profile of the tail 14 and / or the bowl. 12.

 The outer contour of the tube 34 of musical instruments is generally of circular section, as illustrated in FIG. 7, in which case, the second ring 32 is of circular interior contour of corresponding size.

 To guarantee a seal between the two 10-tube mouthpiece elements 34, and thus allow good acoustics of the musical instrument, when the end 10B of the tail 12 has an elliptical external contour 23, the latter must be adapted to the contour circular interior 38 of the tube 34 to which the mouth 10 is intended to be connected.

 Thus, adaptation means, in this case a sleeve 40, can be arranged on the end 10B of the mouth 10 so as to have a circular contour in the vicinity of the end 10B of the external contour 23 of the mouth 10 adapted to the internal contour 38 of the tube 34. The internal geometry of the sleeve 40 is preferably similar, in shape and dimension, to that of the external contour of the mouth 10 in the vicinity of its end 10B, while its

<Desc / Clms Page number 10>

 external geometry is similar to that of the internal contour 38 of the end 34 ′ of the tube 34 to which the mouth 10 will be connected via the sleeve 40.

 Thus, the sleeve 40 has a circular external contour 42 substantially adapted to the shapes and internal dimensions of the tube 34, while it has an elliptical internal contour adapted to the shapes and dimensions of the external contour 23 of the end 10B of the mouth 10 .

 The same applies to the first ring 30 which is also of internal contour adapted to the external contour of the mouth 10. In particular, when the external contour 14 ′ of the mouth 10 is elliptical at the intended location of the ring 30, the latter has an internal contour 30 ′ elliptical with geometry similar to that of the external contour 14 ′. The second ring 32, for its part, generally has an interior profile of circular section 32 ′ adapted to the exterior contour 34 "of the tube 34 of the musical instrument.

 The respective geometry of the sleeve 40 and of the two rings 30 and 32 is preferably adapted to the geometry of the mouth 10 and to that of the tube 34 to which it is connected. In particular, the length of the sleeve 40 is variable depending on the instrument and the sounds sought.

 Of course, in the case where the interior of the tube 34 has an elliptical interior contour adapted to the dimensions of the mouth 10, these adaptation means would no longer have to be.

 In addition to their influence on the mass, the mouth 10 may also have an external contour adapted to its connection to a tube 34.

In this case, the abrupt local excess thickness 36 represented in FIG. 1 or a variation 42 ′ of the softer external contour which would pass from the elliptical shape 23 to a circular shape in a progressive manner by varying the thickness e of the tail 12 , as illustrated in FIG. 9, each allow the addition of the aforementioned rings 30 and 32 to be avoided.

 The materials used to make the mouthpieces can vary from plastic to metal alloys, such as brass, via wood. Depending on the type of material selected, the addition of the aforementioned rings 30 and 32 or the formation of extra thicknesses on the outer contour of the 36 or 42 'type will be preferred.

Claims (9)

1. Mouthpiece for musical instruments, in particular for wind instruments, comprising a bowl (12) and a tail (14), said bowl (12) being connected by a first end (10B) to said tail (14), while that the other end (10A) of said bowl (12) is intended to be applied against the lips of a musician, said tail (14) having a bore (20) forming its internal profile, characterized in that it has in at least one cross section an elliptical interior contour (18; 22, 22 '; 26; 28; 23, 23').
 2. Mouthpiece according to the preceding claim, characterized in that it has, in the vicinity of a connection zone (16) between said bowl (12) and said tail (14) a cross section having an elliptical inner contour (18; 22 , 22 '; 26).
 3. Mouthpiece according to claims 1 or 2, characterized in that said bore (20) of the tail (14) has in at least one cross section an elliptical inner contour (18; 22, 22 ').
 4. Mouthpiece according to any one of the preceding claims, characterized in that at least the smallest section (17) of the mouthpiece (10) has an elliptical interior contour (18).
 5. Mouthpiece according to any one of the preceding claims, characterized in that each cross section of said
Figure img00110001
 tail hole (14) has an elliptical inner contour (18, 22, 22.
 6. Mouthpiece according to any one of the preceding claims, characterized in that it has in at least one cross section an elliptical outer contour (28; 23, zu
7. Mouthpiece according to the preceding claim, characterized in that the tail (14) is intended to be connected to an end (34 ') of internal cross section (38) circular to a tube (34) of a musical instrument and in that it further comprises adaptation means (40) for passing from the elliptical external contour (23) of said at least one elliptical cross section to a circular cross section (42) adapted to said internal cross section ( 38) of said tube (34).
<Desc / Clms Page number 12>
 8. Mouthpiece according to any one of the preceding claims, characterized in that it further comprises polarizing means (30,32) for locating the orientation of said elliptical contour (23).
 9. Mouthpiece according to the preceding claim, characterized in that said polarizing means (30,32) comprise a first polarizing member (30) disposed on an outer contour (14 ') of the opening (10) and a second polarizing body ( 32) capable of cooperating with a musical instrument (34) to which the mouthpiece (10) is intended to be connected, said first (30) and second (32) polarizing members being able to cooperate.
FR0200358A 2002-01-14 2002-01-14 Mouthpiece for musical instrument comprises spout connected at one end to tail having internal bore, and has elliptical interior and exterior contours Withdrawn FR2834815A1 (en)

Priority Applications (1)

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FR0200358A FR2834815A1 (en) 2002-01-14 2002-01-14 Mouthpiece for musical instrument comprises spout connected at one end to tail having internal bore, and has elliptical interior and exterior contours

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FR0200358A FR2834815A1 (en) 2002-01-14 2002-01-14 Mouthpiece for musical instrument comprises spout connected at one end to tail having internal bore, and has elliptical interior and exterior contours

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Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
CN100426374C (en) * 2004-03-08 2008-10-15 黄树佳 Double-tube mouthpiece for brass instrument
WO2008141450A1 (en) * 2007-05-18 2008-11-27 Harrison David W Brass-wind mouthpiece

Citations (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
DE278242C (en) *
US3339444A (en) * 1966-01-07 1967-09-05 Jerry R Brooks Trumpet embouchure
US3611860A (en) * 1969-08-08 1971-10-12 Lawrence B Tichenor Mouthpiece for musical instruments
DE19746559A1 (en) * 1997-10-22 1998-10-01 Ruppert Sixt Ergonomic oval mouthpiece for all kinds of brass wind instruments

Patent Citations (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
DE278242C (en) *
US3339444A (en) * 1966-01-07 1967-09-05 Jerry R Brooks Trumpet embouchure
US3611860A (en) * 1969-08-08 1971-10-12 Lawrence B Tichenor Mouthpiece for musical instruments
DE19746559A1 (en) * 1997-10-22 1998-10-01 Ruppert Sixt Ergonomic oval mouthpiece for all kinds of brass wind instruments

Cited By (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
CN100426374C (en) * 2004-03-08 2008-10-15 黄树佳 Double-tube mouthpiece for brass instrument
WO2008141450A1 (en) * 2007-05-18 2008-11-27 Harrison David W Brass-wind mouthpiece
US7893333B2 (en) 2007-05-18 2011-02-22 Harrison Mouthpieces Inc. Brass-wind mouthpiece

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