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Mouthpiece for the Soprano Cornet


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Mike Lockman
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PostPosted: Sun Feb 21, 2016 3:47 pm    Post subject: Reply with quote

I replied previously. I like the Denis Wick S Heritage Series. But the Bach 7 E is a great piece, but too bright in my opinion.
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sparxII
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PostPosted: Mon Feb 22, 2016 12:50 pm    Post subject: sop. cornet Reply with quote

The Sparx Sop. cornet mp. Sparx 4E has been very well received by Eb players (see comments @ www.sparxmusic.com )

We also have the Sparx 7EX for those like a small sop mp. (Bach 10.5C ish)

Cheers,
Ted
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patdublc
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PostPosted: Mon Feb 22, 2016 1:55 pm    Post subject: Reply with quote

Pickett Brass also has a line of soprano mouthpieces. For me, I don't play in a brass band. I use my sop as a solo instrument and select whatever mouthpiece seems to work best for the piece that I am performing.
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eric33
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PostPosted: Mon Feb 22, 2016 2:10 pm    Post subject: Reply with quote

I love to play the Alliance BVT, very well balanced with my besson soprano cornet.

Eric
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Richard III
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PostPosted: Thu Feb 25, 2016 8:00 am    Post subject: Reply with quote

patdublc wrote:
Pickett Brass also has a line of soprano mouthpieces. For me, I don't play in a brass band. I use my sop as a solo instrument and select whatever mouthpiece seems to work best for the piece that I am performing.


Not to derail the thread, but what venues, types of music and groups do you use the sop for? I love the sop but have no BBB nearby to play with.
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patdublc
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PostPosted: Thu Feb 25, 2016 12:42 pm    Post subject: Reply with quote

Hi Richard,

I use it primarily as a solo instrument. Just last month, I premiered a new piece that I had commissioned for trumpet and organ. I use the sop for that because I really wanted a lyrical sound. I have used it in church as a solo instrument. I'll be using it tomorrow night as a soloist in a benefit concert.
So, really, I use it whenever I want "that" sound.

pat
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cornet74
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PostPosted: Mon Feb 29, 2016 7:32 am    Post subject: Reply with quote

zaferis wrote:
I've been having a lot of success with Mark Curry's 3P on a Schilke Eb Soprano Cornet.
If the Bach 3C felt too big, I'd suggest Curry's 5P.

Tone, Range, pitch, and edurance have all been the best without question of all the mouthpieces I've tried on this instrument..

I've used Bach 1.5 C, 3C, 3B, 5C, Yamaha 14B4, Wyck 4, a couple of Conn's and the Schilke that came with the horn.

good luck on your hunt!


I would tend to agree with this post. I use a Curry or Laskey 5P. I tend to slightly prefer the Laskey as its not quite as shallow as the Curry, and in general I find the the corresponding Curry/Laskey pieces; that the Laskey slots more than the Curry. Depending on how I feel or the requirements of the music, I'll use either a curry or Ladkey. To my chops they feel the same or close, although the sound profile is totally different.

To get back to the OPs question, I use a curry or Ladkey 5P or 60P. Both are the diameter of the VB 5 and measure at .660.

Sometimes I like to play on smaller ID mouthpieces. I find it's helpful. Why I don't know. So I have a variety if cornet/trumpet VB 10.5 diameter or aprox .620

When playing the Soprano, I find the Kanstul G2 cornet mouthpiece works well. I also have a Yamaha 7d4d which is thire version of the Wick S. I find this mouthpiece more suited to very soft jazz cornet than sop which I've never had success with this mouthpiece.

Also I have a collection of Yamaha 13 series corny and trumpet mouthpieces. These are excellent mouthpieces, and ID at about a VB 6 diameter. Again, my chops register little change between the Yamsha 13, Laskey 60, Curry 5 range

Snd it's important to note that all of these mpcs cost less than $100, with the exception of some custom Laskey/Curry pieces I had made and even then I think the most payed was $150.

I own a Monnette pre CAD B4. I paid $200 for that piece years ago.

Companies such as Monnette, GR, Sparx are ridiculously over priced. And this hype GR had about being fitted for a mpc.; or Monetts ackunation guide and recommendation to play a larger piece than your used to snack of elitism and have nothing to do with music or the art of making music.

It's like a car. People make a big deal about German Engineering. So you can buy a Mercedes or BMW; or a little less an Audi; and a great car that has all the Sherman engineering you'll ever need: and that's a Volkswagen.

I notice a lot of GR and Monnette mouthpieces in the market place. But hardly ever any Laskeys or Currys.

And I should mention that I still have my original VB 5s in cornet, trumpet, and flug. I pull them out from time to time. They sound great.

Ok, rant of the day over.😊
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TygerTung
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PostPosted: Wed Jan 16, 2019 1:07 pm    Post subject: Reply with quote

I have been playing an old 'high pitch' 1939 Boosey and Hawkes soprano with an extended lead pipe to convert to to 'low pitch'. I am not sure what the instruments of this era are like to play, but I don't mind it, apart from the valves.

The valves have not much plating left so are a real nightmare for sticking.
The instrument seems to get a bit 'tight' above the G just above the top line. It may just be my playing as I have always struggled a wee bit to play up high. I can get the A, but it is pretty hit and miss. Can get the B on occasion. Anything above the G gets real thin and strangled sounding, and not very loud. I have a Vincent Bach 17c mouthpiece.

I am originally a tenor horn player, and was once quite good when I was at high school and played solo horn in the New Zealand Secondary Schools Brass band. I stopped playing for about 8 years when I left school and then started playing in the Sumner Silver Band 'D grade'. I got moved onto solo cornet as the band needed more cornets, but didn't really like it. Maybe it's an 'Eb' thing? The new conductor was a soprano player so I got moved onto soprano. When we got another new conductor I was moved onto solo cornet again, but after a while I said I'd only play soprano or horn. I have been back on soprano for a couple of years.

I recently got a little bit of money from my grandmothers estate after she died of old age which was very sad, but I was able to buy a new Yamaha Neo soprano cornet as I think she'd approve. It came with a Yamaha 6B4 mouthpiece which seems quite small compared to the Bach 17c The Yamaha website says it is 'suitable for high notes'.

Is the Bach 17c large, or is it just the 6B4 is extra small.

In general my tone is quite good I think, but I struggle with endurance a bit.
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iiipopes
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PostPosted: Tue Mar 28, 2023 9:21 pm    Post subject: Reply with quote

Yes, zombie thread. I have a JP sop. After a mouthpiece safari, including a modified Bach 10 1/2 D, Wick S, and others, I settled on a Yamaha 11E4, with its deeper cup, along with a 11C4, if I want to get really bright. I don't know what to say except that some of the parts I play are not really that high, so I retain good cornet tone with good intonation.
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Seymor B Fudd
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PostPosted: Thu Mar 30, 2023 3:30 am    Post subject: Reply with quote

Back in the day I played on a Schilke Eterna Eb, revisited it the other day.
I always rather successfully used a Vincent Bach 1 1/2 C. Wicks didn´t not, in any way, suit me; wolly, non focussed with me behind. Nor did I look for other brands.

The trick, in my opinion, is to play dolce, to merge into the rest of the band but, when called for step on the gas, sailing over the entire band as a bird happily enjoying spring. The way you play the thing is of outmost importance. Should be agile, light; always dolce never ever "trumpetish".
And a certain dare-devilishness is required...

Latter day brass band have, again in my opinion, adopted a sound rather different from the earlier brass bands by the transition to the Wick sound.
So if the front row is infested with Wick players it´s a challenge to differ from that sound yet merge. However the soprano cornet is a different animal.

So I do recommed the Bach.
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iiipopes
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PostPosted: Sun Apr 23, 2023 7:45 pm    Post subject: Reply with quote

Seymor B Fudd wrote:
The trick, in my opinion, is to play dolce, to merge into the rest of the band but, when called for step on the gas, sailing over the entire band as a bird happily enjoying spring. The way you play the thing is of outmost importance. Should be agile, light; always dolce never ever "trumpetish". And a certain dare-devilishness is required....

Yes! I went to undergrad at Drury University in Springfield, Missouri. Fifty years ago, the college hosted a series of annual Kenton summer band camps, and even though I was a little too young to go to the camps, by the time I got to college I got to read many of their great charts off manuscript, donated by Kenton to the Drury music library. The reason I say this is because this is the exact advice that Dick Shearer, lead trombone, gave. He said that because he was on the top of the stack, he was going to be heard anyway, so lighten up to blend to make the section work properly. Indeed!
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