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Bach TEST SPECS
Bach/Schilke listed at the top for comparison. Please do not take diameter measurements too seriously. Most of the time the difference in columns can be 0.02 of an inch (0.5 mm). Not much really. The measurements are done for comparison purposes of relative sizes. Attributes such as cup depth, rim shape, bite, and backbore also make a big difference in how a mouthpiece plays and feels. Table 117.78 - 16.51 mm Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Manufacturer Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Schilke 2022 (18.03)24 (18.29) 1819 (17.65)SymphonyM1, M1dF1, D1 16, 17SymphonyM2, M2dF2, D2 14,15 (17.1)SymphonyM3, M3dF3, D3 13C4 13B 12 11 Alliance 1 2 3, 4 5 6, 7 Best Brass Japan 1C, 3E, 5E Greg Black 1 Series 1 1/4 Series 1 1/2 Series 3 Series Blackburn 1 1.5 3 5 Breslmair 1CG2 Y11C7C4 VG2S, LG1, LG2, LG3 G1, G2, G3, G4, G2S, ST 1SHP, Y12C, Y12L, E44, 7G4 Y5C, Y21C Bush WX W Calichhio Artist Series C. Findley (.676)B. Findley (.684) CoassinDavis IDavis IIGrant IGrant IID Thomas Mosello IMosello IIWilliams Bergeron IEnglebright Gardner (.658)Kadleck Scodwell (.658)F Szabo Delibero (.658)Gisbertz HarnerJohnson MichelsNicholsonO'Donnell Ingram Callet 1 3C Curry 1H (17.37)1 1.251.5 2 (16.9)3 5 7 Edwards 1H1 1/2, 3 1 1/42 1C99 1C981JC, 550P 7 60P Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C GR Mouthpieces 67 663 Series 65 GR Haefner 1HC, X24, X27 1HX 3HC GR Sanborn CS 67 CS 66 CS 65 Giardinelli 1 3 6 5 7 Giddings & Webster (GW) M1M2, M3 Hammond 1 2 3 4 5 6 Jaz-Tec A B, C JC Custom (new) All StylesTheir Mouthpieces Jet Tone 1 7 Old Jet Tones 1C SS, DD, MF Kanstal C2, C12, C15 C4 B11, B12B15, B2B3 B4, B5 3C B6, B7, CG3, CG7CG Personal (.626) Kelly Lexan 1C 1.5C 3C 5C 7C Klier 12 (17.4) 3 4 5 6 7 Laskey 84 80 75, 70 68, 65 60 50 Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Marcinkiewicz 0 A1-A3 (.692)B1-B5 (.687) 1-4C1-C5E3 5-10 7PB7PD Milashius B1 B2 B3 A4, AV4B4 A5, B5 Miraphone TR13 Monette (Bb) B1, B2B3, B4 Rudy Muck 19 Northern Brass NB 65 Parduba 8 7 Reeves 43M 42M Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Signature Models Roy Roman (.715) John WallaceJean MichelouBob Findley Mark GouldManny KlienChuck FindleyClark Terry (.685) Jeff TyzikVizzutti E12ZonyJ.W. MarcinkiewiczHerb AlbertRick BaptistMiles DavisPeter MasseursMaynard Ferguson MF II, IIIWick Maurice Murphy Bob SenescuAlmeidaNajoomRod FranksBobby Shew JazzZajaRich Szabo Graham YoungBobby Shew (Marc)Leon Merian Gold ButcherMacalusoAllen Vizzutti Bobby Shew LeadMike VaxRoger IngramJohn RinaldoLeon Merian (Jet Tone) Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Sparx (Cornet) 2 3 4 Stage 1 Double Cup Stomvi 0,7 0,8 (16.95)0,9 1 2 Stork Vac 1.5SM2 Vac 1 Vac 2 Vac 3 System Blue Extreme Blue1 (deep)Blue2 (medium) Tottle 1B, 1C 1.5, 2 X60 Warburton 1 2 3 4 5 Denis Wick 1X 1 2 Yamaha 18C4 17C4 16C4 14C4 13B4 13C4 Zaja Mpcs (Greg Black) BP 6NY Zottola 66 Table 216.43 - 15.75 mm Size in mm / Inches 16.43 mm.647" 16.38 mm.645" 16.30 mm.642" 16.26 mm.640" 16.20 mm.638" 16.13 mm.635" 16.00 mm.630" 15.90 mm.626" 15.75 mm.621" Manufacturer Bach Specs 2.5, 2.75 3, 3C 5C 6, 6C7, 7C8, 8C 8.5C8.75C 9, 9C10, 10C 10.5C 10.7511C Bach as Measured 10.5C Schilke 10A410B4 9C4 9 8A4 8E2 6A4A7B4 5A4 Alliance 8 Best Brass Japan 3C 5C 7C, 7E 9C, 9E Greg Black 5 Series 7 Series 10 Series Blackburn 7 Breslmair G3A, Y31C 7D Bush M N Calichhio Artist Series Reid PorrelloJ Thomas BivianoSaunders Noday CarderThornburgTrigg Snooky Callet 3 7 10 Al Cass 1-24 to 1-28 Curry 8.5 10.5 Endsley #1, #2 GR Mouthpieces 64 63 62 GR Haefner 7H Giardinelli 10 Hammond 7 Jaz-Tec D E, G F Jet Tone 10 Old Jet Tones 3C AH 5C 7C Kanstal B8 G1, P6 B9, 5C MF11, MF3,G2, 7C BL2 BL3 BL4, B7 Kelly Lexan Vax Klier (JK) 8 9 10 Laskey 40 30 Marcinkiewicz 11-15 Milashius B6 B7 B8 Miraphone TR07TR11 Monette (Bb) B5, B6 B7 B8 Rudy Muck 13 Size in mm / Inches 16.43 mm.647" 16.38 mm.645" 16.30 mm.642" 16.26 mm.640" 16.20 mm.638" 16.13 mm.635" 16.00 mm.630" 15.90 mm.626" 15.75 mm.621" Bach Specs 2.5, 2.75 3, 3C 5C 6, 6C7, 7C8, 8C 8.5C8.75C 9, 9C10, 10C 10.5C 10.7511C Bach as Measured 10.5C Northern Brass 1, 2, 3, 4, 5 Parduba 1, 2, 3, 4, 5 Purviance (ID) 6.5 6 4.5 4 Reeves 41M 40 Sarad X, Y, Z Brahms Signature Models TrudellCanadian BrassMic GilletteRick Braun Bob O'DonnellEric Miyashiro Mike Vax Al Hirt Carl FischerHolton Heim Series (15.85) Stomvi 3 4 5 6 78 (15.85) 9 Stork Vac 4SM6 Vac 5 Vac 7 Tottle 3 5 X25 System Blue Extreme Blue 2 Blue 3, WD X25 Warburton 6 7 8 Denis Wick 4 Yamaha 11 9C4 13A4A 6A4A Zaja Mpc (Greg Black) NY2 NY5 NY3NY1 Zottola 64 62 Table 315.7 - 15.0 mm Size in mm / Inches 15.70 mm.618" 15.65 mm.616" 15.60 mm.614" 15.20 mm.598" 15.10 mm.594" 15.00 mm.590" Manufacturer Bach Specs 11.5C 11.75C 12, 12C 17, 17C18, 18C 20C Greg Black 12 Series Callet 10S, DT10 12 17 Al Cass 2-24 to 2-28 3x1 to 3x5 (15.3) Conn (Old) 9BN Giardinelli 12 (15.5) 17 Kanstal BL4 CG10 10C Rudy Muck 17 Purviance 2 1 Signature Models Pete Candoli (15.44) Groovin' High Bill Chase Stomvi 10 11 (15.55)12 (15.45)13 (15.35) 14 (15.25)15 (15.15) 1617 (15.05) 18 Stork SM10 Denis Wick 5 Zaja Mpc (Greg Black) NY4
Read moreFree Clarinet Fingering Chart
The clarinet has a reputation for being a bit tricky at first — and honestly, that reputation mostly comes down to one thing: the break. The "break" is the register change that happens around the middle of the instrument's range, where the fingering system shifts in a way that can feel awkward for new players. A good fingering chart helps you navigate this and the rest of the instrument's range with clarity. What's in the Chart This chart covers the full standard range of the Bb clarinet, from low E up through the upper register, with clear diagrams showing which keys and tone holes to cover for each note. The register key (the small key on the back of the instrument) is clearly indicated where it applies, helping students understand the relationship between the lower and upper registers. Who This Is For Beginning clarinet students learning their first notes Students working through crossing the break for the first time Band directors who want a reliable handout for new players Parents supporting a child's home practice Tips for Using This Chart Many notes in the upper register share the same fingering as a lower note, but with the register key added. Once you understand that pattern, the instrument starts to make a lot more sense. Use this chart not just to look up individual notes, but to study the relationships between registers — it'll help everything click faster.↓ Download the Clarinet Fingering Chart (PDF)
Read moreFree Flute Trill Fingerings Chart
Trills are one of those techniques that can feel completely mysterious until you have the right fingerings in front of you. Unlike standard note fingerings, trill fingerings are often unconventional — sometimes counterintuitive — because they're optimized for speed and evenness rather than tone quality. This free chart takes the guesswork out of it. What's in the Chart The chart lists trill fingerings for the flute across its full range, organized by starting note. For each trill, you'll see both the standard fingering and the alternate trill fingering that lets you alternate quickly between the two pitches. Some trills have more than one option, and the chart notes which tend to produce the cleanest results. Who This Is For Intermediate and advanced flute students preparing for auditions or solo repertoire Band directors assigning orchestral excerpts or etudes with written trills Students working through method books that include trill exercises A Quick Note on Trills Trill fingerings are not always the same as the standard fingering for a note — and that's intentional. The goal is smooth, even alternation between two pitches. If a standard fingering creates an awkward key movement at speed, the trill fingering provides a workaround that keeps things clean. Think of this chart as your shortcut to making trills sound effortless.↓ Download the Flute Trill Fingerings Chart (PDF)
Read moreFree Flute & Piccolo Fingering Chart
Whether you're just picking up the flute for the first time or helping a student through their first scales, having a clear fingering chart nearby makes a real difference. Knowing which keys to press — and when — is one of the first big hurdles every flute player faces, and a good reference chart helps you build muscle memory with confidence. What's in the Chart This fingering chart covers the full standard range of the flute, showing finger positions for every note from low C to high C (and beyond for advanced players). Each note is shown with a simple diagram indicating which keys are open or closed, making it easy to read at a glance even in the middle of a practice session. The chart also covers the piccolo, which shares the same fingering system as the flute but sounds an octave higher. If you're transitioning between the two instruments — common in concert band and orchestra — this chart is a handy reference to keep on your stand. Who This Is For Beginning flute students learning their first notes Band directors looking for a quick-reference handout Piccolo players who need a reminder of alternate fingering options Parents helping a child practice at home How to Use It Print it out and keep it on your music stand during practice. As you become more comfortable with the notes, you'll find yourself reaching for the chart less and less — that's a good sign the fingerings are becoming second nature.↓ Download the Flute & Piccolo Fingering Chart (PDF)
Read moreHow to Care for Your Clarinet
Proper clarinet care keeps your instrument playing well, protects your investment, and prevents avoidable repair bills. Most of it comes down to a few consistent habits — and once they're part of your routine, they take almost no time at all. After Every Practice Session Swab out each joint of the clarinet after playing. Use a pull-through swab designed for clarinet — one that fits through the upper joint, lower joint, and barrel separately. Moisture left in the bore can swell wooden clarinets and degrade pads on both plastic and wood instruments. Never leave your clarinet assembled and unswabbed. Wipe down the exterior of the instrument and the mouthpiece with a soft cloth. If you use a mouthpiece, rinse it with lukewarm (not hot) water occasionally to remove buildup. Assembling Your Clarinet When putting the clarinet together, use a gentle twisting motion and never force the joints. Apply a small amount of cork grease to the corks if they feel stiff — dry, cracked corks are a common cause of airtight seal problems and can crack if forced. Keep a small tube of cork grease in your case. Reed Care Reeds are consumable, but proper care extends their life. After playing, remove the reed, wipe it dry, and store it flat in a reed case or holder. Never leave a reed on the mouthpiece while the clarinet is in its case — this warps reeds quickly. Rotating between two or three reeds during a practice week also helps them last longer. Wooden Clarinets If you play a wooden clarinet, allow it to warm up gradually — especially in cold weather. Wooden clarinets can crack if subjected to sudden temperature changes. New wooden clarinets should be "broken in" gradually over the first several weeks, starting with short practice sessions and slowly increasing duration.↓ Download the Clarinet Care Tips (PDF)
Read moreHow to Care for Your Flute & Piccolo
A well-maintained flute or piccolo will play better, last longer, and stay in tune more reliably than a neglected one. The good news is that basic flute care is straightforward — a few simple habits after every practice session go a long way. After Every Practice Session Always swab out the inside of your flute after playing. Moisture from your breath collects in the tube and can damage the pads over time if left sitting. Use a soft cleaning rod with a lint-free cloth or a purpose-made swab pulled gently through each section. Never force the swab through if it meets resistance. Wipe down the outside of the instrument with a soft, dry cloth to remove fingerprints and moisture from the keys. This helps prevent tarnish on silver-plated and solid silver instruments. Assembling and Disassembling Always hold the flute by the body when assembling, not by the keys or mechanism. Apply gentle, even pressure and a slight rotating motion to connect the joints. Avoid grabbing the key mechanism — bent keys are one of the most common and entirely preventable flute repairs. Pad Care The pads inside the key cups are what create the seal that allows notes to speak cleanly. Keep them dry, and avoid playing immediately after eating. Even small amounts of food residue can deteriorate pads quickly. If a note starts to sound airy or unreliable, a pad may need to be replaced — a technician can assess this quickly. Storage Always store your flute in its case when not in use. Keep the case away from extreme temperatures — never leave it in a hot car or near a heater. For piccolo players, the same rules apply, with extra care given to wooden piccolos, which can crack if exposed to rapid temperature or humidity changes.↓ Download the Flute & Piccolo Care Tips (PDF)
Read moreFree Tuba & Sousaphone Fingering Chart (3 & 4 Valve)
The tuba is the foundation of the brass section — and getting those low notes in tune and in position is what holds the whole ensemble together. This chart covers both 3-valve and 4-valve tuba, as well as the sousaphone, giving you a complete reference for the full range of the instrument. What's in the Chart This chart covers the standard range of the BBb tuba and sousaphone, with separate sections for 3-valve and 4-valve instruments. The fourth valve — found on many intermediate and advanced tubas — adds a lower range and provides alternate fingerings that improve intonation on certain notes. Both are covered clearly in this chart. Who This Is For Beginning tuba and sousaphone students Students moving from a 3-valve to a 4-valve instrument Band directors who need a reference for their low brass section Parents and students practicing at home Why the Fourth Valve Matters On a 3-valve tuba, certain valve combinations — particularly 1+3 and 1+2+3 — tend to play sharp because of the physics of the tubing lengths. The fourth valve provides an alternative that keeps those notes in tune without having to lip them down. Once students understand this, they start using the fourth valve not just for extra low notes, but as a regular intonation tool.↓ Download the Tuba & Sousaphone Fingering Chart (PDF)
Read moreFree Euphonium & Baritone Fingering Chart (3-Valve)
The euphonium and baritone horn are among the most accessible brass instruments for new players — their mellow tone and mid-range pitch sit comfortably in the band texture. This chart covers the 3-valve system used on most student and intermediate models, and also applies to 3-valve trombone. What's in the Chart This chart covers the full standard range of the 3-valve euphonium, baritone horn, and valve trombone. Each note is shown with its valve combination, from open through all single, double, and triple valve combinations. Treble clef and bass clef players will both find this chart useful, as both clef conventions are common for these instruments. Who This Is For Beginning euphonium and baritone students Students coming from trumpet who are doubling on euphonium Valve trombone players Band directors looking for a classroom reference Treble vs. Bass Clef In the United States, baritone players often read treble clef (where the part sounds a major ninth lower than written), while euphonium players typically read bass clef (concert pitch). If you're not sure which clef your part uses, check with your director — and note that the fingerings on this chart remain the same regardless of which clef you're reading.↓ Download the Euphonium & Baritone Fingering Chart (PDF)
Read moreFree Trombone Fingering Chart (Tenor & F Attachment)
Unlike most brass instruments, the trombone uses a slide rather than valves — which means "fingering" is really about slide position. Getting those positions right, and understanding how the F attachment expands your range, is fundamental to good trombone playing. What's in the Chart This chart covers all seven slide positions for the tenor trombone, as well as the additional notes made available by the F attachment (also called the trigger). Each note is shown with its position number and whether the F attachment is engaged, giving you a complete picture of the instrument's range. Who This Is For Beginning trombone students learning the seven positions Students who have recently added an F attachment trombone Band directors who need a quick-reference handout Parents helping a child practice at home Understanding Slide Positions The seven slide positions correspond to different tube lengths, each lowering the pitch by a half step. Position 1 is all the way in; position 7 is fully extended. Because there are no fixed stops like on a keyed instrument, developing a good ear for intonation is especially important for trombonists — and knowing your positions inside out is the first step.↓ Download the Trombone Fingering Chart (PDF)
Read moreFree French Horn Fingering Chart (Single & Double Horn)
The French horn is one of the most rewarding — and most challenging — instruments in the brass family. Its wide range, mellow tone, and complex fingering system set it apart, and having a reliable fingering chart is essential whether you're playing single or double horn. What's in the Charts We offer two separate charts: one for single horn and one for double horn. The single horn chart covers the standard three-valve system in F. The double horn chart includes both the F side and the Bb side of the instrument, along with the thumb trigger that switches between them — an essential reference for students making the transition from single to double horn. Who This Is For Beginning horn students on single horn Intermediate students transitioning to double horn Band and orchestra directors with horn players in their ensemble Private teachers looking for clear, printable handouts Single Horn vs. Double Horn Most beginners start on a single horn in F, which has a warm, full sound well-suited to the lower and middle range. The double horn adds a second set of tubing in Bb, giving players a brighter, more secure option for the upper register. Download both charts to have a complete reference as you progress.↓ Download the French Horn Fingering Chart (Single) (PDF)↓ Download the French Horn Fingering Chart (Double) (PDF)
Read moreFree Trumpet & Cornet Fingering Chart
The trumpet and cornet share the same three-valve fingering system, making this chart useful for players of both instruments. Whether you're a brand new student or helping someone get started, having a clear fingering reference on the stand is one of the simplest ways to make practice sessions more productive. What's in the Chart This chart covers the full standard range of the trumpet and cornet, from low F-sharp up through high C and beyond. Each note is shown with a valve combination diagram — open (0), first valve (1), second valve (2), third valve (3), and combinations — making it easy to see at a glance exactly which valves to press. Who This Is For Beginning trumpet and cornet students Band directors looking for a clear classroom handout Students working on extending their upper range Parents helping a child practice at home Understanding Valve Combinations The three-valve system on trumpet and cornet gives you seven possible fingering combinations (including open). Many notes have more than one valid fingering — for example, first and third valve together produces the same pitch as second valve alone (in theory). As you advance, you'll learn which alternate fingerings help with intonation and technical passages.↓ Download the Trumpet & Cornet Fingering Chart (PDF)
Read moreFree Saxophone Fingering Chart
One of the great things about the saxophone family is that once you learn the fingering system on one saxophone, you can apply the same system to any other — alto, tenor, soprano, or bari. This chart is your go-to reference for building that foundation. What's in the Chart This fingering chart covers the full standard range of the saxophone, from low Bb up through the altissimo register, with clear diagrams showing which keys to press for each note. The side keys, palm keys, and bis key are all shown, making it useful both for beginners working on the basics and for more experienced players exploring the upper range. Who This Is For Beginning saxophone students learning their first notes Students expanding their range into the upper register Band directors with saxophone players at multiple levels Jazz students exploring the altissimo register One Chart, Every Saxophone Because the saxophone fingering system is consistent across the family, this chart applies equally to alto, tenor, soprano, and baritone saxophone. The only difference is where each instrument sounds relative to concert pitch — but the finger positions for any given written note are the same across all of them.↓ Download the Saxophone Fingering Chart (PDF)
Read moreFree Bassoon Fingering Chart
The bassoon is often described as the clown of the orchestra — but underneath that reputation is one of the most technically demanding woodwind instruments in the ensemble. Its wide range, complex key system, and unique thumb keys make a reliable fingering chart an absolute essential for any bassoonist. What's in the Chart This chart covers the full standard range of the bassoon, from low Bb up through the tenor and above. Both the left and right hand finger positions are shown, along with the thumb keys that give the bassoon much of its characteristic flexibility. The layout makes it easy to see the full picture of each note at a glance. Who This Is For Beginning bassoon students learning their first notes Students transitioning from another woodwind to bassoon Band directors who need a reference for their bassoon players Private teachers working with beginners or early-intermediate students Getting the Most Out of It The bassoon rewards patience. Because many notes involve complex combinations of fingers across both hands, it helps to practice one hand at a time when learning a new note. Use this chart to break down each fingering into left hand and right hand components before putting them together.↓ Download the Bassoon Fingering Chart (PDF)
Read moreFree Oboe & English Horn Fingering Chart
The oboe is one of the most distinctive voices in the orchestra, and the English horn — its lower cousin — carries a uniquely warm, reedy sound that composers have long reached for in expressive solos. Both instruments share a double-reed family relationship, and their fingering systems are closely related, which makes a combined reference chart especially useful. What's in the Chart This chart covers the standard fingering system for both oboe and English horn, with diagrams showing key and tone hole positions for notes across the full playable range. Because the English horn is a transposing instrument (it sounds a fifth lower than written), the chart helps players understand both the written and concert pitch relationship. Who This Is For Beginning and intermediate oboe students Oboists doubling on English horn Band and orchestra directors with oboe players in their ensemble Private lesson teachers looking for a clear reference handout A Note on Alternate Fingerings The oboe has a large number of alternate fingerings for the same note — more than almost any other woodwind. These alternates help with intonation, dynamic control, and technical passages. This chart provides a solid foundation of standard fingerings to build from, and working with a private teacher to explore alternates is a great next step for advancing students.↓ Download the Oboe & English Horn Fingering Chart (PDF)
Read moreFree Timpani Fundamentals Guide
Timpani are unlike any other instrument in the percussion section. They're pitched, they're expressive, and they require a combination of physical technique and keen ear training that takes real time to develop. This guide covers the essentials — a strong starting point for any student picking up the instrument for the first time, or a useful review for more experienced players. What's in the Guide This free resource covers the fundamentals of timpani playing, including: Basic stroke technique and mallet grip Striking zones — where on the head to strike for the best tone Damping technique Tuning and using the pedal mechanism Reading timpani notation and understanding the instrument's range Basic maintenance and head care Who This Is For Beginning timpanists being introduced to the instrument for the first time Snare drummers transitioning to mallet and timpani work Band directors looking for a clear overview to share with percussion students Students preparing for their first orchestra or band performance on timpani The Importance of the Ear More than any other brass or woodwind instrument, timpani playing depends heavily on the player's ear. Tuning the drums quickly and accurately — often during a rest in the middle of a piece — requires a well-developed sense of pitch and a clear understanding of what each note should sound like before you strike the head. Ear training and regular tuning practice are just as important as stroke technique for the developing timpanist. Mallets Matter Mallet selection has a significant impact on tone quality. Harder mallets produce a brighter, more cutting sound; softer mallets produce a warmer, more rounded tone. Matching mallet hardness to the musical context — and to the dynamic and style requirements of a particular passage — is part of what separates a good timpanist from a great one.↓ Download the Timpani Fundamentals Guide (PDF)
Read moreFree International Drum Rudiments Chart
Drum rudiments are the fundamental building blocks of snare drumming and percussion technique. Just as scales and arpeggios form the foundation of melodic and harmonic instrument technique, rudiments develop the sticking patterns, control, and coordination that make a percussionist fluent and expressive on any instrument. What's in the Chart This chart presents the full set of 40 International Drum Rudiments (as established by the Percussive Arts Society), notated with standard sticking markings — R for right hand, L for left hand. Each rudiment is shown in a clear, printable format, making this an ideal reference for individual practice or classroom use. The 40 rudiments are organized into five families: Roll rudiments — single stroke roll, double stroke roll, multiple bounce roll, and their variations Diddle rudiments — paradiddle and its variations Flam rudiments — flam, flam accent, flam tap, and others Drag rudiments — drag, drag tap, lesson 25, and others Combined/hybrid rudiments Who This Is For Beginning percussionists learning their first rudiments Intermediate players working toward a complete rudiment vocabulary Band directors assigning percussion method materials Drum line instructors looking for a reference sheet for their section How to Practice Rudiments The most effective way to practice rudiments is slowly and evenly first, paying close attention to stick height and note equality between hands. Speed comes from consistency — not from rushing. Start with a metronome at a comfortable tempo, nail the sticking pattern cleanly, then gradually increase the tempo over time. Most of the classic method books recommend working each rudiment from slow to fast and back to slow in a single practice session.↓ Download the International Drum Rudiments Chart (PDF)
Read moreFree Circle of Fifths Chart
The circle of fifths is one of the most useful tools in all of music theory. It maps out the relationships between all twelve major and minor keys in a way that makes patterns visible — patterns that would otherwise take years of trial and error to absorb by feel alone. Whether you're a beginner just learning your key signatures or an advanced player working on improvisation and composition, the circle of fifths is worth understanding thoroughly. What's in the Chart This chart shows the complete circle of fifths, with all twelve major keys arranged around the outside and their relative minor keys on the inside. Key signatures — the number of sharps or flats in each key — are shown clearly, making it easy to use as a quick reference when you need to identify a key or figure out a key signature. How to Read It Moving clockwise around the circle, each key is a perfect fifth higher than the last, and each step adds one sharp to the key signature. Moving counterclockwise, each key is a perfect fifth lower, and each step adds one flat. The keys at the bottom of the circle (around 6 o'clock) have the most accidentals and are also where the enharmonic keys live — keys like F#/Gb major, which can be spelled two different ways but sound identical. Why It Matters The circle of fifths isn't just a theory exercise — it describes real relationships in music. Closely related keys (neighbors on the circle) share most of the same notes and modulate smoothly between each other, which is why so much music moves through adjacent keys. Understanding this makes it easier to follow a piece harmonically, predict chord progressions, and understand why certain key changes feel natural while others feel jarring. Practical Applications Learning and memorizing key signatures Understanding chord progressions and harmony Identifying the relative minor of any major key Planning key relationships when composing or arranging Understanding modulations in music you're studying ↓ Download the Circle of Fifths Chart (PDF)
Read moreFree Band Transpositions Chart
One of the first genuinely confusing things a young musician encounters is why different instruments play different notes to produce the same pitch. A Bb trumpet player reads a C and plays what everyone else hears as a Bb. An Eb alto saxophone reads a C and produces an Eb concert. It can seem arbitrary — but it has a logical history, and once you understand the system, it becomes second nature. What's in the Chart This chart lists every common band and orchestra instrument alongside its transposition — in plain language, showing how much higher or lower each instrument sounds compared to what's written on the page. It's an essential reference for: Composers and arrangers writing for mixed ensembles Directors transposing or correcting parts Students learning about concert pitch for the first time Any musician learning to read a full score Why Instruments Transpose Most transposing instruments have historical roots. When instruments like the clarinet and horn were developed without valves or keys, players would switch between instruments of different sizes (pitched in different keys) to play in different keys. Rather than relearn all the fingerings, players used a consistent set of written fingerings and accepted that the actual pitch would vary depending on which instrument they were holding. The notation followed the instrument, not concert pitch. Today the system persists largely because of tradition and because it keeps fingering patterns consistent across instrument families — a Bb trumpet player and a Bb clarinet player read the same written fingering for the same "written" note, even though the two instruments produce different concert pitches. Practical Uses This chart is particularly useful when you need to transpose a part by hand, when a director wants to point out a concert pitch to a transposing instrument player, or when a student is learning to read a conductor's full score where all instruments are sometimes written at concert pitch.↓ Download the Band Transpositions Chart (PDF)
Read moreFree Printable Manuscript & Staff Paper
Whether you're a composer, arranger, student, or teacher, having the right manuscript paper on hand makes a real difference. We offer a full collection of free, printable staff paper in a wide range of formats — from simple blank staves to fully laid-out ensemble scores. All files are PDF format and print cleanly on standard 8.5" x 11" paper (except the full concert band score, which is formatted for legal size). General Manuscript Paper These layouts work for any instrument or application where you need blank staves: 8-stave paper — great for parts or lead sheets 10-stave paper — more staves per page for dense writing Instrumental solo with reduced-size piano accompaniment staff Instrumental duet Instrumental trio Instrumental quartet Instrumental quintet Ensemble Score Paper Pre-formatted score layouts for common chamber and large ensemble combinations: Woodwind trio Woodwind quintet Brass trio Brass quintet Brass choir Solo Instrument Paper Piano (keyboard) solo — grand staff layout Guitar tablature — standard notation staff with TAB staff below Band Score Paper Full concert band score — formatted for 8.5" x 14" legal paper Marching band Brass band Jazz band / jazz orchestra Tips for Printing For best results, print at 100% scale (do not scale to fit the page). Most files are formatted for US Letter (8.5" x 11"). The full concert band score is formatted for legal size — if you print it on letter paper, it will be reduced slightly but still legible. For clean, durable copies that hold up on the stand, printing on a slightly heavier paper stock (24lb or 28lb) makes a noticeable difference.
Read moreHow to Care for Your Trombone
The trombone is one of the more forgiving brass instruments when it comes to maintenance — but the slide is the one area that needs real attention. A smooth, fast slide is everything on trombone, and it only stays that way with consistent care. Slide Care The trombone slide is a precision instrument within an instrument. Even a small dent or bend in the inner slide can make it stick or move unevenly. Keep it clean and lubricated, and handle it carefully. For lubrication, spray the inner slide tubes with water and apply a thin coat of slide cream or oil — whatever product you prefer. Wipe the inner slide tubes clean with a soft cloth before applying lubricant to remove any old residue or grit. A well-lubricated slide should glide effortlessly through all seven positions. F Attachment Care If your trombone has an F attachment (a rotary valve triggered by a thumb lever), it needs regular oiling with rotor oil, just like a French horn. The trigger and linkage mechanism should also be kept lightly lubricated. A sluggish trigger is almost always a sign that it needs oil. Emptying Condensation Open the water keys regularly during playing to empty condensation from the main slide section and the bell section. After playing, remove the slide and let it drain completely before storing. Regular Cleaning Clean the inner and outer slides with a slide cleaning rod and cloth every few weeks, and do a full bath a few times a year. When cleaning, handle the inner slide with care — avoid laying it on hard surfaces where it could pick up dents. Even a tiny dent in the inner slide is enough to affect its action.↓ Download the Trombone Care Tips (PDF)
Read moreHow to Care for Your French Horn
The French horn is a complex instrument with a lot of tubing and a rotary valve system that differs from most other brass instruments. With a little regular attention, it stays free-moving and responsive — and avoids the kind of valve problems that can sideline a player unexpectedly. Rotary Valve Care Unlike piston valves, French horn rotary valves use a different type of oil. Use rotor oil (also called rotary valve oil) specifically designed for this purpose — standard piston valve oil is too thin and won't provide adequate lubrication. Apply a few drops to each rotor through the ports on the side of the valve casing, and also oil the rotor string or mechanical linkage at the top of each valve. Rotors that feel sluggish or sticky usually just need fresh oil. If cleaning doesn't resolve the issue, take the horn to a technician rather than attempting to disassemble the rotors yourself. Slide and Tuning Slide Care The French horn has many slides, and keeping them all moving freely is important both for tuning and for maintenance. Apply slide grease to all slides periodically. If a slide has seized from lack of lubrication, don't force it — a technician can remove it safely. Emptying Condensation The French horn accumulates a significant amount of condensation during playing due to its long tubing length. Empty the water keys frequently during practice, and after playing, tilt the horn in different orientations to drain moisture from the bell and various tubing sections. General Cleaning A full cleaning of the horn every few months keeps buildup from accumulating in the valves and tubing. Because the rotary valve mechanism is delicate, it's generally best to have the first full cleaning done by a technician who can show you the proper process for your specific instrument.↓ Download the French Horn Care Tips (PDF)
Read moreHow to Care for Piston Brass Instruments
Piston brass instruments — including trumpet, cornet, baritone, euphonium, and tuba — share a common family of care requirements. Keep the valves moving freely, keep the slides lubricated, and clean the instrument regularly, and it will reward you with reliable, responsive playing for years. Valve Care Valves are the heart of a piston brass instrument. Oil them regularly — for most players, this means every time you play. Use a quality valve oil: remove each valve one at a time, apply a few drops to the valve casing, and replace it carefully in the correct position (valves are numbered and must go back in the right slot in the right orientation). If a valve feels sluggish even after oiling, it may need to be cleaned. Remove the valve and rinse it in warm water to remove old oil residue and buildup before re-oiling. Slide Care Slides should move freely and be greased regularly. Use slide grease (not valve oil — the consistency is different) on the main tuning slide and any slides you move regularly. Slides that are left dry and unused can seize, requiring a technician to remove them without damage. Emptying the Water Keys During playing, condensation collects in the tubing. Open the water key (spit valve) and gently blow the moisture out regularly. This keeps the instrument responsive and prevents water from pooling in awkward places. Regular Cleaning A full bath — removing all slides and valves, soaking the body in lukewarm soapy water, and running a flexible brush through the tubing — should be done every few months. After cleaning, dry everything thoroughly before re-lubricating and reassembling.↓ Download the Piston Brass Instrument Care Tips (PDF)
Read moreHow to Care for Your Saxophone
Saxophone care is relatively forgiving compared to some woodwinds, but consistent maintenance keeps your instrument in top playing condition, protects the pads, and prevents the kind of buildup that leads to costly repairs down the road. After Every Practice Session Always swab out the body of the saxophone after playing. A drop-style swab (sometimes called a "duster") works well for the body — drop it through the bell and pull it up through the neck receiver. For the neck, use a separate flexible neck swab. Remove the reed, dry it, and store it in a reed holder. Use a soft cloth or pad paper to gently blot any moisture from the pads — this extends pad life significantly. Wet pads that are left to dry while sticking to their tone holes can tear when the key is next opened. The Mouthpiece Rinse the mouthpiece with lukewarm water (never hot — it can warp plastic mouthpieces) every few days. A small mouthpiece brush helps remove any buildup from inside the chamber. Dry it thoroughly before putting it away. Key and Body Care Wipe down the lacquer body with a soft dry cloth to remove fingerprints and oils. Avoid using silver polish or abrasive cleaners on lacquered instruments — these strip the finish. For silver-plated saxophones, a silver polishing cloth used occasionally keeps the finish bright. When to See a Technician If a note starts ciphering (sounding when it shouldn't), sounds airy, or requires more air than usual, a pad or spring may need attention. An annual check-up with a qualified repair technician is a worthwhile investment for any saxophone player.↓ Download the Saxophone Care Tips (PDF)
Read moreHow to Care for Your Oboe & Bassoon
Oboes and bassoons are among the most delicate and mechanically complex instruments in the band or orchestra. Their wooden construction and intricate keywork require a bit more attention than most instruments — but the reward is an instrument that plays beautifully and holds its value for years. After Every Practice Session Swab out the bore of your oboe or bassoon after every single playing session — no exceptions. Both instruments are susceptible to cracking if moisture is allowed to accumulate inside the wood. Use a silk or microfiber swab appropriate for your instrument's bore size, and draw it through gently and completely. Wipe down the keys and exterior with a soft, dry cloth. For bassoon players, the bocal (the curved metal crook) should also be swabbed with a bocal brush to remove moisture from its interior. Reed Care Oboe and bassoon players use handmade double reeds, which are delicate and require their own care. Store reeds in a ventilated reed case that allows them to dry completely between sessions. Never seal a wet reed in an airtight container — this encourages mold. Keep a small cup of water nearby when playing to soak reeds before use rather than soaking them in your mouth. Mechanical Care The keywork on oboes and bassoons is complex and relatively fragile. Avoid placing the instrument on any surface where it could roll or fall. When assembling, always support the instrument from the body, not the keys. If a key feels stiff, sluggish, or bent, take it to a qualified technician — don't attempt to bend keys yourself. Temperature and Humidity Wood oboes and bassoons are particularly sensitive to changes in temperature and humidity. In dry climates or during winter heating season, consider using a case humidifier to keep relative humidity stable. Rapid changes in conditions are a primary cause of cracking in wooden instruments.↓ Download the Oboe & Bassoon Care Tips (PDF)
Read moreJim Fox's Ultimate Mouthpiece Comparison Charts - Tuba
Bach/Schilke listed at the top for comparison. Please do not take diameter measurements too seriously. Most of the time the difference in columns can be 0.02 of an inch (0.5 mm). Not much really. The measurements are done for comparison purposes of relative sizes. Attributes such as cup depth, rim shape, bite, and backbore also make a big difference in how a mouthpiece plays and feels. Table 131 - 29.5 mm Size in mm / Inches 31.00 mm1.220" 30.50 mm1.201" 30.00 mm1.181" 29.50 mm1.161" Manufacturer Bach 25 30E 32E Alliance 5P Conn 25 Giddings & Webster GW Churada Kelly 25 Josef Klier (JK) T7 T8 T9 Miraphone TU05 TU03 Monette Peratucci PT-24+ Bruno Tilz M4, M15A1, B1T1 25 Denis Wick 4 5 Yamaha 65 64 Table 232.75 - 31.25 mm Size in mm / Inches 32.75 mm1.289" 32.50 mm1.280" 32.25 mm1.270" 32.00 mm1.260" 31.75 mm1.250" 31.50 mm1.240" 31.25 mm1.230" Manufacturer Bach 12 18 22 24AW Alliance H1, 4, 4W, Solo H2 3, 3a Conn Helleberg 18 24AW Curry 128 126 124 Doug Elliott TU129 TU128 TU126 Mike Finn MF1, MF2, MF4 Giddings & Webster GW TakuWilliwawDiablo MatanuskaBora Griego 325D325XD 320D320XD 315D315XD JC Custom (Brazil) 33 Supreme 32.2 Summit 32 Ultra32 Harmonic32 Supreme Jet Tone Jet UH Kelly 18 24AW Josef Klier (JK) T4 T5 T6 Laskey 28 LOUD LM-6LM-7 LM-5 LM-15 Marcinkiewicz 18 ST3, ST4, 24AW 25 Miraphone TU25 TU23 (Old C4) TU11, TU19, TU21, TU39 (Old C3) TU09 TU15TU17 Peratucci PT-32PT-34 PT-20FPT-30 PT-20 Schilke 69C4 67 62, SH 66 Signature Models Roger Bobo Solo (Yamaha)Arnold Jacobs Solo (Kelly) Winston Morris (Miraphone) Arnold Jacobs Std (Kelly) Bruno Tilz M2, M8, M12, M13, M17, M23, MS25, M29, M30 M3, M6, M7, M9, M11, M25, M31, A2, B2, T2, C2, 18 M5, M16, M18, 22 24W, 24AW Denis Wick 1 2 3 Yamaha 68B 67, 67C4 66D4 66, 66B
Read moreJim Fox's Ultimate Mouthpiece Comparison Charts - Trombone
Bach/Schilke listed at the top for comparison. Please do not take diameter measurements too seriously. Most of the time the difference in columns can be 0.02 of an inch (0.5 mm). Not much really. The measurements are done for comparison purposes of relative sizes. Attributes such as cup depth, rim shape, bite, and backbore also make a big difference in how a mouthpiece plays and feels. Table 1 is the largest, Table 3 the smallest — some sizes come in both small and large shank Table 129.03 - 25.50 mm Size in mm / Inches 29.03 mm1.14" 28.52 mm1.12" 27.68 mm1.09" 27.00 mm1.06" 26.75 mm1.05" 26.25 mm1.03" 26.00 mm1.02" 25.50 mm1.01" Manufacturer Bach Contra Bass (30.00) 1G 1.25G 1.5G 2G 3G 4G 5G Schilke 6061 (29.3) 59, 58 57 14, 15 (17.1)Symphony M3, M3d, F3, D3 13C4 13B 12, 52, E2Symphony D52, M52 11 Alliance 2, 2a Best Brass Japan 1C, 3E, 5E Greg Black 0G (29.5)1G (29.0) 1.25G 1.5G (25.27) 2G 3G, 3C Jerome Callet BD28 BD27.5 BD27 BD26.5M & L Conn 2CL Curry 1 1 1/2 3 Doug Elliott 114116 (29.5) 112 110 106 104 103 102 101, 100 Ferguson Contra Bass (30.0)LS Bass (old) L Bass (old) V Bass (old) Giardinelli 1G SymB 2G 3D Giddings & Webster (Stainless Steel) Chinook Sanders DH-100Harwood NY-SNY-O Nor'Easter (32.13) Karif Adriano Wilkins E-2 DHWS-SDHWS-EGW-103 EXLE-1CarbonariaDJNVGW102NB-102SA-100 TZ-103GW103DHWA-SDHWA-EKadja NakazawaGW-101NB-101Boreas EurosAusmanGW-100NB-100WattersGWC-101GWC-100 Hammond 21 20 Size in mm / Inches 29.03 mm1.14" 28.52 mm1.12" 27.68 mm1.09" 27.00 mm1.06" 26.75 mm1.05" 26.25 mm1.03" 26.00 mm1.02" 25.50 mm1.01" Bach Contra Bass (30.00) 1G 1.25G 1.5G 2G 3G 4G 5G Schilke 6061 (29.3) 59, 58 57 14, 15 (17.1)Symphony M3, M3d, F3, D3 13C4 13B 12, 52, E2Symphony D52, M52 11 Josef Klier PO3 (29.50) PO2 (29.00) PO1 P1 P2 P3 P4 Laskey 95D (29.50) 93D (29.30) 85MD LOUD (Stainless Steel) LM-35 (old) LM-20 (old) LM-47 (old) LM-48 MMP Brasswind Jazz Bass 1 Bass 1, Jazz Bass 2 & 3 Bass 2 Jazz 1 Marcinkiewicz CH105 (29.44) 1 1.5G 3 2G 5F, 6E, 7G Steven Mead SM2 SM3, SM3.5 Miraphone PO11 PO9 PO15 Monette Bb BT-1 BT-2 Prime Slide C Rim A, B, D Rims (1.175) Signature Models Doug Yeo (28.7)Jim Martin Jeff ReynoldsBen van Dijk B, BM (Thein) George Roberts Alessi 11.5 & 2Phil Teele EBT2Ernie Tack EBT3Bill Rickenbach Alessi 3, 3.5, 4 Size in mm / Inches 29.03 mm1.14" 28.52 mm1.12" 27.68 mm1.09" 27.00 mm1.06" 26.75 mm1.05" 26.25 mm1.03" 26.00 mm1.02" 25.50 mm1.01" Bach Contra Bass (30.00) 1G 1.25G 1.5G 2G 3G 4G 5G Schilke 6061 (29.3) 59, 58 57 14, 15 (17.1)Symphony M3, M3d, F3, D3 13C4 13B 12, 52, E2Symphony D52, M52 11 Stomvi 0.8 0.9 1 2 3 Stork BT-1, BT-1S BT-1.5, BT-1.5S Warburton 1 2 3 4 5 6 7 Denis Wick 0AL (27.42) 1AL (27.10) 2AL (27.00) 3AL Yamaha 60, 60B 59 55, 58 53-54 Zottola 1.06A 1.03A Table 226.00 - 24.40mm Size in mm / Inches 26.00 mm1.024" 25.75 mm1.014" 25.50 mm1.004" 25.40 mm1.000" 25.00 mm0.984" 24.75 mm0.974" 24.50 mm0.965" 24.40 mm0.955" Manufacturer Bach 4G 5G & 6 6 1/2 6 3/4 7-11 12-14 1/2 15 Schilke 52E2Symphony, D52*, D52, M52 52 51, 51BSymphony, D51*, D51, M51 50 47C4 47B, 46D 46, 45 (.960) 45B, 44E4 Alliance 4, 3a 4a, 5 6, 6s 7 8 Best Brass Japan Ichi GoSymphonic (L)Virtuoso (L) KamiyaTrombone (S)Trombone (L) KataokaVirtuoso (S)Virtuoso (L) Greg Black 4C, 4G, 4.5C/G 5C, 5G 6C, 6G, 6 1/2 7C 11C 12C Breslmair 158, 258, 358, 458 154, 254, 354 150, 250, 350, 550 145, 245, 345 Jerome Callet TD25.75 BD 25.4, TD 25.4 TM 24.75 BD 24.5, TM 24.5 Conn 4CL Remington (25.65)5CL 10CL 3 (25.15) 13CL (24.86) 15CL Curry 4.5 5 6 7, 11 12 DEG AW8 Doug Elliott 102 101 (25.65) 100 98, 99 97 96 Endsley #1 #2 Ferguson 1 Tenor NF11 Giardinelli 3G Sym G&T SymAL 4D 5D 6M Giddings & Webster (GW) SA-100NB-102GW-100DJNVCarbonariaEXLE-1 NB-101GW-101KadjaNakazawaGWC-101 EurosBoreasSonnyAusman GWC-100NB-100GB-100Harry Watters Barber Chubasco ChocolateroBacchus Hammond 11 12 13 14 JetTone STS STM, STD Josef Klier (JK) P5 P6 P7 P8 P9 P10 Size in mm / Inches 26.00 mm1.024" 25.75 mm1.014" 25.50 mm1.004" 25.40 mm1.000" 25.00 mm0.984" 24.75 mm0.974" 24.50 mm0.965" 24.40 mm0.955" Bach 4G 5G, 6 6 1/2 6 3/4 7-11 12-14 1/2 15 Laskey 59D 57D 54M 50C 46C LOUD LM-27 LM-52, LM-50 LM-60 MMP Brasswind 8, 8H, 9, 9B 7G 10, 11Jazz, 4, 5 12, 15Jazz 2, 3, 7 Marcinkiewicz 8 5G, 5J 9, 8H, 6.5AL 10, 11, 11C 12 15 Miraphone BT11 BT07, BT09 BT06, BT14, BT15, BT17, BT18, PO13 BT13 BT03, BT05, PO05 Steven Mead SM4, SMB4 SMB6 SMB9 Monette TT-4 TT-5 TS-6 TS-11 Rudy Muck 26MTB Parduba 5 4.5 3.5 (24.63), 4 3 2.5 Sarad All Cups X, Y, or Z Rim Brahms Model Signature Models Alessi 5, 5.5, 6 (25.95)Alessi Alto A-3 Bob Stroup 9BGreg Woll 5GWBenge MarcellusByron Peebles ET1 Peter SullivanCanadian Brass Gene Watts Jiggs Whigham ET1.7 (25.1)Alain Trudel (25.2)Scott Bliege (25.2)Barry Green Solo (25.15) 175 JW Jiggs WhighamJJ Johnson by GiardinelliIan McDougall ET2Charlie Loper ET3 Frank Holton (24.6)Urbie Green (Jet-Tone) All Cup DepthsLloyd Ulyate ET4 Frank Rosolino Size in mm / Inches 26.00 mm1.024" 25.75 mm1.014" 25.50 mm1.004" 25.40 mm1.000" 25.00 mm0.984" 24.75 mm0.974" 24.50 mm0.965" 24.40 mm0.955" Bach 4G 5G, 6 6 1/2 6 3/4 7-11 12-14 1/2 15 Stomvi 4 58330 68335 7 8 Stork BT4 T1 BT5 (25.2), BT6 T2 T3 System Blue Extreme System Blue Euph (LS) System Blue Bari (SS) Warburton 8 9 10 11 12 13 Denis Wick 4AL, 4ABL, 4BL, 4BS 5AL, 5ABL, 5BL, 5BS4.5AL (25.85) 51, 6AL, 6BL, 6BS, 7CS, 9BL, 9BS, 10CS 12CS Zottola 99A & B1.00A 96A & B Table 324.30 - 22.5 mm Size in mm 24.30 mm 24.20 mm 24.00 mm 23.9 mm 23.50 mm 23.25 mm 23.00 mm 22.5 mm Manufacturer Bach 17-18 19 22 Schilke 43A 42 42B 40 Jerome Callet TM24 TM23.5 TS22.5 Doug Elliott 95 (24.1) 94 Josef Klier (JK) P12 Laskey 42C Rudy Muck 23MTB 25MTB Parduba 2 Signature Models David Steinmeyer ET7 Stomvi 9 8350 (24.12) 10 Warburton 14 15 Zottola 93 A&B
Read moreJim Fox's Ultimate Mouthpiece Comparison Charts - Trumpet
Bach/Schilke listed at the top for comparison. Please do not take diameter measurements too seriously. Most of the time the difference in columns can be 0.02 of an inch (0.5 mm). Not much really. The measurements are done for comparison purposes of relative sizes. Attributes such as cup depth, rim shape, bite, and backbore also make a big difference in how a mouthpiece plays and feels. Table 117.78 - 16.51 mm Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Manufacturer Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Schilke 2022 (18.03)24 (18.29) 1819 (17.65)SymphonyM1, M1dF1, D1 16, 17SymphonyM2, M2dF2, D2 14,15 (17.1)SymphonyM3, M3dF3, D3 13C4 13B 12 11 Alliance 1 2 3, 4 5 6, 7 Best Brass Japan 1C, 3E, 5E Greg Black 1 Series 1 1/4 Series 1 1/2 Series 3 Series Blackburn 1 1.5 3 5 Breslmair 1CG2 Y11C7C4 VG2S, LG1, LG2, LG3 G1, G2, G3, G4, G2S, ST 1SHP, Y12C, Y12L, E44, 7G4 Y5C, Y21C Bush WX W Calichhio Artist Series C. Findley (.676)B. Findley (.684) CoassinDavis IDavis IIGrant IGrant IID Thomas Mosello IMosello IIWilliams Bergeron IEnglebright Gardner (.658)Kadleck Scodwell (.658)F Szabo Delibero (.658)Gisbertz HarnerJohnson MichelsNicholsonO'Donnell Ingram Callet 1 3C Curry 1H (17.37)1 1.251.5 2 (16.9)3 5 7 Edwards 1H1 1/2, 3 1 1/42 1C99 1C981JC, 550P 7 60P Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C GR Mouthpieces 67 663 Series 65 GR Haefner 1HC, X24, X27 1HX 3HC GR Sanborn CS 67 CS 66 CS 65 Giardinelli 1 3 6 5 7 Giddings & Webster (GW) M1M2, M3 Hammond 1 2 3 4 5 6 Jaz-Tec A B, C JC Custom (new) All StylesTheir Mouthpieces Jet Tone 1 7 Old Jet Tones 1C SS, DD, MF Kanstal C2, C12, C15 C4 B11, B12B15, B2B3 B4, B5 3C B6, B7, CG3, CG7CG Personal (.626) Kelly Lexan 1C 1.5C 3C 5C 7C Klier 12 (17.4) 3 4 5 6 7 Laskey 84 80 75, 70 68, 65 60 50 Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Marcinkiewicz 0 A1-A3 (.692)B1-B5 (.687) 1-4C1-C5E3 5-10 7PB7PD Milashius B1 B2 B3 A4, AV4B4 A5, B5 Miraphone TR13 Monette (Bb) B1, B2B3, B4 Rudy Muck 19 Northern Brass NB 65 Parduba 8 7 Reeves 43M 42M Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Signature Models Roy Roman (.715) John WallaceJean MichelouBob Findley Mark GouldManny KlienChuck FindleyClark Terry (.685) Jeff TyzikVizzutti E12ZonyJ.W. MarcinkiewiczHerb AlbertRick BaptistMiles DavisPeter MasseursMaynard Ferguson MF II, IIIWick Maurice Murphy Bob SenescuAlmeidaNajoomRod FranksBobby Shew JazzZajaRich Szabo Graham YoungBobby Shew (Marc)Leon Merian Gold ButcherMacalusoAllen Vizzutti Bobby Shew LeadMike VaxRoger IngramJohn RinaldoLeon Merian (Jet Tone) Size in mm / Inches 17.78 mm.700" 17.52 mm.690" 17.27 mm.680" 17.02 mm.670" 16.89 mm.665" 16.76 mm.660" 16.64 mm.655" 16.51 mm.650" Bach Specs 1 1C, 1.25, 1.5 2, 2C Bach as Measured 1C 1.5C 3C 5C 7C Sparx (Cornet) 2 3 4 Stage 1 Double Cup Stomvi 0,7 0,8 (16.95)0,9 1 2 Stork Vac 1.5SM2 Vac 1 Vac 2 Vac 3 System Blue Extreme Blue1 (deep)Blue2 (medium) Tottle 1B, 1C 1.5, 2 X60 Warburton 1 2 3 4 5 Denis Wick 1X 1 2 Yamaha 18C4 17C4 16C4 14C4 13B4 13C4 Zaja Mpcs (Greg Black) BP 6NY Zottola 66 Table 216.43 - 15.75 mm Size in mm / Inches 16.43 mm.647" 16.38 mm.645" 16.30 mm.642" 16.26 mm.640" 16.20 mm.638" 16.13 mm.635" 16.00 mm.630" 15.90 mm.626" 15.75 mm.621" Manufacturer Bach Specs 2.5, 2.75 3, 3C 5C 6, 6C7, 7C8, 8C 8.5C8.75C 9, 9C10, 10C 10.5C 10.7511C Bach as Measured 10.5C Schilke 10A410B4 9C4 9 8A4 8E2 6A4A7B4 5A4 Alliance 8 Best Brass Japan 3C 5C 7C, 7E 9C, 9E Greg Black 5 Series 7 Series 10 Series Blackburn 7 Breslmair G3A, Y31C 7D Bush M N Calichhio Artist Series Reid PorrelloJ Thomas BivianoSaunders Noday CarderThornburgTrigg Snooky Callet 3 7 10 Al Cass 1-24 to 1-28 Curry 8.5 10.5 Endsley #1, #2 GR Mouthpieces 64 63 62 GR Haefner 7H Giardinelli 10 Hammond 7 Jaz-Tec D E, G F Jet Tone 10 Old Jet Tones 3C AH 5C 7C Kanstal B8 G1, P6 B9, 5C MF11, MF3,G2, 7C BL2 BL3 BL4, B7 Kelly Lexan Vax Klier (JK) 8 9 10 Laskey 40 30 Marcinkiewicz 11-15 Milashius B6 B7 B8 Miraphone TR07TR11 Monette (Bb) B5, B6 B7 B8 Rudy Muck 13 Size in mm / Inches 16.43 mm.647" 16.38 mm.645" 16.30 mm.642" 16.26 mm.640" 16.20 mm.638" 16.13 mm.635" 16.00 mm.630" 15.90 mm.626" 15.75 mm.621" Bach Specs 2.5, 2.75 3, 3C 5C 6, 6C7, 7C8, 8C 8.5C8.75C 9, 9C10, 10C 10.5C 10.7511C Bach as Measured 10.5C Northern Brass 1, 2, 3, 4, 5 Parduba 1, 2, 3, 4, 5 Purviance (ID) 6.5 6 4.5 4 Reeves 41M 40 Sarad X, Y, Z Brahms Signature Models TrudellCanadian BrassMic GilletteRick Braun Bob O'DonnellEric Miyashiro Mike Vax Al Hirt Carl FischerHolton Heim Series (15.85) Stomvi 3 4 5 6 78 (15.85) 9 Stork Vac 4SM6 Vac 5 Vac 7 Tottle 3 5 X25 System Blue Extreme Blue 2 Blue 3, WD X25 Warburton 6 7 8 Denis Wick 4 Yamaha 11 9C4 13A4A 6A4A Zaja Mpc (Greg Black) NY2 NY5 NY3NY1 Zottola 64 62 Table 315.7 - 15.0 mm Size in mm / Inches 15.70 mm.618" 15.65 mm.616" 15.60 mm.614" 15.20 mm.598" 15.10 mm.594" 15.00 mm.590" Manufacturer Bach Specs 11.5C 11.75C 12, 12C 17, 17C18, 18C 20C Greg Black 12 Series Callet 10S, DT10 12 17 Al Cass 2-24 to 2-28 3x1 to 3x5 (15.3) Conn (Old) 9BN Giardinelli 12 (15.5) 17 Kanstal BL4 CG10 10C Rudy Muck 17 Purviance 2 1 Signature Models Pete Candoli (15.44) Groovin' High Bill Chase Stomvi 10 11 (15.55)12 (15.45)13 (15.35) 14 (15.25)15 (15.15) 1617 (15.05) 18 Stork SM10 Denis Wick 5 Zaja Mpc (Greg Black) NY4
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