Caravan Saxophone Mouthpieces
Available for soprano, alto, tenor, and baritone saxophones, this mouthpiece represents a more modern manifestation of Adolphe Sax’s original mouthpiece design. The “open chamber” characteristic (no constriction in the tone chamber) provides for considerable tonal depth and darkness in quality for “classical” performance on saxophone, but the tone chamber is also sized to allow for plenty of power and richness compared with older open-chamber designs. The beautifully balanced sound this mouthpiece can produce comes primarily from the deep baffle and round tone chamber that blends smoothly into the bore of the mouthpiece. Somewhat wider side and tip rails provide for greater purity in the tone and greater homogeneity of color throughout the saxophone’s range.
Cap and Ligature NOT included.
About the different Alto Mouthpiece chamber sizes—
The medium-chamber alto saxophone mouthpiece will produce a somewhat “brighter” sound compared with the large-chamber mouthpiece. This is sometimes preferred by players converting from a brighter mouthpiece, such as some of the common French-style mouthpieces or jazz-style mouthpieces. Also, the large-chamber mouthpiece may be found to lack harmonic balance and adequate projection on some modern instruments that are inherently “darker” in sound production (such as some newer Selmer altos), although this issue has been found to differ significantly player to player. In such situations, which tend to be the rare exceptions, the medium-chamber mouthpiece may be the better choice. Although none of these mouthpieces are recommended for jazz, some players have had success using the soprano and medium-chamber alto in certain kinds of jazz chamber music or combo work where significantly less “brightness” is desired.
Consistent with an “American concept”—
The Caravan Saxophone Mouthpiece has been designed to make it easier for the saxophonist to produce a tone quality that corresponds appropriately to the sounds heard among other woodwind performers in symphonic and classical music in America—an “American” sound representing, more or less, a synthesis of various European “schools.” The sound this mouthpiece encourages is a particularly attractive alternative to the brighter, “brassier” sounds generally associated with the French school and the mouthpieces (French manufacture or French derivative) that produce those results—a sound concept that has generally not found favor among non-saxophonist symphony musicians in the U.S.