Only two mouthpieces? I have about 60😂 In all seriousness though, there are four main horns that I use, and I use two mouthpieces on each, depending on what kind of sound I need. On bass trombone in orchestra, I usually use a mouthpiece with a deep cup. In a big band I prefer a shallower cup while keeping the same rim size.
I only used 3 mouthpieces in my 36-year career. A Bach 1.5G and 4G (depending on gig) for my bass trombone, and a Bach 7C for my tenor. Played symphony, pit, big band, combo, and commercial. Mind you, I started back in the early 70s, when it was mostly trumpet players who had large mouthpiece collections. These days, it seems that symphonic players use monster-large mouthpieces which produce, in my opinion, a sound that feels like they are barely hanging on to the higher pitches. I don't find this sound appealing.
I agree. Trombone 'low-self' esteem had caused 'passed' millennium orchestral trombonists (particularly principle players) to pursue ever greater euphony of sound (more like a conical euphonium than a cylindrical baritone) as their prescribed voice to excuse criticisms of brassiness come from wood wind and string soloists whose favor and musical company the wish to court as simply 'principle' trombonists aspire to to the rank and acclaim of 'solo' trombonists. Unfortunately, more often than this 'polite' sound causes them to fail their role in the section sound, as it is heard 'in the hall'. Trombones are today loud, excessively so, but they don't project or 'cut' (as an alternative to volume) as they once did to participate in the obligation the composers intended. There is indication that trombonists are rediscovering the service of shallower more conical mouthpieces, not to facilitate playing higher, but to cause the resonant richness lost to the bloat of a sound with a rolled of top end.
@@philosophicallyspeaking6463 Glad you feel somewhat like I do. In the 1973 book, The Trombone, by Robin Gregory, there are identified excerpt examples in chapter 10 of how composers used the trombone to portray nobleness and grandeur, religious calm and imposing, the wild clamors of the orgy, chanting like a choir of priests, threating, lament, ringing of a funeral knell, raise a hymn of glory, break into frantic cries, or sound its dread flourish to awaken the dead or doom the living (all the author's words). Does today's trombone section stay true to the composer's original intent? But it has been a long time progression, starting with using the tuba to replace the contrabass trombone. Don't get me wrong, I've done many an arrangement where I want that tuba sound with a group of trombones. But there were a number of composers (i.e., Wagner, Verdi, Puccini, Strauss, d'Indy, Schoenberg, Berg, Webern, etc.) that heard and scored the lowest brass voice for the projecting sound of the trombone rather than the "fat and tubby" sound of a tuba. Also, I get annoyed with today's trombonist bitchin' about what a tough workout it is to perform something like, Lohengrin, all while using their monster-big trombones and mouthpieces. Hell, I've played lead on an old, Olds Recording trombone and a Bach 7C mouthpiece for a 4-hour big band gig...don't tell me that Lohengrin is harder than that.
