维也纳布莱斯麦尔（Breslmair）小号号嘴知识译文

stephen

唇边
The function of the rim contour of mouthpieces is to support the vibration of the lips as much as possible.
Consequently it shall neither be too wide (blocking) nor too narrow (cutting).
A good rim should enable the
A good rim should enable the musician to play over a long period of time.
Extreme forms of shapes should not be taken into consideration
(very steep curvature of the rim down to the outside or inside), too wide,).
唇边轮廓的功能主要是为了支持嘴唇的震动从而使号嘴能够适应不同的嘴唇。
因而唇边既不能锻造的太宽，也不能切削的太窄。
一个好的唇边能够让一个音乐家使用很长一段时间。
过于极端的形状不予考虑（比如唇边的内部或者外部的曲度很陡，太宽或者太窄。）
G:     Traditional old Viennese rim contour without extremes.
        Typical inner edge, flatter curvature of the rim down to the outside.
        Provides for better endurance.
       传统的维也纳唇边没有极端
        典型的边缘，从唇边的下部到外面的边缘由统一的曲度。
        给演奏者提供更好的耐力
  
L:     Rim shape for Prof. Levora, soloist of the Vienna Philharmonic Orchestra in the 1960ies.
        Smaller inner edge than rim G,
        Rounder and steeper curvature of the rim to the outside,offers excellent embouchure.
        唇边的形状是独奏家Levora教授于1960年在维也纳爱乐乐团所使用的
        比G的唇边内沿边缘小，
        唇边的外部是曲度比较圆和陡峭，能够为演奏者提供很好的口型，

H:     This rim shape was created in imitation of the widely used mouthpiece,
        rim for high flexibility during the performance
        这种唇边的形状模仿的是广泛使用的1½ C的号嘴唇边
        这种唇边能够在演出中提供更高的灵活度。

V:     Is equivalent to rim shape 1¼ C.
        With this model we provide the possibility to switch over from a mass-produced mouthpiece to         
         our module system without greater problems
.        这种唇边相当于1¼ C的唇边形状。
        这种形状给我们提供了从大量生产的号嘴切换到我们的单独的唇边系统中没有很大的问题。

K:     The inner edge is equivalent to rim G, it is extended to 28mm to the outside.
        For a better endurance without a significant loss of the flexibility that rims with a normal width have.
        Recommended for shallow cups.
        内部的边缘与G相同，外边扩大到28mm。
        在没有明显损失灵活性的基础下获得更好的耐力，唇边的宽度正常。
        推荐搭配浅杯使用

W:    The inner edge is equivalent to rim G. Outer diameter: 29.0mm.
        内部的边缘与G相同，外径：29.0mm
        Designed to minimise signs of fatigue during long-duration performances.
        设计的初衷是为了在长时间演奏中更好的减轻疲劳。
        Recommended for shallow cups
        推荐搭配浅杯使用
.  
1:     Rim contour of Hans P. Schuh (Philharmonic Orchestra)
        Hans P.Schuh型唇边。（爱乐乐团）
        Developed out of a G1 which has been modified by my father according
        to Mr. Schuh's requirements.
        根据Mr. Schuh先生的要求从开发G1型号嘴时就修改了我父亲的一些依据。
        High inner edge.
        高内边

1C:   Copy of the Bach rim 1C.
        拷贝了Bach 1C号嘴的唇边外形
        In the area where the curvature of the rim meets the curvature of the cup, the edge of the rim         
        contour was modified in order to make the rim fit the cup series G(on request of Martin Lechner).
        
This small selection of models is only a small part of the number of rims that are available and they represent         
a cross-section of the whole range of mouthpieces. In the following table you will find the complete assortment, which is permanently extended.
Annotation: In terms of size the various pictures of the rims are individual and not proportional to each other.

Arthur

原帖由 安康羊 于 2013-4-22 00:25 发表
Y21C里面的Y2是什么意思？

估计应该是某大师的定制版！不属于普通量产型！我海见过Y12C
另外我记得backbore上有B     所以这个号嘴是比其他那些要灵敏很多的！
和G2  G1比cup也略微浅一点

ykf034

希望继续能看到介绍沙格尔号嘴的文章。

安康羊

Y21C里面的Y2是什么意思？

周荣庆

原帖由 roseduan1998 于 2013-4-19 22:12 发表
这款号嘴倾注了一代德奥小号演奏家的多少心血哦。我看到的欧洲版本有Breslmair lechner 标示，Breslmair 的 PICCOLO号嘴是超级优越。

号嘴倾注了小号演奏家的心血，而这个帖子则倾注了站长的心血。
谢谢站长十年如一日，一日既往地源源不断地为我们提供各种宝贵的信息！

dokshitser

真够详细的了，可惜国内没这么多货源。。。

trumpetson

辛苦了！以后有参照了。

sean_han

站长辛苦了.

roseduan1998

这款号嘴倾注了一代德奥小号演奏家的多少心血哦。我看到的欧洲版本有Breslmair lechner 标示，Breslmair 的 PICCOLO号嘴是超级优越。

stephen

The shank
The back  bore of the mouthpiece influences its ease of play to a percentage equaling  its percentage of length Most  musicians  are  not  aware  of  the  importance  of  this  part  of  the  mouthpiece.  Mouthpieces  are  usually Classified a ccording to cup depth and rim width, and the only information one will get by looking through th e bo re is the degree of pollution.
The shape of the back bore can hardly be determined with traditio nal methods as this bore is too long and narrow
to  be  measured  exactly.  People  began  to  realise  the  importance  of  this  part  of  the  mo uthpiece  with  the introduction  o f  the  screw-rim  mouthpiece.  The  mouthpiece  works  like  a  jet,  its  shape  determines  speed  and intensity of the  air  compression  inside the  instrument, as well  as  the resultin g  standing  wave. So the musician
can  easily choose his/her ideal  tone  system.  The  relevant  aspects for  the  musician's choice  of  the  right  shank
should be ease of play and desired tone colour. Sometimes it will be impossible to  find all aspects embodied in one and
the same mouthpiece. Our mod ule system will satisfy the musician's demands to a large extent.
In the following the  number of the shank is inversely proportional to the volume of the shank. This means that number one is a b ulgy shank with a wide bore, whereas number eight is narrow and slim.
Wide shanks  produce a full big tone, the high register is often hard to play. Narrow  shanks produce  bright and sharp tones.

In the list you will find  shanks that have letters in their names. These shanks  are newly developed  models  and were invented in order to add some characteristics that the ones with numbers only do not have.
Shank assortment: (ranking according to volume)
下哨管分类：（按体积大小排名）
W1:   Copy of an old Viennese shan k. Trombone-like sonorous sound.
W1:  
1:     Bore of the G1 mouthpiece.
2:     Beautiful mellow tone, standard bore G2.
G:    Original version of shank Nr. 2; similar to G2 in terms of sound quality and intonation.
W2:   Shape of shank W1, however with reduced volume.
L:    Guaranteed precise ease of play, beautiful centred tone.
P:     All-round orchestra shank, brilliant sound pattern.
3:     Precise ease of play, bright to ne, standard bore G3.
4:     Especially suitable for young players, a bit too wide for piccolo.
5:     Big tone for piccolo, long Seele for the right no te in the high register.
6:     For musicians who need deep cups but who do not have enough pulmonary volume.
S:     Easy to play, without significant loss of tone quality.
B:    For Jazz and entertainment music, easy to play.
J:     Narrow dimensions, bright sharp tone, supports to reach notes in the high register.
N:    For trumpets with piston system, good results in combinatio n with piccolo trumpet.
7:     For Jazz and entertainment music. Bright, sharp tone.
17:    Copy of a legendary shank of Bach Corp. Mt. Vermont.
8:     Extremely narrow back bore for individualists.
On request we provide your favourite model  of our mouthpiece assortment  with the  back  bore of  your choice.
New models are in planning, technical modification subject to change without notice.

stephen

Cups

杯型	开孔	深度	杯直径	产品描述
G6	3,60	SS	16,400	高音小号和爵士用杯
G5	3,65	S	16,400	适用于爵士乐现代音乐和高音小号
GA4	3,70	S	16,400	高音小号和爵士用杯
GB	3,60	M	16,400	旧式维也纳式杯
G4	3,60	MD	16,400	浅型杯宽赫兹

Every model that shows the letter G in its name is a member of the series G, to which all standard rims (with a width of 16.4mm at a depth of 2.5mm to the inside of the rim)
每一个在其名称里有字母G的都归属与G系列，这是标准的唇边（宽度为16.4毫米，到唇边内边的距离为2.5毫米）。
The follo wing picture shows a comparison of the shapes of different module cups.
下图展示的是不同的模块杯的形状对比。
The cup depth has an influence on both sound and ease of play. Cups, which are too deep will produce a beautiful tone, however, when the musician has to strain himself/herself too much, because of the depth, not only the endurance but also the quality of music will suffer enormously.The ease of play will give the musician more freedom in his/her performance.
It is important to find your favourite sound by using the corresponding back bore.
One should always be aware of the fact that estimating a mouthpiece by just looking at the inside of the cup or thro ugh  the bore will lead to misjudgements in  most cases. If one does not  take the back bore into account, the measuring  of  a  mouthpiece  by  visual  judgement  will  not  work.  Referring  to  co mfo rt,  the  inner  width  of  a mouthpiece is of major importance. My recommendation would be to get further information on this topic from an expert and to try different widths.

stephen

Playing  the  high  register  on  the  piccolo  trumpet  demands  great  effort  from  the  musician. Consequently  this special trumpet should have a corresponding mouth piece
音乐家在高音小号上演奏较高的音域需要付出巨大的努力。因此特殊的小号应当有相应的号嘴

The higher the frequencies the lips have to produce, the more power is needed by the mimic muscular apparatus.
嘴唇产生的高频率更多的力量是需要靠模仿肌肉的器械。
Wide cups produce fuller tones b ecause of more  lip  vibration, high tones, however, cannot be easily produced, which  leads  to  lower  endurance.
宽杯的制作是因为能够使嘴唇更充分的震动，但是高音不容易产生这会导致耐力的下降。
The  reduced  cup  width means  a  less  tiresome  performance  to  the  musician, which  enables  him/her  to  save  po wer  and  to  hit  the  higher  tones  more  precisely.  The  result  will  be  a  more brilliant tone.
减少杯的宽度意味着降低音乐家表演时的疲劳，使他/她在演奏中更加节省力气的同时获得更好的音准和更高的音。
We  should  however,  distinguish  between  two  different  groups  of  musicians,  those  who  use  their instruments only occasionally  and for a short period of  time, and  tho se who  have  devoted  themselves to the old masters  of music.
我应该把投身音乐的老音乐家和那些很少使用自己乐器的乐手区分开
For  the  professional  trumpeter  there is  only o ne  possible  way  to  master  this  task b rilliantly:  to  choose  a  real piccolo mouthpiece with its corresponding narrow cup diameter.
对于职业的小号演奏者来说只有一种方法来完成这个任务精辟：选择与其相适应的窄杯径的高音小号号嘴。
For  musicians  playing in  orchestras, who play  mainly C- or B-trumpets, it will be best to  stick to the cup  (rim) diameter and rim contour of his/her choice, and use a piccolo cup with the screw-rim of his/her choice. Thus the musician  will  then  be  in  the  po sition  to  meet  most  of  the  demands  witho ut  having  to  get  used  to  a  new mouthpiece.
Musicians who  see  no problems  at  all  in changing  the  rim could  think about  the  possibility  of  solely using  a piccolo rim (rim with a narrow inner diameter). This means that there wo uld be an edge, because the curvature of the rim does not fit perfectly to the curvature of  the cup (intentionally a smaller rim is used for a bigger  cup), which ho wever, could have some positive effects, as well: more volume of tone, caused by a greater cup volume, narrow rim, which supports the production of hig her frequencies.

Rims

唇边型号	外部 Ø	标准宽度	杯直径	产品描述
R	27,700	15,973	16,000	Prof. R. Rudolf式唇边(†1995) (Wr. Symphoniker)
7D	27,950	15,974	16,000	与 Bach 7D Mt. Vernon相对应
BB	27,890	16,096	16,000	老式的的高音号嘴唇边，较宽
K16	27,600	16,322	16,000	唇边的轮廓是以K为标准杯的模块为16.0毫米
N5	28,270	16,388	16,000	Bo Nilson式唇边

stephen

杯	孔	深度	杯直径	产品描述
G1W	3,800	TT	16,400	大型乐团用德式小号模块
GE48	3,800	TT	16,400	杯子形状以 Yamaha 15E4为参照
G1	3,800	T	16,400	与传统的G1型杯相同
G1S	3,800	T	16,400	比G1小而浅的杯 H.P.Schuh (Philharmonic Orchestra)
G2B	3,800	NT	16,400	与传统的G2型杯相同
G2	3,800	NT	16,400	经典的乐团用杯型
G2S	3,800	NT	16,400	Shallower and more V-shaped than G2
G2A	3,800	M	16,400	中等深度的G2
G3S	3,800	M	16,400	改良后的G3
G3	3,800	M	16,400	次杯适用于现代音乐和传统的奥地利音乐
G3A	3,800	MS	16,400	G3的改进版本
G3C	3,800	M	16,400	以Bach3C为参照 Mt. Vernon (Tamas Velenczei)
G7D	3,700	MS	16,400	杯子形状以Bach 7DW为参照
G4	3,600	S	16,400	浅型杯宽赫兹
G5	3,650	S	16,400	适于演奏爵士乐，现代风格音乐及 高音小号演奏使用
G6	3,600	SS	16,400	爵士及高音小号使用的杯型
GA4	3,700	SS	16,400	爵士及高音小号使用的杯型

S: 浅                  M: 中深      NT :正常深     T: 深
SS: 非常浅         MS:中浅                           TT: 非常深
The  names  of  the  cups  have  partly  been  taken  over  or  have  been  derived  fro m  already  existing  complete mouthpieces.  
杯子的名字有部分被替换或者使用已经存在的完整号嘴名字。
The  permanent enlargement of  our range of  products and their  further development lead often to confusing names, which are mainly caused by overlapping or variation of several different shapes of cups.
The bore has to be 3.8mm or smaller in order to guarantee that all different forms of shank will fit. Special bores can of course be individually produced on request at any time.
开空的尺寸3.8毫米或者更小，用来保证与不同形式的哨管搭配合适。当然在任何时候我们都接收单独的定制开空的尺寸。
Cup width: diameter of the cup at a point where the curvature of the cup meets the curvature of the rim – 2.5 mm to the inside of the rim.
杯宽：杯子与唇边相交的内测边缘的宽度为2.5mm
Most commonly used rims fit my module system. The cups for rims with extreme diameters can be individually modified and cups of special model series fit, as well. We  have  decided  to  leave  the  topic  of  the  sound  character  of  a  cup.  Only  system  as  a  whole  –  musician, mouthpiece, instrument,  mu sical style –  can be judged  subjectively.  One  should be  aware of  the  fact that both rim and back bore have great influence on the sound!
常用的唇边都适合我们的模块更换系统。配合极端直径唇边的杯子可以单独修改配合特殊型号适合和的杯子

The musician is the only one who decides which cup (or mouthpiece) will be the best one for his/her kind of music.

stephen

The module cups
杯组件

G1: Goes back to an old Viennese mouthpiece used by the Vienna Philharmonic Orchestra.
        Progenitor of all mouthpieces of series G. ,Great tone volume and sonorous sound.
        追溯到老的维也纳爱乐乐团所使用的号嘴，所有的号嘴都是原始的G系列，有着美妙的音色和洪亮的声音。

G2:  Shallower than G1, excellent tone quality and ability to create the right intonation.
        Popular especially as a mouthpiece for orchestra.
        与相比G1,G2有着优良的音质
G3: Equally suitable for talented students as for professional musicians.
        Recommended for both brass music and entertainment music.
        此款好嘴同样适合天赋比较好的学生和专业的音乐家。
        建议用于演奏铜管音乐和轻音乐使用。
        
G4:   Musicians who have devoted themselves to a more modern style of music will enjoy this model.
        Smaller bore   (3.60mm), very shallow, however, with a wide Herz, in order to avoid shrill tones. Also suitable for piccolo.
        音乐家们都喜欢把G3这个组件用于演奏现代风格的音乐会。然而这个组件的孔较小（3.60mm）而且很浅，
        然而赫兹频数较宽，是为了为了避免声音过于尖锐。适用于高音小号。
G5:   Shallow cup for Jazz and Big band, a high-quality piccolo mouthpiece when combined with the corresponding  shank.
        小而浅的杯子比较适合爵士乐和乐队演奏，这种高级的高音小号号嘴应当与相应的哨管配合使用。

G6:  Extremely shallo w and flat cu p for the extremely high tones.

This small selection represents only a  small part of the cups that are  available and forms the basis of the  whole
range of cups. (drawings not to scale)

stephen

Nominal width: measured at depth of 1.5mm to the inside of the rim.
公称宽度：唇边的内侧测量深度为1.5mm
Diameter of the cup: cup width where the curvature of the rim meets the curvature of the cup – 2.5mm to the inside of the rim.
杯子的直径：杯子与唇边相交的内测边缘的宽度为2.5mm

The shape of the cup is significantly important in order to receive the desired tone-colour or to give the play the
desired  expression.
杯子的形状具有重要的意义，可以获得理想的音色或者让演奏更有表现力。
It  is  still  true  that  a  large  cup  produces  a beautiful  round  tone  rather  than  a  shallow  cup.
尽管如此，大杯的音色要比小杯的音色更漂亮、圆润。
However, it should be the musician alone who at last decides which type of cup lives up to his/her expectations.
然而，音乐家为达到他/她所需要的表现力，需要由他们自己来决定杯子的杯子的类型

唇边型号	外Ø	实际宽度	杯直径	产品描述
G2B	27,450	16,720	16,400	修改过的G型唇边。
HD	27,762	16,722	16,400	H.Demmer 型唇边(tone artist)。
K	28,000	16,722	16,400	根据G型唇边的内沿，外沿则陡峭而宽。
W	29,000	16,722	16,400	宽的唇边能够提供更好的耐力。
GL	27,522	16,742	16,400	与G型唇边相类似，陡峭并且宽
GW	27,500	16,752	16,400	原始的G型唇边
L	27,376	16,754	16,400	根据 Prof. Levora提供的轮廓(Philharmonic)
3C	27,300	16,824	16,400	Bach 3C Mt. Vernon (Tamas Velenczei)
H	27,432	16,829	16,400	根据Bach 1½ 改进
VC1	27,315	16,867	16,400	Variation of V, sharper inner edge R1,452
VC2	27,315	16,875	16,400	Variation of V, sharper inner edge R1,389
V	27,315	16,877	16,400	Contour according to Bach 1¼, modified R1,629
17	27,457	16,910	16,400	与Schilke 17相同
7C	27,003	16,954	16,400	与 Bach 7C相同
114	27,498	16,994	16,500	与 Bach 1¼ C相对应
GW5	27,769	17,020	16,500	GW的轮廓, 但内部宽度较大
1C	27,330	17,163	16,400	Bach 1C改良版