The original cornet mouthpiece range went from numbers 2-7, but over the years certain models have become almost ubiquitous - especially the 4B.
Its rim width is smaller than the number 5. It’s the workhorse - although a thoroughbred one at that - the cup diameter is not as wide as the heavy duty deep open backbore numbers 2 or 3, or equally popular number 4. Look around any orchestra, wind band, symphonic ensemble or brass band and you can see them all being played. They are a company with a worldwide customer base. Today the internationally acclaimed Denis Wick brand now based in Poole in Dorset encompasses a huge range of mouthpieces - from trumpet to tuba, as well as mutes, valve oil and other accessories. No wonder they worked together in the years that followed. The man who led the mouthpiece revolutionĪt roughly the same time, Denis Wick was putting the finishing touches to his trombone mouthpieces (the cornet models came a little later and were designed in association with Tommy Wilson of the Band of the Scots Guards), and in May 1970 the first advert was seen in British Bandsman.īy the end of the year Boosey & Hawkes were selling complete sets of low pitch instruments on Hire Purchase schemes for £3,800, whilst trombone and euphonium players were jamming the telephone switchboard at Edgware Road (you had to deal direct at the time) to get their hands on Denis Wick mouthpieces.īoth had literally struck gold (22 carat in fact with the mouthpieces).
#DENNIS BRAIN MOUTHPIECE FULL#
Together they heralded a new tonal revolution – one completed with the introduction of wide bore instruments in the 1970s.īy the time of the National Championships in 1968 the first part of the revolution was almost complete: Boosey & Hawkes taking out a full page advertisement in British Bandsman magazine congratulating the top three podium prizes winners of Brighouse & Rastrick, Black Dyke and GUS (Footwear) on playing ‘low pitch brass’ made by them.
The second was the arrival of Denis Wick mouthpieces. The first was the decision by manufacturers such as Boosey & Hawkes to cease the production of high pitch instruments. Two innovations in the late 1960s changed the sound of the modern brass band forever.
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