Caravan C-Tenor („C-Melody“) Saxophone Mouthpiece
Introduced in the summer of 2014 in response to multiple inquiries and requests, the Caravan C-Tenor Saxophone Mouthpiece represents a modern open-chamber mouthpiece produced to complement vintage C-tenor saxophones (commonly referred to as “C-melody” saxophones). Thousands of these instruments were produced in the U.S. (most in Elkhart, Indiana) prior to 1930, and many of them are still being used in various settings today. While often presenting more pitch problems to overcome compared with more modern Eb altos and Bb tenors, the C tenor produces a uniquely beautiful sound. This new C-tenor mouthpiece is similar to the Caravan Bb Tenor Saxophone Mouthpiece on the inside and has essentially the same facing curve and tip opening (around .067 in.), but its shorter length and bore are sized to be appropriate for the C-tenor. Dr. Caravan used a Conn C-tenor saxophone (serial no. 132xxx) in the design and testing of this mouthpiece. Compared with an original vintage Conn C-tenor mouthpiece, the new mouthpiece produced a larger, darker tone and a somewhat better pitch center.
The Ronald Caravan Saxophone Mouthpiece
Ronald L. Caravan: „Available for soprano, alto, tenor and baritone saxophones, this mouthpiece represents a modern manifestation of Adolphe Sax´s original mouthpiece design. The „open chamber“ characteristic (no construction 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. Wider side and tip rails provide for greater purity in the tone and greater homogenity of color throughout the saxophone´s range.
This 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 syntesis 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 mouthpiece characteristics that produce those results – a sound concept generally not found favour among other symphony musicians in this country.“