Abstract:
The present invention, is a new design for a woodwind musical instrument mouthpiece capable of harmonic vibration. The mouthpiece is fitted with an interchangeable tone-altering member including an interchangeable secondary reed having a wave form which vibrates inside the tone chamber of the vibratable mouthpiece for the purpose of adding intensity and character to the tone quality when the mouthpiece is played with an associated appropriate musical instrument the secondary reed includes on one end thereof a wedge-shaped member which alters the size of the tone chamber and, thereby, further changes the tone produced by the instrument. The interchangeable, tone-altering element is preferably mounted within the interior of the tone chamber such that the secondary reed is positioned in a plane substantially on the longitudinal axis of the tone chamber and is positioned on the side of the secondary reed facing the primary reed and at the end nearest the opening of the mouthpiece tapering in the direction of the opening of the mouthpiece. The combined tone-altering member is positioned within the interior of the tone chamber and retained therein by friction alone against opposite sides of the tone chamber. Varying the sizes and shapes of the wedge, the interchanging of the combined tone-altering element combined with the harmonic vibration of the mouthpiece induces a wave form which intensifies the tone or sound of the instrument and allows the individual artist to produce the varying volume and types of sound that may be produced.

Description:
BACKGROUND OF THE INVENTION 
     1. Field of the Invention 
     This invention relates generally to wind instrument mouthpieces and more particularly to clarinet and saxophone harmonic mouthpieces with sympathetic reeds. More specifically, the invention contemplates a modification of the mouthpiece for single reed instruments, such as clarinets and saxophones, wherein an improved independent and interchangeable secondary reed, having mounted thereon a wedge, is positioned inside the hollow mouthpiece chamber, the secondary reed vibrating sympathetically when the primary reed is placed in vibrating motion during ordinary use of the instrument to which the mouthpiece is attached and the wedge altering the cross-sectional area of the tone chamber of the mouthpiece, and whereby the mouthpiece vibrates in harmonic resonance with both the primary and sympathetic reeds. 
     2. General Background 
     Interchangeable, wedge-shaped members have been positioned within the interior of mouthpiece chambers of woodwind instruments in order to change the cross-sectional area of the chamber and, thereby, modify the tone quality that is produced. Such structures are shown in U.S. Pat. Nos. 2,397,593 issued Apr. 2, 1946, to Brilhart; U.S. Pat. No. 3,202,032, issued Aug. 24, 1965, to Strathmann, and U.S. Pat. No. 2,530,155, issued Nov. 14, 1950, to DeLuca. U.S. Pat. No. 4,041,827, issued Aug. 16, 1977, to Daglis, discloses a tone-enhancing element that is incorporated within the mouthpiece of a reed instrument, the element having two steps projecting into the air flow-through passage of the mouthpiece at a point opposite the opening over which the reed is mounted. U.S. Pat. Nos. 2,224,719, issued Dec. 10, 1940, to Brilhart and U.S. Pat. No. 2,499,855, issued Mar. 7, 1950, to Gamble, disclose adjusting the tone quality of woodwind instruments by including means which contact the primary reed in order to alter the tone quality produced by the instrument. Another mouthpiece is disclosed in U.S. Pat. No. 1,583,382, issued May 4, 1926, to Bauer, wherein a single piece of stamped, bifurcated metal is secured to the inside surface of the mouthpiece, where functioning depends on a critical position in the mouthpiece of the inserted piece of metal in order to accomplish tone alteration. In U.S. Pat. No. 4,212,223, issued Jul. 15, 1980, to the present inventor, a mouthpiece for a woodwind musical instrument is disclosed which contains a primary reed and a secondary reed positioned within the interior of the mouthpiece and which is positioned substantially parallel to the primary reed. While the inventor&#39;s prior patent has proven successful in altering the tonal quality of reed instruments, the present invention provides a more easily interchangeable member adaptable to both conventional and specifically adapted mouthpieces, which combines a secondary reed with a wedge-shaped member placed thereon to alter the tone quality of the reed instrument. The secondary reed in the present invention has a wave configuration in combination with very specific shapes for the wedge. Further, the mouthpiece itself is designed to vibrate in harmonic combination with the primary and secondary reeds. None of the other mentioned patents contains a disclosure of a secondary reed suspended in the instrument mouthpiece tone chamber substantially parallel or offset to the primary reed, nor do any of the patents disclose the interchangeable, tone-altering member of the present invention, which includes a combination of a sympathetically vibrating secondary reed and a wedge-shaped member placed thereon, which alters the cross-sectional area of the tone chamber or a vibrating mouth piece. 
     SUMMARY OF THE INVENTION 
     In accordance with the present invention, a new design for a woodwind musical instrument mouthpiece is provided capable of harmonic vibration. The mouthpiece fitted in the interior thereof with an interchangeable tone-altering member comprising an interchangeable secondary reed having a wave form which vibrates inside the tone chamber of the mouthpiece for the purpose of adding intensity and character to the tone quality when the mouthpiece is played with an associated appropriate musical instrument and which includes on one end thereof a wedge-shaped member which alters the size of the tone chamber and, thereby, further changes the tone produced by the instrument. The instruments which are particularly contemplated for modification according to the teachings of the present invention include but are not limited to various types of clarinets and saxophones, such as a B-flat clarinet, an alto clarinet, a bass clarinet, and the like; also contemplated are alto saxophones, tenor saxophones, baritone saxophones, soprano saxophones, bass saxophones, and the like. The interchangeable, tone-altering element is preferably mounted within the interior of the tone chamber such that the secondary reed is positioned in a plane substantially parallel to the plane of the longitudinal extent of the tone chamber. The wedge-shaped member is positioned on the flat side of the secondary reed facing the primary reed and is positioned on the secondary reed at the end nearest the opening of the mouthpiece. The wedge-shaped member tapers in the direction of the opening of the mouthpiece. The combined tone-altering member is positioned within the interior of the tone chamber and retained therein by friction alone on opposite sides of the tone chamber. By varying the sizes and shapes of the wedge, the interchanging of the combined tone-altering element will thus modify the tone or sound of the instrument and allow the individual artist to produce the varying types of sound that may be required. Accordingly, it is an object of the invention to provide a vibrating mouth piece in accordance with the Boehm theorem, which stipulates that in order to achieve a brilliant and sonorous quality from a wind instrument it is necessary that the molecules of the instrument be set in motion simultaneously with vibration of the air column in a manner so that they assist each other. 
     It is another object of the present invention to provide a mouthpiece for reed instruments wherein the mouthpiece is provided with an interchangeable, tone-altering member mounted within a wind instrument mouthpiece for altering the tone produced by the instrument. Another object of the invention is to provide an interchangeable tone-altering member which can be positioned within the interior of the mouthpiece of a wind instrument, the tone-altering member comprising a secondary reed which vibrates sympathetically within the tone chamber of the musical instrument mouthpiece and a wedge positioned on one end of the secondary reed for altering the cross-sectional area of the tone chamber. Still another object of the invention is to provide a mouthpiece for a wind instrument with an interchangeable, tone-altering member formed of a secondary reed which vibrates sympathetically with the primary reed of the instrument and which further includes a wedge positioned on one end of the secondary reed for altering the cross-sectional area of the tone chamber, the interchangeable member being positioned into and out of the interior of the tone chamber by friction, the wedge portion in contact with the side walls of the mouthpiece. 
    
    
     Yet another object of the invention is to alter the tone quality of a reed instrument by incorporating within the interior of the tone chamber of the instrument an interchangeable, tone-altering member which comprises a secondary reed having a wave shape which vibrates sympathetically with the primary reed and a wedge-shaped member having numbered configuration designations positioned at one end of the secondary reed and which alters the cross-sectional area of the tone chamber in a very precise manner. These, together with other objects and advantages which will become subsequently apparent, reside in the details of construction and operation as more fully hereinafter described and claimed, reference being had to the accompanying drawings forming a part hereof, wherein like numerals refer to like parts throughout. 
     BRIEF DESCRIPTION OF THE DRAWINGS 
     FIG. 1 is a cross-section view of applicant&#39;s previous invention for a secondary reed with tone enhancing member with typical mouthpiece; 
     FIG. 2 is a cross-section view taken along sight line  2 — 2  as shown in FIG. 1; 
     FIG. 3 is a cross-section view of another of applicant&#39;s previous inventions for a secondary reed with typical mouthpiece; 
     FIG. 4 is a cross-section view of the prior art with tone enhancing member and non-typical mouthpiece; 
     FIG. 5 is an isometric assembly view of the preferred embodiment of applicant&#39;s new mouthpiece; 
     FIG. 6 is an isometric view of the preferred embodiment of applicant&#39;s new mouthpiece; 
     FIG. 7 is an isometric view of the reed side of the preferred embodiment of applicant&#39;s new mouthpiece; 
     FIG. 8 is cross-section view taken along sight line  8 — 8  in FIG. 6; 
     FIG. 9 is an isometric view of a first embodiment of the secondary reed; 
     FIG. 10 is an isometric view of a second embodiment of the secondary reed; 
     FIG. 11 is a cross section view taken along sight line  11 — 11  seen in FIG. 7; 
     FIG. 12 is a cross section view taken along sight line  12 — 12  seen in FIG. 11; 
     FIG. 13 is a cross section view taken along sight line  8 — 8  in FIG. 6 with the reed shown in FIG. 10 in place; and 
     FIG. 14 is also a cross section view taken along sight line  8 — 8  in FIG. 6 with the reed shown in FIG. 9 in place. 
    
    
     DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT 
     The mouthpiece for single reed instruments is conventionally carved from wood or plastic, or, if made from plastic, can be made by conventional lost wax casting or injection molding techniques. Although varying somewhat in size, external appearance, and shape, according to the intended instruments with which the mouthpiece is to be used, the general configuration and structure of mouthpiece to be used with various single reed musical instruments is shown in FIGS. 1 and 2, wherein a mouthpiece  10  is illustrated, over which a tapered annular ligature  12  slides in order to retain primary reed  14  in contact with the lower surface  16  of mouthpiece  10 . Mouthpiece  10  is made up of a tubular connection portion  18  for insertion within the upper end of a conventional wind instrument body (not shown), and mouthpiece  10  also has an upper inclined wall  20  against which the musical performer&#39;s upper lip rests during operation of the instrument. Thumbscrew  22  passes through an orifice in ligature  12 , with rotation of thumbscrew  22  effecting tightening action of ligature  12  against the lower surface  16  of mouthpiece frame  10  to hold primary reed  14  in place. The construction and operation of ligature  12  is standard and conventional and does not relate to the operation or mounting of the tone-altering member of the present invention. Primary reed  14  can be seen held in place against lower surface  16  of mouthpiece  10  by ligature  12 . Primary reed  14  is conventionally cut out of elastic reed plates, such as cane, and tapers to primary reed edge  24 , which projects somewhat below arcuate end  26  of inclined wall  20  of mouthpiece  10 , leaving a chink through which the musician blows in order to set tapered edge  24  in vibratory motion in conventional operation of the instrument. Vibrations of primary reed  14  set the entire column of air within the instrument in motion and reinforcement from waves of air that arise in the interior of the instrument produces an alternation in the pressure of air adjacent to reed  14  sufficiently powerful to make it vibrate sensibly. The tones produced by instrument has a pitch determined by the length of the column of air in the instrument, the acoustic length of which can be altered by opening the side holes located in the body (not shown) of the instrument. The time of vibration of primary reed  14  consists of the time of forward motion, the time of rest, and the time of recoil. When the reed is placed in the player&#39;s mouth, the air pressure on inside surface  28  of reed  14  is equal to the pressure against outside surface  30  of reed  14 . As the musician blows air through the chink between surface  26  and reed  24 , a suction is created against inside surface  28 , drawing edge  24  in the direction of end  26  after the pulse of compressed air exits at the first found point of outlet on the musical instrument. External air then rushes in to restore equilibrium and cause edge  24  of reed  14  to recoil. Cyclic repetition of this process sets the entire column of air within mouthpiece frame  10  and the associated instrument body (not shown) in periodic motion, which generates the acoustic tone or sound characteristic of the musical instrument. Accordingly, the air within mouthpiece tone chamber  32  oscillates to form a wave characteristic of the musical instrument with its side holes opened as desired by the musician to generate the desired tone. Positioned within tone chamber  32  are the tone-altering member  34  of the present invention comprising secondary reed  36  and wedge  38 . The oscillatory motion of the air within tone chamber  32  sets secondary reed  36  into sympathetic vibration and causes a modification in the tone quality obtained. Similarly, the thickness and configuration of wedge  38  alters the cross-sectional area of tone chamber  32  and, thus, the column of air which is set in motion in tone chamber  32  and, thereby, further modifies the tone quality obtained from the musical instrument. The phenomenon of sympathetic resonance is well known to musicians. When, for example, the strings of two violins are tuned to the same pitch, and one string is bowed, the other will begin to vibrate. Even when the pitch of the primary sounding body is not exactly that of the sympathetically vibrating body, the latter will, nevertheless, often make sensible sympathetic vibrations which diminish in amplitude as the difference of pitch increases. Light elastic bodies, which offer little resistance, can be more easily adapted to vibrate sympathetically to a primary tone than massive elastic bodies. Moreover, sympathetic vibration can also be induced, corresponding to the harmonic upper partial tones of the primary body. The mode of transmission from a primary vibrating body to a secondary vibrating body is well known in the theory of sound, involving principles of wave motion observable in response to periodic changes in air pressure created by mechanical motion. Accordingly, when primary reed  14  begins to vibrate by movement of edge  24  alternately toward and away from end  26  of mouthpiece  10 , thereby setting in oscillatory motion the air in tone chamber  32  and producing the characteristic combination of proper and harmonic tones which are unique to the particular instrument with which the mouthpiece is associated, sympathetic reed  36  begins to vibrate through the action of the oscillatory motion of the air within tone chamber  32 , with end  40  of secondary reed  36  describing vibratory motion in a direction essentially perpendicular to its plane. The addition of a sympathetic reed within the tone chamber of the mouthpiece of a wind instrument is disclosed in U.S. Pat. No. 4,212,223 issued to the present inventor, as illustrated in FIG.  3 . The secondary or sympathetic reed  15  was either molded as a part of the mouthpiece  10  or adhered to the upper wall of mouthpiece  10  with tip  17  extending into the tone chamber  32 . By incorporating a fixed secondary reed structurally within the tone chamber of the mouthpiece, it was found that the tone quality of the instrument is altered and that greater intensity and character of the tone quality results with less exertion by the player. Aesthetically speaking, use of the invention adds another dimension and life to the tone. With the use of a secondary reed  15 , not only is the quality of the musical experience enhanced, but the musician is capable of achieving a wider variety of artistic effects with less effort, in somewhat the same manner as a musician playing a trumpet or trombone with an added mute or a musician playing a violin or viola when modifying the tone quality with an appropriate muting device. Unlike the various known muting devices, however, a secondary reed does not shade the tone quality toward a more subdued or mellow character, but, instead, achieves the opposite tone modification by adding extra intensity, character, and life without detracting therefrom. The addition of the wedge  38 , as seen in FIG.  1  and fully disclosed in applicant&#39;s U.S. Pat. No. 4,345,503, was a significant improvement on the earlier, patented secondary reed, which took advantage of the technology taught by Daglis in U.S. Pat, No. 4,041,827 as illustrated in FIG. 4 
     Wherein a step block  21  was used to reduce the area between the tip  26  and the primary reed opening  23  of a more streamlined mouthpiece  27 , thereby reducing the area of the tone chamber entrance and thus increasing velocity of air passing through the mouthpiece  27 , as seen in FIG. 1, the wedge  38  combined with the secondary reed  36  effectively reduces the area of the opening between the primary reed and the upper wall  20 . Therefore tone-altering member  34  comprises secondary reed  36  and wedge  38 , which is built on one end of secondary reed  36  and which is also placed within tone chamber  32 . Wedge  38  alters the tone chamber so that it comprises a smaller cross-sectional area and thereby changes the tone quality of the instrument to a thinner, more piercing type of tone and further increases the volume. The thicker the wedge  38 , the louder the tone emanating from the musical instrument will be. As can be seen, wedge  38  is placed on secondary reed  36  so as to face and lie in a plane substantially parallel to primary reed  14 . The wedge tapers in a direction from the interior of tone chamber  32  toward end  26  of surface  20 . It has been found that the configuration of the wedge  38  further enhances the tone quality and amplitude, as will be discussed further herein. Tone-altering member  34  can be constructed of the same material as mouthpiece frame  10 . Secondary reed  36  and wedge  38  can be made as an integral unit or the two members can be formed separately and bonded together by either a separate bonding agent or fused together if formed from plastic. Accordingly, tone-altering member  34  can be made of metal, wood, cane, or plastic. 
     Although the secondary reed or tone altering member  34  has been described and illustrated with respect to modification of a single reed mouthpiece, such as that in use with saxophones and clarinets of various types, the concept of the sympathetic or secondary reed can be extended to modify tone quality of double reed instruments, such as the oboe, bassoon and English horn. Materials of construction for mouthpiece  10  can vary, including the plastic illustrated in the drawings, but also encompassing metal, hard rubber, and the like. Moreover, primary reed  14  can be selected from a plurality of possible construction materials, including plastic, elastic wood, French cane, and the like. An important feature of the prior art relates to the interchangeability of secondary reed or tone-altering member  34 . Accordingly, various sizes and types of secondary reeds  36  can be associated with wedges  38  of various thicknesses so as to allow the musician to change the tone quality of the instrument by simply interchanging the various tone-altering members  34 . Referring to FIG. 2, it can be seen that previously tone-altering member  34  was provided with a pair of mounting flanges  44  and  46  which are formed on opposite sides of reed  36  at the end which supports wedge  38 . Flanges  41  and  42  fit within a pair of longitudinal retaining grooves formed in the interior of mouthpiece  10 . Accordingly, previously to remove one particular tone-altering member  34  and replace it with another having a different shape, size or configuration, one had to remove the primary reed and insert a pointed object at the inner end of wedge  38  and slide tone-altering member  34  outwards so that it no longer was retained within the grooves. It can be seen that the secondary reed  34  could only be installed on mouthpieces that have receptive grooves. This is a serious disadvantage if a musician desires to use the secondary reed with other mouthpieces. 
     In accordance with the present invention, we turn now to FIG. 5 which illustrates a new mouth piece design based on the Boehm harmonic theory, which stipulates that in order to achieve a brilliant and sonorous quality from a wind instrument it is necessary that the so molecules of the instrument be set in motion simultaneously with vibration of the air column in a manner so that they assist each other. To achieve this end we start with a redesign of the mouthpiece  50 . As seen in FIGS. 5-8, the mouthpiece is configured externally, essentially the same as the prior art, with the mouthpiece  50  having a ligature assembly  52  for securing a primary reed (not shown) and a neck portion  54  for fitting into the musical instrument  56 . As seen in FIG. 6, the mouthpiece  50  is somewhat longer than most mouthpieces and has a relatively small angle between the lower or reed side plane  60 , seen in FIG. 7, and the upper or inclined lip wall  62  with a pronounced shoulder  64 . In accordance with the Boehm theory, the mouthpiece is designed with a relatively thin wall thickness of 0.100 or less and made of a lightweight polymeric material to allow harmonic vibration. The walls of the mouthpiece  62  should be a consistent thickness, especially the upper lip or incline portion  62  as indicated by dimensions “η” in FIG.  8 . The inclined portion  62  is at an included angle of less than 10 degrees off the central axis. Incline portion  62  intersects shoulder  64 , forming a transition from the flattened surface  62  to the round tubular diametrical body of the mouthpiece. FIG. 8 further illustrates a longitudinal bore along axis {circle around (x)}-{circle around (x)} and a vertical centerline along axis ⊕-⊕. It is important to note that only the outermost tip  63  of the upper lip wall  62  is in contact with the longitudinal centerline “{circle around (x)}-{circle around (x)}” axis of the mouthpiece, unlike most other mouthpieces, as can be easily seen in FIG. 1-3. The transverse or vertical perpendicular centerline “{circle around (x)}-{circle around (x)}” seen in FIG. 8 serves as reed opening counterpoint for radius “R” seen in FIG.  7  and internal radius “R” for shoulder  64  with both radius being approximately the a same. The opening between the internal shoulder at corner  66  and the radius at the end of the reed opening is about equal, thereby placing a portion of the reed opening radius rearward of the center line ⊕-⊕ at distance “β” thereby allowing an abrupt expansion of air passing into the tone chamber  68  from between the reed plane and the upper lip wall  62 . The area of the passage between the reed plane and the upper lip wall  62  is approximately two and one-half times smaller at cross section “A—A” than at cross section “B—B”. Therefore, any further reduction in the area between the reed plane  60  and the upper lip wall  62 , such as by the addition of a wedge block portion of the secondary reed types illustrated in FIGS. 9 and 10, further increases the velocity of air passing into the tone chamber  68 . The relatively long reed surface plane coupled with the increased high velocity of air resulting from the drastically reduced area between the reed plane  60  and the upper lip wall  62  is allowed to expand abruptly into the tone chamber. The vibrations of the mouthpiece reed, multiplied by the high velocity, are transferred to the relatively thin walls of the mouthpiece. The walls being of a consistent thickness enable the molecules in the material to set up sympathetic harmonic resonance in the mouthpiece  50  along with the secondary reed, thereby adding increased overtones to the sounds produced by the instrument and dramatically improving the player&#39;s ability to play the instrument in the altissimo register by approximately 40% as derived by the average player&#39;s ability to play the altissimo register with a number  2  reed instead of a number five reed normally required by a much more accomplished player to play the altissimo register, thus making the instrument easier to play in the lower registers as well. The above described mouth piece  50 , with its increased velocity and improved harmonics raises the range of the instrument by at least one octave while still allowing the instrument to be played softly by mouth suppression of the reed. 
     The secondary reed as disclosed by applicant in a previous patent described the secondary reed as simply an improved independent and interchangeable secondary reed having mounted thereon a wedge, the reed positioned inside the hollow mouthpiece chamber, the secondary reed vibrating sympathetically when the primary reed is placed in vibrating motion during ordinary use of the instrument to which the mouthpiece is attached and the wedge altering the cross-sectional area of the tone chamber of the mouthpiece and, whereby, the mouth piece vibrates in harmonic resonance with the both primary and sympathetic reeds. Applicant has since found that there is a good deal more involved here than first thought. 
     The teachings of the prior art suggest the use of a tone-enhancing member removably inserted into the mouthpiece. One such device used a step member with the steps facing outwardly, with no mention as to how this configuration enhances the tone of the instrument or to what magnitude. Applicant has determined that an elongated wedge shaped member effectively increases air velocity up to 40% and that a sudden expansion of air down stream of the wedge end improves resonance and by configuring the tone enhancing member in the shape of a peak a different tone is achieved. Therefore, by bonding the molded tone-enhancing member to a secondary or sympathetic reed, applicant has found that the abrupt drop off edge  70  of the wedge  70  as shown in FIG. 9 affects the secondary reed  74  in a materially different way than the peaked roof top member  76  shown in FIG.  10 . Further the waveform of the secondary reeds  74 ,  78  provide a much smoother transition of air flowing over the tone enhancing members  72 ,  76 . The reeds  74 ,  78  may also be provided with a wide range of material thickness to allow for tonal preferences. Interchangeability is therefore essential and is enhanced herein by simply making flexible members  72 ,  76  with their outer ends wider than the inner end, thereby allowing the secondary reeds to be retained in position by friction in most mouthpieces without special configuration or adaptation as shown in FIGS. 11 and 12. The reeds  74 ,  78  are bounded to the flexible members  72 ,  76 , thereby allowing the secondary reeds  74 ,  78  to be independent and flexibly suspended in a non-restrained manner as is not the case with grooves illustrated in FIG.  2 . 
     As further illustrated in FIGS. 13 and 14, the secondary reeds  69  and  75  illustrated in FIGS. 9 and 10 and their tone enhancing members  72 ,  76  are especially effective when the secondary reeds  69 ,  75  are wavy and the secondary reed is parallel positioned at or near the center line of the tone chamber  68 . As seen in FIG. 13, where the secondary reed  75  is shown in place in the mouthpiece  50 , air enters the mouthpiece at high velocity between the mouthpiece upper wall  62  and the primary reed  80 . Air velocity multiplied by the front ramp portion of the tone-enhancing member  76  reaches maximum velocity as it passes between the peak  77  and the reed  80 . The air is then allowed to expand gradually until it reaches the tone chamber  68  where it expands drastically and reduces velocity as it passes over and around the wavy surface of the secondary reed  78 . Air passing through the tone chamber is thereby stabilized in a wave or sine pattern for entering the instrument. The sine wave  82  acts as a carrier wave for the vibrations induced into the airflow stream by the primary and secondary reeds  80 ,  78  as well as the vibration induced by the reeds  78 , 80  upon the relatively thin walls of the mouthpiece  50 . As seen o in FIG. 14, when the secondary reed  69  is in placed in the mouthpiece  50 , air enters the mouthpiece at high velocity between the mouthpiece upper wall  62  and the primary reed  80 . The air velocity is multiplied by a gradual increasing ramp portion, of the tone enhancing member  72 , reaching maximum velocity as it passes between the peak  81  and the reed  80 . The air is then allowed to expand sharply until it reaches the tone chamber is  68 , where it expands drastically and reduces velocity as it passes over and around the wavy surface of the secondary reed  78 . Air passing through the tone chamber is thereby stabilized in a wave or sine pattern for entering the instrument, thereby serving as a carrier wave for harmonic vibrations imparted to it by the reeds  69 ,  80  and the mouthpiece itself. These changes in velocity and volume give the player a wide range of tones heretofore not available and, more importantly, achievable without any significant increase in effort by the player. The vibrating elements  50 ,  78 , 80  all act in concert to produce a clear and defined tone with increased velocity that allows the instrument to be driven beyond its normal design limit, thereby allowing the instrument to compete with much louder instruments. 
     The foregoing is considered as illustrative only of the principles of the invention. Further, since numerous modifications and changes will readily occur to those skilled in the art, it is not desired to limit the invention to the exact construction and operation shown and described, and, accordingly, all suitable modifications and equivalents may be resorted to, falling within the scope of the invention. 
     Because many varying and different embodiments may be made within the scope of the inventive concept herein taught, and because many modifications may be made in the embodiments herein detailed in accordance with the descriptive requirement of the law, it is to be understood that the details herein are to be interpreted as illustrative and not in any limiting sense.