Short Answer: Yes, in almost all cases your upper teeth should lightly touch (rest on) the saxophone mouthpiece. This standard single-lip embouchure (top teeth on the mouthpiece and lower lip curled over bottom teeth) provides the stability and control needed for good tone production. Beginners, especially in jazz, are encouraged to use this approach. The alternative double-lip embouchure (curling both lips over the teeth so no teeth touch the mouthpiece) is rarely used by saxophonists today. It requires much more muscular control and is generally not recommended for beginners.
Single-Lip vs. Double-Lip Embouchure
To understand why your teeth should touch the mouthpiece, it helps to compare the single-lip embouchure (the typical jazz setup) with the double-lip embouchure:
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Mouthpiece Contact: In a single-lip embouchure, the upper teeth rest on the mouthpiece while the lower lip cushions the reed. In a double-lip embouchure, both the top and bottom lips are rolled in over the teeth, meaning no direct teeth contact with the mouthpiece. The top lip serves as a pad between the top teeth and the mouthpiece.
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Stability & Endurance: Using the top teeth as an anchor on the mouthpiece gives a stable point of contact. This stability lets you hold the saxophone firmly without excessive jaw pressure, reducing fatigue during long practice or performance. By contrast, a double-lip embouchure lacks that solid anchor; your lips alone must grip the mouthpiece, which can be tiring and less stable over time.
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Tone & Projection: Single-lip embouchure tends to produce a brighter, more projecting sound – one reason it became the default for jazz and modern styles. The anchored teeth allow the reed to vibrate with clarity and power, helping your sound cut through a band. Double-lip embouchure usually yields a warmer, darker tone with less brightness and projection. Some players like this mellow sound, but it may not carry as easily in loud settings.
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Comfort: Many beginners find the mouthpiece vibrations on their top teeth strange at first. However, with single-lip technique you generally adjust quickly (and using a mouthpiece patch can help absorb vibrations). Double-lip playing transfers all vibrations to your lips instead – eliminating direct teeth vibrations– which sounds more comfortable, but remember that your upper lip will now be doing a lot of work. Holding the mouthpiece with both lips can actually be uncomfortable over long sessions, since the upper lip isn’t as naturally tough as your teeth. As clarinet legend Al Gallodoro joked, “I’d rather one lip hurt than two!”
- Ease of Control: Most players (and teachers) agree that single-lip embouchure makes it easier to control the reed and pitch, especially in the higher register. The firm top-teeth contact stabilizes the mouthpiece, which helps with consistent tone and tuning. Double-lip embouchure, on the other hand, demands greater muscle strength to achieve the same control. High notes (altissimo) in particular are more challenging with a double-lip embouchure and many saxophonists struggle to play the upper register this way.
Bottom line: For nearly all saxophonists (especially in jazz), the single-lip embouchure is the standard. In traditional saxophone pedagogy, students are taught to place the top teeth on the mouthpiece (about 1/2 inch from the tip, according to educator Larry Teal) to form a firm anchor point. This lets the lower lip and mouth corners do the fine control of the reed’s vibrations. The double-lip embouchure is rare in modern saxophone playing.
The Standard Jazz Approach
The single-lip embouchure offers practical advantages for jazz. Jazz playing often demands a big, projecting sound and the ability to play for extended periods (think long gigs or rehearsals). The teeth-on-mouthpiece embouchure makes it easier to produce a bright, clear tone with strong projection, which is ideal for cutting through a band. It also reduces strain: resting your head’s weight on the mouthpiece via your top teeth provides support, so you don’t have to bite down hard with your jaw.
By contrast, the double-lip embouchure was more common in mid-20th-century classical clarinet and saxophone circles (it’s sometimes called the “French embouchure”). Even legendary saxophonist John Coltrane reportedly experimented with a double-lip style (curling his top lip under) but this is very much the exception, not the rule. Most jazz greats, from Charlie Parker to today’s top players, use a single-lip embouchure with the top teeth on the mouthpiece.
That said, there’s no one-size-fits-all for every player. Some experts have noted that each embouchure has its own feel and sound. For example, renowned tenor saxophonist JD Allen suggests that a single-lip embouchure tends to feel more “refined” and technically straightforward, while a double-lip embouchure (if one chooses to use it) can offer a different palette of tone colors. In jazz, virtually everyone sticks with single-lip, but it’s good to know why. There are still a few reasons why some players explore the double-lip embouchure today and you can read more in this article.
Mouthpiece Cushions and Beginner Tips
Mouthpiece cushion pads protect your mouthpiece and your teeth. They also dampen vibrations, reducing the uncomfortable buzz you might feel while playing. Using these cushions can make the standard embouchure much more comfortable for beginners.
One simple tip for beginners is to use a mouthpiece cushion (also called a pad or patch). This is a small adhesive rubber or silicone pad that you stick on the top of your mouthpiece where your teeth go. Why use one?:
- First, it will protect your mouthpiece from getting scratched or dented by your teeth (Saxophone mouthpieces aren’t cheap, so you don’t want to carve bite marks into yours!).
- Second, a cushion reduces the uncomfortable vibrations that your teeth feel when you play. It acts like a damper between the mouthpiece and your teeth, saving you from that “buzzing skull” feeling and letting you focus on your sound.
- Third, a pad gives your top teeth a bit more grip, helping you maintain a stable embouchure without slipping.
Mouthpiece patches are inexpensive and widely used by players of all levels. You can find them in any music store or online. (For instance, Syos offers translucent mouthpiece cushions that protect your mouthpiece and spare you from vibrations.) Using a cushion is highly recommended for beginners and makes the standard embouchure much more comfortable while you’re getting used to having your teeth on the mouthpiece.
Practical Takeaways: Keep your embouchure firm but comfortable. Your top teeth should rest on the mouthpiece with light pressure. Enough to stabilize it, but not clamping down hard. Your bottom lip (over the bottom teeth) provides a cushion for the reed. Avoid biting with your jaw; instead, think of the mouth corners and lip pressure (and plenty of air support) doing the work. If you ever catch yourself biting too much, a quick experiment is to try a double-lip embouchure for a few minutes as a “check-up”. You’ll immediately feel if you’re using too much pressure because your lips will hurt! But for normal playing, stick with the proven single-lip technique, especially in jazz. With a good embouchure foundation (and perhaps a trusty mouthpiece cushion), you’ll get a great sound and avoid unnecessary pain or fatigue.
