Joyspring walden bobby shew7/14/2023 Bossa Nova Festival in Argentina (1) A.J. A more middle of the road mouthpiece will give you more control over your sound across ranges and dynamics, and make it easier to blend.Įvery mouthpiece is a compromise, but you should make an honest assessment of what trade-offs you’re making.Lea DeLaria (1) 'Jimmy' Harrison Sr (1) 10cc (1) 3 Cohens Sextet (1) 3 Na Bossa (2) 56th Army Jazz Band (1) 5th. Even if you’re playing first parts, you want to just ride on top, not slice through. I definitely wouldn’t suggest that as your go-to mouthpiece for all situations - there is such a thing as an appropriate tool for a job, even accounting for preference.Įspecially at higher volumes, any lead mouthpiece wants to cut and stick out which is usually not desired for concert stuff. As a student that’s just not what you’re doing, unless you’re lead in jazz band or maaaaybe for marching. It’s designed to provide a lot of support and produce a super bright, cutting sound in jazz/commercial applications that are extremely high register intensive. Tiny mouthpieces can also be rather difficult to play with a poorly developed embouchure, making the sound issues worse.īut it is specialist equipment that’s probably not a good fit for most uses in a school setting. Small mouthpieces get the “cheater” rep for students because most younger players are just chasing high notes and don’t care about how they actually sound with them. Your section is almost certainly just parroting the scraps of knowledge they’ve heard from others, and generally being kids. At the end of the day it’s just down to the player. If it makes things easier for you without sacrificing things like sound, intonation, articulations, accuracy, flexibility, then it’s better. It’s not inherently “bad” nor is any mouthpiece “cheating”. I bet you might understand why the overwhelming, tinny, bright quality of the Bobby shew might not be desirable in general. You should try recording yourself with the bobby shew and another, nice concert mouthpiece. *Possible exception for some marching bands, some instructors/shows might want that. And I agree that you can probably learn some bad habits if you start early and rely on your mouthpiece as a crutch. I can understand why your instructor would be annoyed with you playing on the lead mouthpiece, it sounds pretty bad in the context of traditional band settings*. You should learn to apply these tools and techniques where they might be needed, like if you play first part in high school/college jazz. The bobby shew lead mouthpiece sounds pretty bad inside the staff for almost anything you'll be playing in middle school/high school band. I would still keep your other piece around for general practice and non-lead playing so you don't start to use the Shew as a crutch, but you should by all means keep it if you like it.Īs someone who used to be in your exact position, with the same horn, mouthpiece, and disposition: The Shew won't let you play notes that you could never play before, it just makes them stronger and easier to hit and sustain. It can't break the laws of physics, it exchanges benefits for downsides. If the Bobby Shew was really so much of an advantage then everyone would use it. If you're at the point where you know you want to play lead, then there's no reason not to use it. I wouldn't recommend it to learn on at first because it could lead to having underdeveloped control and strength, but it is exceptional to use later on once you have a good foundation. This makes it pretty great if you're going to specialize at playing lead. With the Bobby Shew Lead piece you exchange depth and control (especially in the lower range) for pretty extreme power and control of your higher range.
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