rowuk

More Screaming than Morris,
If you would just get off of your horse for a couple minutes you would see that this is not an issue of Bach and Schilke versus the rest of the world, but nobody having the key to the whole truth.

If Bach and Schilke had all of the answers, no other mouthpiece makers would be able to sell any quantities or offer their own technologies.

You take my posts out of context and as that has been obvious to enough other TMers, I will refrain from further comment.

I will try one more time to clear this up - just for you.
If I only play one mouthpiece, a more shallow mouthpiece COULD help in the high register, a large mouthpiece could help get a bigger sound. These are generalities that no professional would argue with.
When we switch mouthpieces on a regular basis (a situation not covered in any of Bachs or Schilkes literature) the shallower piece does not help to get more notes. It changes the character of the sound and that CAN make our job easier. To get higher notes, I have to change my embouchure too.

As we are all different, mouthpiece design has many hundreds of parameters that can be balanced against one another to complement a players embouchure. Lead players use everything from a 1C to a 10 1/2 E successfully, regardless of what Bach or Schilke print. Timofei Dokshizer used a 7E and still had a huge classical sound.

Ther is no reason to get hung up with 30 year old literature. The book has not been rewritten, but appended to in very serious ways.

I respect the work of Bach and Schilke but find it ignorant to assume if they were still alive, that they would not have been capable of further development and fine tuning their products (and the 30 year old playing descriptions)! Just because they died does not stop evolution OR give us a reason to put a shrine around older technology. When it works, fine. When you have something better, great. How do we tell the difference? With an open mind and ears, without prejudice and preconception.

If you want to establish yourself as an authority on mouthpiece design and use, nobody at TM has a problem with that. If your method is rant, it could be tough getting any acceptance. If no other opinions/experiences are acceptable to you, good luck!

I used to switch between the Bach 1 1/4C and 10 1/2E, Schilke 18 and 14A4A and now a Monette B2/B4L and BL quite often in the same concert. No additional range, but a lot of available colors.

Robin

if Wilmer is right, this is what Dr. Missiras says about himself on TH:

"Don't worry, I'm not making it up, but i do tend to write in a post-structualist/revisonist style. Its all the rage in academe and for me it pays the bills. Its probably why people get mad at me. i pose arguments that are either circular (impossible to defend your postion); confromtational (impossble to defend you postion unless you well versed in subject mater) or some times I pull my "just folks" routine which I think really drives people crazy.

Nothing new, nothing particually original, just my way. i went to school far too long. Here's something if you want to read: Any primary book by J. Derida, the grate, late French post-structurlaist.

I also have a terrible penchant for mispelling which I no drives people crazy but as i said, this is not an academjic journal, its a chat site, or wahtever they call them. "

A shame that someone can only get the attention that they feel that they deserve by being obnoxious!

__________________
Whenever I feel blue, I start breathing again.