Nice observation! I find that the intonation is unique to each trumpet. However, I feel that it sounds and feels much smoother in regards to the tone and blow. It's definitely worth experimenting with and recording yourself performing various passages to get a really well-rounded take.
Thanks for this video. I am trying to do exactly that but I am not sure how to adjust to two different mouthpieces. I play commercial stuff with my band and noodle on Jazz and classical when I'm at home. My main stay mouthpiece is a Monette B2 S3. I am trying to learn to use my Marcinkiewicz Roman 1 for the high stuff. How do I work to get to the point where I can comfortably switch in order to make both of them sound good?
Buzz both mouthpieces everyday, even if you don't plan on playing both. I buzz all of my active mouthpieces everyday (flugel, cornet, large Bb trumpet, lead mouthpiece, and piccolo), which helps to keep me limber and ready to switch at any time. When I make the switch after having played on a different piece for a while, I do a bit of buzzing on the new piece and I'm good to go. Buzzing everyday, on all pieces, is the key!
I am curious about your cornet mouthpiece. Is it a trumpet rim and cup with a cornet shank (the American style) or more like a flugelhorn mouthpiece (British brass band style)? I like the British style for it's warmth of sound. Also, your 1 1/2 Bach had warmth in the sound, the second was brighter, and the third was cutting but not shrill. Thank you for this informative video. I have to play with my other mouthpieces to see how they respond.
@@GaryBT Hi Gary. My cornet mouthpiece is a Warburton 3XD top with a Warburton 7 backbore. It’s closer to my flugelhorn mouthpiece (Laskey 65F) with its funnel shape, but has a slight lift towards the bottom making it bowl shaped. It’s very warm and does not like to be played hard. You must stay light and buoyant to achieve its true sound. Thanks for commenting! Let me know if you have any other questions
Good video Mike. Do you find that the same mouthpiece plays (feels) differently on different horns, for example, the two new Yamahas you just received (LA & Chicago), or just differences in what mouthpiece setup you would use on a more open horn vs one with more back pressure.
Thanks for watching, and I’m glad you enjoyed the video! That’s a great question. In my experience, the same mouthpiece can definitely feel different on different horns, including the two new Yamahas I just received (the LA and Chicago models). Factors like the openness of the horn, back pressure, and overall design can all impact how a mouthpiece responds. For more open horns, I tend to gravitate towards a setup that offers a bit more resistance to balance things out. On a horn with more back pressure, I might prefer a slightly more open mouthpiece to avoid feeling too restricted. It’s really about finding the right combination that feels comfortable and helps you achieve the sound you’re looking for. Thanks again for the thoughtful question-there’s always more to explore with setups!
@@bradleydetrick9750 I have a few days off coming up and I’ll do an amended video where I smash on some Arban’s art of phrasing with my lead mouthpiece 🤣
I can understand playing on different depth cups for different purposes and sounds, but I’ve never been able to understand how other players can jump around between rim diameters. If I try to play on any rim smaller than what I’ve used since college, it just doesn’t feel right, I can’t fit into it. I play on a Bach 1 rim (or equivalent), and have different cup depths. I’ve tried a Bach 3 rim, but I lose my lower register, and it’s way too brittle of a sound (for me). It gets REALLY bright. How do you jump back and forth between rim diameters without it affecting your playing?
@@gregorysloat4258 many years ago I used to think the same thing until I met Boyd Hood, former principle trumpeter with the LA Phil. He showed me his method of mouthpiece buzzing which was absolutely transformative for my consistency and my ability to switch easily and confidently. It’s quite simple but requires some patience and discipline. Basically, what you want to do is buzz all the mouthpieces you want to play everyday from largest to smallest. For him, he would start on an alto trombone mouthpiece. For me, I start on my flugelhorn mouthpiece, as it’s my largest. I do glissandi and arpeggios up to at least high C and down to double pedal C, and then move to the next mouthpiece. I think it’s wise to pace your buzzing intelligently with short breaks in between each buzzing stint. I do this through all of the mouthpieces I need access to on any given day. So, flugelhorn, cornet, large Bb, piccolo, and then my lead mouthpiece (I use two different ones, but one much more frequently). Give it a try for a month or longer and let me know what kind of results you get!!! Thanks for commenting and happy practicing to you!
Maynard had a special mouth piece and posture and leg stance and control of the buttocks control ! Iif you go to a MAYNARD FERGUSON CLINIC HE NEVER TALKS ABOUT MOUTHPIECE SIZE BE CAUSE YOUR EMBOUCHURE IS DEVELOPED ON THE MOUTHPIECE YOU USE THE MOST ,BUT REMEMBER MAYNARD WAS A SPECIAL PLAYER AND WHEN HE PLAYED HE USED A DIFFERENT SIZED AND THEN TROMBONE A DIFFERENT MTHPC , AND BARITONE HORN , AND MAYBARD COULD PLAY EVERY TYPE OF WOODWIND INSTRUMENT EXCEPT BASSOON OBOE, AND THE LESSER KNOW SEROSAPHONE WHICH LOOKED LIKE A LARGER BASSOON WITH A BELL AT THE TOP FACING FORWARD AND THAT WAS ALSO A DOUBLE REED INSTRUMENT LIKE THE OBOE, ENGLISH HORN BASSOON AND THE SEROSAPHONE ( I MAY HAVE MISSPELLED THE LESSER KNOW INSTRUMENT
Thanks for sharing that great insight about Maynard! You’re absolutely right-Maynard Ferguson was such a unique and special player with incredible versatility across instruments, from trumpet to baritone horn and beyond. His ability to switch mouthpieces and maintain his embouchure is a testament to his exceptional technique and adaptability. I love that you mentioned how Maynard didn’t emphasize mouthpiece size in his clinics because it reinforces that it's really about finding what works best for each individual player. Maynard’s stance, posture, and even the way he used his body were all part of what made his playing so powerful! Thanks again for your thoughtful comment-it's great to see more Maynard fans here!
A lot of work, both practicing and physical energy output. He also uses a different embouchure for his squeak range, which is why he has a break at his Double A.
@@da11king He can't play a double A because of his break. A break is like an area on the horn where notes don't want to come out. You can play above and below the break, but not on it.
@MikeRochaMusicAcademy Thank you very much for your information. That is a revelation to me. I have never heard anything about _break_ or that Arturo can't play a high "A" musically, or at all if I understand. I hear Wayne B. Play them lots of times. I guess he must be a natural. So in other words, all trumpet players have limits. Unless you are Cat Anderson, Lynn, Hession, or the monster of monsters Jon Madrid!!
Interesting that you play first-line E with the third valve. I do that with flugelhorn but find that's it's flat on my trumpet.
Nice observation! I find that the intonation is unique to each trumpet. However, I feel that it sounds and feels much smoother in regards to the tone and blow. It's definitely worth experimenting with and recording yourself performing various passages to get a really well-rounded take.
Thanks for this video. I am trying to do exactly that but I am not sure how to adjust to two different mouthpieces. I play commercial stuff with my band and noodle on Jazz and classical when I'm at home. My main stay mouthpiece is a Monette B2 S3. I am trying to learn to use my Marcinkiewicz Roman 1 for the high stuff. How do I work to get to the point where I can comfortably switch in order to make both of them sound good?
Buzz both mouthpieces everyday, even if you don't plan on playing both. I buzz all of my active mouthpieces everyday (flugel, cornet, large Bb trumpet, lead mouthpiece, and piccolo), which helps to keep me limber and ready to switch at any time. When I make the switch after having played on a different piece for a while, I do a bit of buzzing on the new piece and I'm good to go. Buzzing everyday, on all pieces, is the key!
Ah yes, but now you have the newest LA model - congratulations Mike!
Thanks!
I am curious about your cornet mouthpiece. Is it a trumpet rim and cup with a cornet shank (the American style) or more like a flugelhorn mouthpiece (British brass band style)? I like the British style for it's warmth of sound.
Also, your 1 1/2 Bach had warmth in the sound, the second was brighter, and the third was cutting but not shrill. Thank you for this informative video. I have to play with my other mouthpieces to see how they respond.
@@GaryBT Hi Gary. My cornet mouthpiece is a Warburton 3XD top with a Warburton 7 backbore. It’s closer to my flugelhorn mouthpiece (Laskey 65F) with its funnel shape, but has a slight lift towards the bottom making it bowl shaped. It’s very warm and does not like to be played hard. You must stay light and buoyant to achieve its true sound. Thanks for commenting! Let me know if you have any other questions
Good video Mike. Do you find that the same mouthpiece plays (feels) differently on different horns, for example, the two new Yamahas you just received (LA & Chicago), or just differences in what mouthpiece setup you would use on a more open horn vs one with more back pressure.
Thanks for watching, and I’m glad you enjoyed the video! That’s a great question. In my experience, the same mouthpiece can definitely feel different on different horns, including the two new Yamahas I just received (the LA and Chicago models). Factors like the openness of the horn, back pressure, and overall design can all impact how a mouthpiece responds.
For more open horns, I tend to gravitate towards a setup that offers a bit more resistance to balance things out. On a horn with more back pressure, I might prefer a slightly more open mouthpiece to avoid feeling too restricted. It’s really about finding the right combination that feels comfortable and helps you achieve the sound you’re looking for.
Thanks again for the thoughtful question-there’s always more to explore with setups!
It would have been informative to have you play the same excerpt on each mouthpiece.
@@bradleydetrick9750 I have a few days off coming up and I’ll do an amended video where I smash on some Arban’s art of phrasing with my lead mouthpiece 🤣
I can understand playing on different depth cups for different purposes and sounds, but I’ve never been able to understand how other players can jump around between rim diameters. If I try to play on any rim smaller than what I’ve used since college, it just doesn’t feel right, I can’t fit into it. I play on a Bach 1 rim (or equivalent), and have different cup depths. I’ve tried a Bach 3 rim, but I lose my lower register, and it’s way too brittle of a sound (for me). It gets REALLY bright. How do you jump back and forth between rim diameters without it affecting your playing?
@@gregorysloat4258 many years ago I used to think the same thing until I met Boyd Hood, former principle trumpeter with the LA Phil. He showed me his method of mouthpiece buzzing which was absolutely transformative for my consistency and my ability to switch easily and confidently. It’s quite simple but requires some patience and discipline. Basically, what you want to do is buzz all the mouthpieces you want to play everyday from largest to smallest. For him, he would start on an alto trombone mouthpiece. For me, I start on my flugelhorn mouthpiece, as it’s my largest. I do glissandi and arpeggios up to at least high C and down to double pedal C, and then move to the next mouthpiece. I think it’s wise to pace your buzzing intelligently with short breaks in between each buzzing stint. I do this through all of the mouthpieces I need access to on any given day. So, flugelhorn, cornet, large Bb, piccolo, and then my lead mouthpiece (I use two different ones, but one much more frequently). Give it a try for a month or longer and let me know what kind of results you get!!! Thanks for commenting and happy practicing to you!
PS, all my mouthpieces have different rims, cup depths, and backbores. If I can do it, you can too!
@@MikeRochaMusicAcademy Thanks for the reply. I’m going to try it!
Maynard had a special mouth piece and posture and leg stance and control of the buttocks control ! Iif you go to a MAYNARD FERGUSON CLINIC HE NEVER TALKS ABOUT MOUTHPIECE SIZE BE CAUSE YOUR EMBOUCHURE IS DEVELOPED ON THE MOUTHPIECE YOU USE THE MOST ,BUT REMEMBER MAYNARD WAS A SPECIAL PLAYER AND WHEN HE PLAYED HE USED A DIFFERENT SIZED AND THEN TROMBONE A DIFFERENT MTHPC , AND BARITONE HORN , AND MAYBARD COULD PLAY EVERY TYPE OF WOODWIND INSTRUMENT EXCEPT BASSOON OBOE, AND THE LESSER KNOW SEROSAPHONE WHICH LOOKED LIKE A LARGER BASSOON WITH A BELL AT THE TOP FACING FORWARD AND THAT WAS ALSO A DOUBLE REED INSTRUMENT LIKE THE OBOE, ENGLISH HORN BASSOON AND THE SEROSAPHONE ( I MAY HAVE MISSPELLED THE LESSER KNOW INSTRUMENT
Thanks for sharing that great insight about Maynard! You’re absolutely right-Maynard Ferguson was such a unique and special player with incredible versatility across instruments, from trumpet to baritone horn and beyond. His ability to switch mouthpieces and maintain his embouchure is a testament to his exceptional technique and adaptability.
I love that you mentioned how Maynard didn’t emphasize mouthpiece size in his clinics because it reinforces that it's really about finding what works best for each individual player. Maynard’s stance, posture, and even the way he used his body were all part of what made his playing so powerful!
Thanks again for your thoughtful comment-it's great to see more Maynard fans here!
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How does Arturo Sandoval play lead stuff on a 3 and sometimes 11/2 C ???? 🫨
A lot of work, both practicing and physical energy output. He also uses a different embouchure for his squeak range, which is why he has a break at his Double A.
@@MikeRochaMusicAcademy Thank you for your answer. But what do you mean by break? Is it resetting the chops at double A so he can go even higher?!
@@da11king He can't play a double A because of his break. A break is like an area on the horn where notes don't want to come out. You can play above and below the break, but not on it.
@MikeRochaMusicAcademy Thank you very much for your information. That is a revelation to me. I have never heard anything about _break_ or that Arturo can't play a high "A" musically, or at all if I understand. I hear Wayne B. Play them lots of times. I guess he must be a natural. So in other words, all trumpet players have limits. Unless you are Cat Anderson, Lynn, Hession, or the monster of monsters Jon Madrid!!
@@da11king he also uses a NY or Mt. Vernon 3c......totally different animal than anything made since Bach moved to Elkhart