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@@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

@@GaryBT you nailed it, Gary! Older horns were largely made with smaller bore size than what we see today. I want to do a follow up video to this one with my new Yamaha and perhaps a plastic trumpet, but that might be too obvious. Let me know your thoughts! Cheers 🍻

@@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 🤣

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.

I'm glad you're finding success using this method. It's a great system. Feel free to reach out to me anytime and check out my academy at www.mikerochamusic.com/the-mike-rocha-music-academy

@@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!

Thanks for commenting and I'm glad you liked it!

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!

Glad I could help!

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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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!

Thanks!

Well said. Sight reading and reading in general is greatly overlooked in the pursuit of trophies. Administrators, who control teachers' budgets, understand trophies.

Awesome!

Welcome to the club! And if you’re interested in my online course, set up a time to chat with me on my website!

Thank you!

Fair enough! And thanks for the sub! I’ve got more coming out very soon

@@THall-vi8cp no doubt at all! Picking the conn up cold after barely playing it over the last twenty years puts it at a disadvantage. However, I don’t feel as though the conn would blend well in modern sections or on recording sessions, but that’s just my experience. Thanks for your comment! And I like that you called it the “yammy “

@@davidthomson7815 Thank you, David! I strive to be an adept teacher. Since the bulk of my life has been focused on my performance career I find it refreshing to be helping others discover and achieve their goals. The Arban’s method is still one of the very best!

@@davidthomson7815 David, thank you so much for your note. My first teacher also played a Boosey & Hawkes cornet. They are beautiful instruments and play just as great as they look! Play on, my friend

Totally!

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

I like the sizzle it has, but it's ultimately more out of control. I would need to actually practice on it rather than pick it up cold to not be so sloppy in the upper register.

Definitely makes a difference!

Glad you enjoyed it!

I agree! It’s much harder to blend across sections on both vintage horns and boutique brands

I agree. More open and less highs in the tone.

Thanks, Timmy! Do you play music?

@@MikeRochaMusicAcademy yes, I play trombone and trumpet

Awesome! Play on!

Winner!

Thank you! There is a lot more to come very soon.

Ray Brinker

Yes, I have both. They are under my name, Mike Rocha. Find me!

good. thank you

@@MikeRochaMusicAcademy welcome

Thank you!

Thank you!

Thank you!