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Discussion in 'Trumpet Discussion' started by 9horn, Feb 12, 2011.
What would you say is the best and why? Buzz Buddie metal type or Berp plastic clamp style. Thanks
I am one of those who say that buzzing is worthless. Play the horn.
I find placing the mouthpiece in the trumper receiver, then placing said mouthpiece against the lips and buzzing a most efficacious method.
Sort of like Gramp's advice to a neighbor about rotating tires....Place key in ignition, start engine, place car in gear and accelerate.
I have to agree with the above, save your money and dont buy either!
When I stopped worrying about buzzing, just blew and let the horn find its own resonance the increase in sound quality and ease of playing was amazing.
Thanks all for the feedback. I seem to benefit from buzzing pitches and felt that with the apparatus I can get the fingering down at the same time. If I buzz before playing I seem to get a very good relaxed tone. Does anyone else get this effect?
I prefer the Berp, as you can adjust the amount of resistance. Buzzing is definitely beneficial, and often very telling about the efficiency of your playing. Aim for a full and very buzzy sound. James Thompson has a wonderful buzzing book, give it a try. Good buzzing has always lead to better playing for everyone I have ever encountered.
I do a bit of free buzzing - mainly a mental exercise when driving or something away from other people, buzzing through scales without mispitching. But not for very long - 2-3 minutes at a time, and mainly as a warm up of sorts. I'm not sure it helps my tone, but I do think it has helped my endurance (that and the pencil exercise).
But I do about 2+ hours of real playing practice at a time, so proportionally much more real horn time which probably has a greater impact than the buzzing does.
I go through a warmup routine, about 15 minutes, before touching the trumpet. Lip flapping (for a full 5 minutes) then buzzing without the MP, then a little bit with, and some blowing air through the trumpet so that it's warmed up too. Why start the day with a cold face and a cold horn?
As for the buzzing apparatus question, I can't say, I don't use them. However, I'm one of those who thinks buzzing practice is invaluable, especially buzzing without the mp. I do that regularly .... buzzing pitches, simple melodies, making a siren sound, trying for some range. If you can buzz it there first, you can certainly put it through the horn.
Buzzing w or w/out the mp is good for you IMO, and fairly quiet overall. You can do it in the car on the way to lessons/rehearsals/gigs, and show up ready to play.
I am currently studying with Laurie Frink whose warmup method includes free buzzing, mouthpiece buzzing and pitch bending. I was not instructed to use one particular device for mouthpiece buzzing (BERP or anything else).
I took a lesson with James Thompson last July and he suggests the use of the little metal guy and not the BERP. Oddly, the BERP is pictured in the text of The Buzzing Book but he uses and recommended the metal one (in fact, they sell it at the Eastman Bookstore!) as it doesn't add any resistance. James is not a proponent of "free buzzing" as he is more interested in the interaction of the lips and the mouthpiece.
I find that difficult passages are made easier by pulling out the buzzer and buzzing the pitches while fingering the horn. After a few tries that way, mount up the mouthpiece and the passage nearly plays itself. "Garbage in - Garbage out".
I personally use the Buzzzmaster by Warburton. It has a venturi and some resistance but most importantly doesn't get the steering wheel wet. LOL
I realize all of this is an affront to those of you who don't believe in the "buzzing hocus pocus". There are numerous studies that will tell you that the standing wave actually pushes the lips closed after air has pushed them open. I certainly understand the science but continue to believe in this "Tooth Fairy - Santa Claus - Easter Bunny" stuff as it lets me start the date with the muscles and tissues sort of limbered up and ready to go: a warmed-up face. Right on, Jimmy!! Oh and yeah, because it works for me.
Playing any brass instrument is the closest thing to the human voice as there is actual living tissue that must vibrate in order for the sound to be created. Thus, YOU are the instrument and if YOU can control the gate opening and closing, you're playing the trumpet and the trumpet isn't playing you.
I say that buzzing is not worthless if you are using a cornetto to buzz on!
Seriously, The issue of buzzing is like anything else applying to the trumpet: if you are ADDING a section to an already fine daily routine, you can reap benefits. If you think that a bit of buzzing is going to optimize some crap messing around, you are wasting your and our time even talking about it. There are many fine teachers that use buzzing but know that it is not helping the chops, rather the ears and brain. There are others that feel that this is a very good visualization of single parts of the playing process. This may all be true, but will only produce lasting results when the mechanics of playing are well understood by the player AND appropriately appreciated in the daily routine.
I will compare discussions like this to the arguemnt if a life vest is necessary on a boat. Some will blindly say yes. I say, they only make sense once the boat is in the water. While it is still in the dry dock, you do not increase your appreciation for them.
With this in mind, you all can judge if you even have wet feet. Granted, you can drown on a glass of water - the life vest won't help there though!
As far as an opening and closing gate, I think that if we are thinking about that, we are missing a WHOLE lot of other things. The gate can be adequately trained with teacher monitored long tones and lipslurs thus leaving intellectual energy for music and not mechanics. Even with automobiles, I only need to know the size of the fuel injection nozzle and turbo boost when I am far beyond anything "normal" people need.