MP Buzzing vs. Lead Pipe "playing"

Discussion in 'Trumpet Discussion' started by trumpettrax, Apr 24, 2012.

  1. veery715

    veery715 Utimate User

    Mar 6, 2007
    Ithaca NY
    Yes, but after you work at it for a while she begins to feel better.:-P
  2. Ed Lee

    Ed Lee Utimate User

    Aug 16, 2009
    Jackson NC
    You must milk a cow when it wants to be milked or you will have a sick and angry cow.
    Translated to trumpet playing you must practice regularly or what you play will sound like you need to send your instrument to Ivan to be fixed.
  3. chenzo

    chenzo Piano User

    Jul 18, 2008
    here is a link that talks about about lead pipe method...
    I think this answers what the op was asking....make what you will..about it
    nether the less a very informative web site thanks to Greg Spence
    tobylou8 likes this.
  4. the newbie

    the newbie Pianissimo User

    Jan 27, 2011
    San Francisco
    i always leadpipe buzz for a minute or so before i practice. its helps set me up for playing, reminds me where my lips work best etc. Im self taught and this little method helped me a lot.
  5. gmonady

    gmonady Utimate User

    Jan 28, 2011
    Dayton, Ohio
    And if you try this after eating a burger... its the sound of mad cow.
    Last edited: Apr 28, 2012
  6. trumpettrax

    trumpettrax Piano User

    Mar 18, 2006

    Nice video! Thanks
  7. mrsemman

    mrsemman Piano User

    Apr 8, 2010
    My trumpet teacher recently sent a series of articles to me. One was about this subject by Bill Adams. "In Bill Adam's article about trumpet pedagogy, Bill Adam states "I know there has to be a certain
    amount of mouthpiece buzzing to warm up the resilience that we have to have here. But if we can set the
    mouthpiece and tube in vibration, the embouchure is much more relaxed. What we're trying to do is to
    get the air through that horn with the least amount of tension and the least amount of muscle."
    To buzz the leadpipe, remove the tuning slide. On a Bb trumpet, the mouthpiece/leadpipe should
    resonate at approximately an F (Eb concert) at the bottom space on the staff. Cornets and higher keyed
    trumpets will resonate at different pitches as the pitch is determined by the length of the tube. Hear the
    pitch in your mind (can you sing the pitch?), take a full, relaxed breath, place the mouthpiece to your
    lips and blow. Think about accelerating the air through the leadpipe and of letting the air blow the
    embouchure into place. The sound should be a resonant, reedy buzz. Focus on creating a resonant buzz,
    not an airy sound. I typically will buzz the leadpipe about a dozen times, or until I feel my embouchure
    responding to the breath in a relaxed manner."

    I hope this helps in understanding his approach.

  8. Local 357

    Local 357 Banned

    Jul 1, 2011

    I almost submitted another reply before thinking of this: Perhaps those that practice the lead pipe warm up find it a quieter warm up. Such as is desirable on stage or anywhere additional noise is less appropriate. My thought is that the Harmon mute
    works well for this. At one time there was a "Wispa Mute" and it really cut the volume.

    One of the most important things I've noticed in the warm up is to:

    1. Ignore the sound you get the first few minutes of your warm up.

    A piece of advice i got from a man with the Boston Symphony. Said "You don't want to hear it (your first few minutes of notes)

    2. Don't try and push a lot of air through the horn early in the warm up.

    Those words i got from a real breathing advocate. But even he understood that forcing a lot of air pressure through the chops and the horn early in the warm up was a bad idea.

    And last: It always amazes me that these "experts" like Adams emphasized minor details like lead pipe buzzing. There are plenty other physical matters more important. Some critical in a lot of trumpet players. Like the idea that a certain mass of upper lip flesh must rest below the upper teeth. If the trumpet player wants to have any kind of decent upper register that is. Though of course the amount will vary. I've heard tell of one or two cats who claimed they used little upper lip to descend but I've even doubted their statements.

    Point being: Why didn't Adams emphasize ideas like the lowering of the upper lip? He ought to have known better. This is a gut easy, simple concept that I've seen work wonders on almost everyone I've seen who can't play solid notes above the High C.

    Again: the 19th century concept of brass playing.
  9. veery715

    veery715 Utimate User

    Mar 6, 2007
    Ithaca NY
    With the use of two little quotes you have managed to denigrate one of the most influential trumpet pedagogues of our time. You have a lot of nerve and I think you need to apologize. However, Mr. Adam does not need me to come to his defense. His record speaks for itself. As a teacher Mr. Adam (no S) has produced more world-class players than just about anyone:

    STUDENTS OF BILL ADAM (taken from

    The following people have studied with Master Trumpet Teacher, Bill Adam:

    Aaron Calodney, Al Kiger, Alan Johnson, Albert L. Lilly III, Allen K. Butcher, Amanda Flosbach (horn), Andy Plamondon, Anne King, Barb Wilson, Barry Springer, Bart Marantz, Benjamin M. Wolkins, Bert Truax, Beth Lano (aka Elizabeth Marghilano) (horn), Bill Abramovitz (horn), Bill Avery, Bill Bergren, Bill Dunn, Bill Myers, Billy Howe, Bob Burns, Bob Day, Bob Farquer, Bob Frost, Bob Platt, Bob Slack, Bob Taylor, Bob Vannuys, Bob Wilkinson, Bob Wood, Brent Bingham, Brett Birkhead, Brian Anderson, Brian Hoover, Brian Woodbridge, Bruce Knepper, Buddy Baker, Carlisle Hume, Casey Olney, Charley Davis, Charlie Conrad, Charlie P. Conrad, Chas Ellison, Chris Botti, Chris Colberg, Chris Gallaher, Chris Norris, Christy Dana, Colin Brigstocke, Craig Andrews, Craig Gibson, Craig Hartje, Craig Heitger, Dan Keberle, Dan Reed, Dana Watson, Danny Barber, Dave Bach, Dave Coolidge, Dave Cooper, Dave Copeland, Dave Flood, Dave Herndon, Dave Stephen, Dave Sturm, Dave Tippett, Dave Wisner, David A. Roth, David Baker, David Beatty (trombone), David Debes, David Hardiman, David Kee, Dawn Beal, Dennis Bourlard, Dennis Hoshijo, Dennis Schneider, Devon Wells, Dick Bahman, Dicky Washburn, Dominic Spera, Don Gates, Don Harry, Doug Clark, Doug Munk, Earl Bruning, Ed Sherry, Ed and Rosie Zika Williams, Ellis Workman, Emery Nagy, Eric Evans, Evan Barker, Francis Rodriguez, Frank Abrahamsen, Fred Baird, Fred Peterson, Fred Powell, Galen Gish, Gary Comingore, Gary Grant, Gary Graziano, Gary Livengood, Gary Tatlock, George Payette, George Tsoutsouris, Gil Hoffer, Glenn Floering, Grant Manhart, Greg Nee, Greg Wills, Greg Wing, Henry Meredith, Hiroshi Takagi, Holly May, Howard Brahmstedt, J.J. Argenziano, Jack Cassidy, Jack McGirr, James Delagarza, James Olcott, Jay Coble, Jay Meachum, Jay Miller, Jeff Burden, Jeff Conrad, Jeff Long, Jeff Obendorffer, Jeremy Miloszewicz, Jerry Hey, Jerry Lewis, Jerry Tyree, Jill Boaz (horn), Jim Ault, Jim Hale, Jim Hertling, Jim O'Banion, Jim Reed, Jim Snapp, Jim White, Jimmy Miller, Jimmy Polivka, Jimmy Stokes, Joe Ciancaglini, Joe Phelps, John Almeida, John Aylsworth, John Evans, John Harbaugh, John Head, John Hoagland, John McNeil, John Rommel, John Trillio, John Zappa, Jont Rogers, Julia Stephen, Justin J. Smith, Karl Sievers, Keith Burton, Keith Kostick, Ken Bartell, Ken Hafner, Ken Schubert, Ken Slone, Kent Smith, Kerry England, Kevin Kjos, Kim Petersen, Kreg Anderson, Kyle Gregory, Larry Hall, Larry Kinzer, Laurie Aiken, Lee Katzman, Len Dods, Liesl Whitaker, Lovell Ives, Lyn Nicholson, Mark Cornell, Mark Davis, Mark Dulin, Mark Hoover, Mark Iverson, Mark Minasian, Mark Olen, Mark Spera, Mark Van Cleave, Mark Wayman, Mark Wilcox, Marshal Bryans, Marshelle Coffman, Martin Lood, Mary Dye, Matt Schuler, Michael Anderson, Michael Gribbroek, Michael Phillippe, Michelle Floering (Hector), Mike Farrow, Mike Hackett, Mike Hillman, Mike McCourt, Mike Motter, Mike Watkins, Mike White, Milt Raynor, Minoru Kato, Morris Hubbard (horn), Nick Thorpe, Noel Kuraya, Pat Cronin, Pat Harbison, Patricia (Baugh) Nagy, Paul Hickner, Paul Parchment, Paul Terracini, Paul and Cathy Butcher, Peter Francis, Pharez Whitted, Phil Bailey, Phil Chong, Phil May, Randy Brecker, Randy Gardner, Rich Fanning, Richard Pepple, Rick Carlson, Rick Pierce, Rick Savage, Rick Smith, Rick Winslow, Rob Lenicheck, Robert Baca, Robert Fleming, Roger Dane, Ron Fox, Ron Jochim, Ron King, Ron Neeld, Ron Seguin, Ron Seitz, Russ Kellogg, Russ Reinhardt, Russell K. Nishimoto, Rusty Owens, Rusty Smith, Ryan Tarjanyi, Sandra Quashnick, Sandra Steinberg, Scott Hayden, Scott Jaeger, Sid Davis, Skip Levy, Stanton Haugen, Steve Fisher, Steve Howard, Steve Kriesel, Steve Kulb, Steve Mostivoy, Steve Parke, Steve Robinette, Steve Treager, Stu Cox, Susan Slaughter, Sy Pryweller, Thomas Scott Deogburn, Tiffany Carrico, Tim Bohannon, Tim Burke, Tim Smith, Todd Randolph, Todd Walker, Tom Arnold, Tom Asher, Tom Dorman, Tom Reed, Tony Salazar, Tony Strebig, Trent Tilford, Vicky and Scott Hastings, Vince Capellupo, Walt Blanton, Walter Mikolajcik, Wayne Dickson and Wes Woolard
    Last edited: Apr 30, 2012
  10. TrumpetMonk

    TrumpetMonk Pianissimo User

    Jul 22, 2009
    West virginia
    The way I was taught, blowing the pipe is just to "get the air through the tube". It's not about setting an embouchure or anything physical really, just getting the response out of blowing through the trumpet. No tension. No buzzing. Just relaxed sound.

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