Buzzing without the mouthpiece. - Page 2

Double_G · 08-16-2005, 10:40 PM

Ok, Mr. Carroll I'll PM you tomorrow. I'm taking the night off. I've had a rough past week and a half. But thanks for the advice everyone.

ecarroll · 08-17-2005, 12:03 AM

2G,

It's Ed, not Mr. Carroll.

Don't sweat it. . . take as much time as necessary and then fool around with my suggestion. I'm uncomfortable not doing this in person, but it's a brave new world.

Best,
EC

Whataguy! · 08-17-2005, 08:50 AM

Ed, I tried what you suggested to Double G. It definitely works and, as a bonus, I sounded freer. Amazing. I'm going to commit what I felt to memory. Thanks.

ecarroll · 08-17-2005, 10:37 AM

My pleasure, Whataguy

Say hi to Mike Zonshine (former student and a great guy) if you see him there.

Aloha,
EC

Billy B · 08-17-2005, 10:56 AM

This in a nutshell is the whole idea behind the Bill Adam approach. This allows us to play in phase with the instrument. If you are in Hawaii, look up Mark Minasian. Great teacher.

butxifxnot · 08-18-2005, 12:25 AM

Quote:

Originally Posted by Double_G

I know this has come up recently, but I want to hear it from you guys personally.

I know lip buzzing is important. And I know it will improve you in every aspect of playing if you learn to do it correctly. But, I CAN'T do it. I have great difficulty in trying to lip buzz. I get frustrated and eventually after about fifteen minutes of useless practice I blow out my chops from trying to buzz so much. I just don't really understand the process behind it. Are you the player suppose to buzz your lips by simply doing the Buzzzz thing you did with you lips when you were a little kid or is the air you're suppose to blow through the emouchure suppose to create the buzz. Is it a combonation of both or some Taiwan method I've never heard of?

Please clear this up for me because I really want to advance right now. Thanks in advance.

Um...what is this thread about? I thought it was about "buzzing without the mouthpiece"...is it? It sounds like we're talking about buzzing on the mouthpiece...

While it's fresh on my mind (and just in case the thread is about buzzing without the mouthpiece), should the same pitch being buzzed be what you play into the mouthpiece? Because buzzing with the lips alone and buzzing with the mouthpiece are two different things, esp when it comes to pitches (buzzing a C is not a C on the MP).

Double_G · 08-18-2005, 08:32 AM

It is indeed about buzzing without the mouthpiece. I'm trying to figure out how to do it without trying as hard and then was told that the player doesn't even really make the buzz...it's the horn. So I feel a bit stupid.

ecarroll · 08-18-2005, 10:32 AM

2G,

Careful........the horn doesn't buzz. Listen quietly as it rests in its case: no sound.

The point that I was trying to make is that you're probably trying too hard to "create" your buzz, and the demonstration that I suggested is to illustrate how easy it is to make a good one. Let your lip respond to and follow your air. As I mentioned offline, once you can make an easy buzz (in every register) on your mouthpiece you can try to make the same without.

Best,
EC

Heavens2kadonka · 08-18-2005, 04:03 PM

Don't blow AT the lips. Blow through the lips, through the horn.

When you go higher up the register, you should feel the air focusing, but not becoming piercing, hard. When you go lower, you should feel the air become more open, NOT SLOWER. Air velocity should always stay about the same.

(What are you talking about?)

The air collumn should become smaller as you go higher up the register, or softer in dynamic (The aperture should also shrink and expand). the air collumn should become larger as you go lower down the register, or louder in dynamic. The speed of air should always be the same. When you blow fast, you blow hard, hot, and the sound is less than magical.

When I lip buzz, I do it to make sure the upper register, lower register, middle register buzzes, not dies. I get that feel in my mind, then mpc buzz. Then I play.

The objective of practicing the horn: The register of the trumpet (Low Gb to high C) feeling all the same. Feeling comfortable when you play. thats why people practice buzzing, to get it in their mind to keep from over tensing, or over relaxing. keeping consistency.

Quote:

I'm trying to figure out how to do it without trying as hard and then was told that the player doesn't even really make the buzz...it's the horn. So I feel a bit stupid.

Curious, did you interpet something I said as meaning that?

The horn does much to help the sound of the player, but you have to realize without the buzz, there is no sound. Improving and refinining the buzz should therefore improve and refine the sound coming out of the end of the horn.

Van

08-16-2005, 10:40 PM	#11 (permalink)
Double_G Pianissimo User Join Date: May 2005 Location: Gordonsville, TN Posts: 195	Ok, Mr. Carroll I'll PM you tomorrow. I'm taking the night off. I've had a rough past week and a half. But thanks for the advice everyone. __________________ King Silver Flair 2055S Getzen 770 SG Gold Series Bundy Series II cornet Music is a more potent instrument than any other for education. -Plato

08-18-2005, 08:32 AM	#17 (permalink)
Double_G Pianissimo User Join Date: May 2005 Location: Gordonsville, TN Posts: 195	It is indeed about buzzing without the mouthpiece. I'm trying to figure out how to do it without trying as hard and then was told that the player doesn't even really make the buzz...it's the horn. So I feel a bit stupid. __________________ King Silver Flair 2055S Getzen 770 SG Gold Series Bundy Series II cornet Music is a more potent instrument than any other for education. -Plato

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08-17-2005, 12:03 AM	#12 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,756	2G, It's Ed, not Mr. Carroll. Don't sweat it. . . take as much time as necessary and then fool around with my suggestion. I'm uncomfortable not doing this in person, but it's a brave new world. Best, EC

08-17-2005, 08:50 AM	#13 (permalink)
Whataguy! Pianissimo User Join Date: Jan 2004 Location: Osaka, Japan Posts: 61	Ed, I tried what you suggested to Double G. It definitely works and, as a bonus, I sounded freer. Amazing. I'm going to commit what I felt to memory. Thanks.

08-17-2005, 10:37 AM	#14 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,756	My pleasure, Whataguy Say hi to Mike Zonshine (former student and a great guy) if you see him there. Aloha, EC

08-17-2005, 10:56 AM	#15 (permalink)
Billy B Pianissimo User Join Date: Nov 2004 Location: Des Moines, IA Posts: 213	This in a nutshell is the whole idea behind the Bill Adam approach. This allows us to play in phase with the instrument. If you are in Hawaii, look up Mark Minasian. Great teacher.

08-18-2005, 10:32 AM	#18 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,756	2G, Careful........the horn doesn't buzz. Listen quietly as it rests in its case: no sound. The point that I was trying to make is that you're probably trying too hard to "create" your buzz, and the demonstration that I suggested is to illustrate how easy it is to make a good one. Let your lip respond to and follow your air. As I mentioned offline, once you can make an easy buzz (in every register) on your mouthpiece you can try to make the same without. Best, EC

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