someguy6

Actually, I've been using the BERP while driving (probably not the best idea, but probably better than using a cell phone or eating).

Regarding intonation and singing...
I have a terribly small singing range (probably an octave or less). I was hoping to substitute the BERP for singing while using drones (specifically Tuneup).

However, I would hesitate to do this if there is something "wrong" with practicing buzzing, for example, an F. If you are supposed to buzz a G, and use the valves/tubing to drop the frequency to an F, I would consider this "wrong". However, if when you play an F, you are supposed to buzz and F, then this would probably not create a problem. This is really the source of my question.

trumpethack

Practicing singing and solfege is an integral part of "using" a b.e.r.p...

a basic outline might go like this:

sing it
buzz it
play it

the whole idea of playing with the b.e.r.p is to play in the resonant center of the note... and to be able to translate what you hear in your head into sound coming out of that piece of metal...

I think the idea of playing the mouthpiece as a strength building tool is outdated. The "current" views on it's use are pitch center, tuning, proper air flow, and an efficient embouchure.

-Hack

rowuk

Pitch center, tuning, airflow are all things where I need the TRUMPET attached.
A mouthpiece alone has no "pitch center" at the frequencies that we normally play because due to its short length, the resonant frequency is many octaves higher!
Intonation (what we have to "tune") and airflow (better called impedance) is based on the interaction of the mouthpiece and horn. Mouthpiece playing doesn't help at all here.
An efficient embouchure is the big picture and is the balance between strength, breath support, use of the tongue and aperature. Buzzing CAN directly influence strength and there is nothing "current" or "antiquated" about that.
For all of you successfully using the BERP, there is no reason to change that. For those of you considering it, make sure that you have enough time to devote to ALL of the things that are important. A balanced practice session of sufficient length is what moves us forward.
Let us not forget how many successful roads there are to great playing. NO ONE has the market cornered. I see nothing wrong with using a BERP, its function is basic physics and not magic. No myths required to justify its existence!

ecarroll

TMers,

For the record I feel that mouthpiece buzzing is an essential tool for developing your security and resonance. If you can buzz it you can play it.

I agree with Robin, however, that equal amounts of time must be dedicated to all aspects of technique. There is no one panacea for everything.

Best,
EC

Keith Fiala

So you mean to tell me that all the years I was locked in a practice room with a tuner and thrown scraps for meals were wasted? All I had to do was b.e.r.p? Bummer...

Tuning is more or less finding, knowing and memorizing the true pitch center at A-440 (just like rowuk said)... It appears to me that there are several roads leading to the same goal, as long as you can find the true pitch center.

Buzzing a mouthpiece does not necessarily assist in this... I find that making my students buzz helps them push the air necessary to play efficiently - full sound, better range, endurance, etc. But does not necessarily assist in tuning. There is less resistance just mouthpiece buzzing, and a b.e.r.p doesn't really create an exact feel either. Bore sizes in horns can be radically different... It's not just lip strength or the buzz that affects the end result (sound), it's also air, airspeed the ability to support notes by pusing air.

I've had many students switch from no air support to better support, but not change the tension in their lips and they were suddenly EXTREMELY sharp - almost unknowingly. More air support allows for more relaxation in pinching of the lips... this affects intonation.

Again, agreeing with rowuk, I believe your horn has to be involved for tuning and knowing the pitch center for EACH note.

Bottom line, trumpet playing is more up to the player and less up to the trumpet.