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trumpetmike · 06-27-2006, 03:56 AM

I know that it is not always the case, but for some students, lip buzzing can be very beneficial.
I don't advocate it for everybody, but for a couple of my students it has been their breakthrough moment - their sound has opened up and their playing has taken flight.
One particular student (age 10) was having serious tone issues - his previous teacher had told him about mouthpiece buzzing but he only used it sparingly. If we now start each lesson (and practice session) with a warm-up along the following lines he is able to achieve not only a great tone but his range is also more secure.
Lip buzzing - no specific note, just a steady tone.
Mouthpiece buzzing - aiming for a (second line) G, with steady tone. Once the G is fairly "happy", slide down to a C - keeping the fullest sound that is possible.
Sirens from as low as possible to as high as is comfortable - all the time concentrating on the sound being produced.
Leadpipe playing - whatever pitch comes out, once again, aiming for the sound.
Trumpet playing - starting with a C (below the stave) and then descending - keeping the tone as full as possible (of course), then gradually ascending through a series of exercises based around scales and lip flexibility exercises.

I am very lucky in the fact that this particular student has a superb musical ear (he is a chorister at the local cathedral) and is also willing to put in the work to make the improvements - his face when he first did this routine was a true picture - he went from total disbelief that any of the parts would be beneficial through to a huge smile when he heard the tone he was producing after a few minutes - even his Mother has noticed a huge difference (and she describes herself as one of the least musical people on the planet).

Returning to the original enquiry - a couple of years ago I took part in an experiment where we started a class of brass players with just the mouthpiece (through no forward planning - we just didn't have the instruments until the third week of the course) and worked on rhythms in much the way you are describing.
The result was that we had a class of very frustrated young brass players - they just wanted to get their hands on some instruments.
Once the instruments arrived, their rhythmic ability was already developing nicely, but what they really wanted to do now was to make some SERIOUS noise - the teaching of the class became as much about crowd control as anything else.
The following year we already had the instruments so we were able to start the class with the instruments. We start each week with a few minutes of mouthpiece buzzing games (actually based around drinking games, but we don't tell the students this - they are only young

) then move onto the instruments. From lesson 1 they have been more controlled in their attitude towards playing - we have yet to experience the "volume contest" that the previous class treated us to.
Whether this is because they are a different class (with a different attitude) or whether this is because they have had access to the instruments from the start is something that I cannot be sure of. I do know that should we do the classes again next year, I want to start with the instruments available from the beginning.

The favourite "game" from both years (whether on the instrument or the mouthpiece) and with a few of the younger groups I work with, has been the following:
All students sit in a circle.
Choose a direction (we normally start with clockwise).
Everyone buzzes/plays a note in order.
Easy?
Good.
Then introduce the concept of reversing the pattern - indicated by buzzing/playing two notes.
If someone buzzes out of turn, they are out (depending how long we have for this game we sometimes start everyone with three "lives").
Easy?
Good.
Then indicate a jump (you skip a participant) by playing/buzzing three notes.

It is always a good idea to join in these games yourself - not only does it mean that the students realise that it doesn't matter how good you are, you still do the same stuff, but it also gives them a good target

- you will suddenly become the focus of all their attempts to get you "out."

With my beginner brass ensemble (entry requirement - "do you know which end to blow in?") we have had a game that was very heavily contested and lasted over an hour!!

(the drinking version of this involves putting hands on a table and tapping once, twice or thrice - penalty is a drink - it can be made more complicated by interweaving your hands with the people you are sitting with)

06-27-2006, 03:56 AM	#6 (permalink)
trumpetmike Forte User Join Date: Oct 2004 Location: Farnham (a place too smal Posts: 1,202	I know that it is not always the case, but for some students, lip buzzing can be very beneficial. I don't advocate it for everybody, but for a couple of my students it has been their breakthrough moment - their sound has opened up and their playing has taken flight. One particular student (age 10) was having serious tone issues - his previous teacher had told him about mouthpiece buzzing but he only used it sparingly. If we now start each lesson (and practice session) with a warm-up along the following lines he is able to achieve not only a great tone but his range is also more secure. Lip buzzing - no specific note, just a steady tone. Mouthpiece buzzing - aiming for a (second line) G, with steady tone. Once the G is fairly "happy", slide down to a C - keeping the fullest sound that is possible. Sirens from as low as possible to as high as is comfortable - all the time concentrating on the sound being produced. Leadpipe playing - whatever pitch comes out, once again, aiming for the sound. Trumpet playing - starting with a C (below the stave) and then descending - keeping the tone as full as possible (of course), then gradually ascending through a series of exercises based around scales and lip flexibility exercises. I am very lucky in the fact that this particular student has a superb musical ear (he is a chorister at the local cathedral) and is also willing to put in the work to make the improvements - his face when he first did this routine was a true picture - he went from total disbelief that any of the parts would be beneficial through to a huge smile when he heard the tone he was producing after a few minutes - even his Mother has noticed a huge difference (and she describes herself as one of the least musical people on the planet). Returning to the original enquiry - a couple of years ago I took part in an experiment where we started a class of brass players with just the mouthpiece (through no forward planning - we just didn't have the instruments until the third week of the course) and worked on rhythms in much the way you are describing. The result was that we had a class of very frustrated young brass players - they just wanted to get their hands on some instruments. Once the instruments arrived, their rhythmic ability was already developing nicely, but what they really wanted to do now was to make some SERIOUS noise - the teaching of the class became as much about crowd control as anything else. The following year we already had the instruments so we were able to start the class with the instruments. We start each week with a few minutes of mouthpiece buzzing games (actually based around drinking games, but we don't tell the students this - they are only young ) then move onto the instruments. From lesson 1 they have been more controlled in their attitude towards playing - we have yet to experience the "volume contest" that the previous class treated us to. Whether this is because they are a different class (with a different attitude) or whether this is because they have had access to the instruments from the start is something that I cannot be sure of. I do know that should we do the classes again next year, I want to start with the instruments available from the beginning. The favourite "game" from both years (whether on the instrument or the mouthpiece) and with a few of the younger groups I work with, has been the following: All students sit in a circle. Choose a direction (we normally start with clockwise). Everyone buzzes/plays a note in order. Easy? Good. Then introduce the concept of reversing the pattern - indicated by buzzing/playing two notes. If someone buzzes out of turn, they are out (depending how long we have for this game we sometimes start everyone with three "lives"). Easy? Good. Then indicate a jump (you skip a participant) by playing/buzzing three notes. It is always a good idea to join in these games yourself - not only does it mean that the students realise that it doesn't matter how good you are, you still do the same stuff, but it also gives them a good target - you will suddenly become the focus of all their attempts to get you "out." With my beginner brass ensemble (entry requirement - "do you know which end to blow in?") we have had a game that was very heavily contested and lasted over an hour!! (the drinking version of this involves putting hands on a table and tapping once, twice or thrice - penalty is a drink - it can be made more complicated by interweaving your hands with the people you are sitting with)