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Trumpet Discussion Discuss lip buzzing in the General forums; Hi All Recently I was able to get my hands on a daly routines book. It states that we should ...
  1. #1
    Piano User chenzo's Avatar
    Join Date
    Jul 2008

    lip buzzing

    Hi All
    Recently I was able to get my hands on a daly routines book.
    It states that we should always do lip buzzing without the mouth piece first then proceed on to the mouth piece.
    I have noticed that I buzz a bit different without the support of the mouth piece, as my front teeth are in a different position.
    Should I try to buzz my lips the same way,I have read somewhere that you cannot buzz your lips the same as with or without the mouth piece.
    If this is so what is the purposes of lip buzzing with out the mouthpiece.
    Any advice would greatly apricated .

    I practice every day sometimes diligently sometimes just for fun,
    playing a brass instrument can be rewarding and sometimes very very frustrating,I have some complamentry feed back about my tone but I must never forget that it 's for the love of making music,and striving to become a better musician,I am a come back player for about 2 years now after a 20year lay off and have really noticed my improvement till now seems like I've hit a brick wall, this is where I suppose,what sorts the men from the boys.
    I live in country Victoria Australia and maybe its time to find a good teacher
    so if there any Aussies out there who might be able to point in the right direction, that would be great .
    Cheers Chenzo

  2. #2
    Forte User
    Join Date
    Jul 2008

    Re: lip buzzing

    I have noticed that I buzz a bit different without the support of the mouth piece,
    This is exactly why I personally do not believe in lip buzzing!
    To me the mouthpiece is PART of the embouchure.
    When I lip buzz, the tension in my lips has to be a lot bigger
    and different from when I buzz the mouthpiece. This seems
    to me very counterproductive, when my goal is to play with
    as relaxed lips as possible, i.e. with lips that have no unnescessary
    tension (some tension is always there . . .).

    The matter has been discussed before, and it always divides
    the members into those who are FOR and those who are AGAINST.

    You will find VERY skilled players in here who can do lip buzzing. Some
    may be doing it just for demonstration while others actually may have
    included this in their daily routine.

    You will also find VERY skilled players in here that wouldn´t dream of
    doing this.

    Maybe we should ask those who lip buzz: DO YOU

    a) lip buzz just once at the beginning of your day, or do you

    b) actually spend time PRACTISING lip buzzing?
    If you do, please tell us what benefits you think
    that you gain from practising this.
    Last edited by Sofus; 08-22-2009 at 05:40 AM.

  3. #3
    Forte User
    Join Date
    Oct 2008
    Flinders Vic Australia

    Re: lip buzzing

    Hi Chenzo,

    PM me with your location, I may be able to help if you are not too far away,
    if you come to Melbourne, I recommend a lesson with Greg Spence, one lesson and I completly rethought my complete approach to playing with great results.

    If not, get a copy of his book "The no mystery to mastery guide to trumpet playing" with the cd.

    Regards, Stuart.

  4. #4
    Moderator Utimate User rowuk's Avatar
    Join Date
    Jun 2006

    Re: lip buzzing

    I do buzz/flap for a couple of minutes daily. Any pedal tones that you play are essentially the same thing. My reason for doing this is only to get the blood flowing/lips tingling by a mechanical stimulus.

    I do not teach beginners this. It does not appear to work for everybody. After a couple of years, I touch on it and let the student call the shots.
    Whenever I feel blue, I start breathing again.

  5. #5
    Forte User Bob Grier's Avatar
    Join Date
    May 2007
    Greensboro, NC

    Re: lip buzzing

    Chenzo, I teach web cam lessons to a student in Canberra (sp). are you close to her?
    Bob Grier, An Old Pro
    Web Cam trumpet & jazz improvisation lessons

  6. #6
    Piano User
    Join Date
    Mar 2005

    Re: lip buzzing

    Lip buzzing, like mouthpiece buzzing, pedal tones and the pencil exercise, is a subject that keeps coming up and can cause endless threads with people calling each other names etc. They are all valid techniques that work great for some, not at all for some, and badly for yet some others. Some teachers recommend them, some caution against them. The categories themselves may be subdivided ie some will say pedals (buzzing, pencil) are great provided they are done correctly but the definition of correctly seems to vary widely. Reinhardt style lip buzzing is very different from Pops style lip buzzing. My advice--keep an open mind and be very pragmatic. If it works do it, if it doesn't work, stop.

  7. #7
    Pianissimo User
    Join Date
    Nov 2008
    Manchester, England

    Re: lip buzzing

    Speaking as a self taught learner still at a very early stage, I find it all useful, pencil exercise, lip buzzing, mouthpiece buzzing.

    But only if done properly, and as a part of a solid structured practice, and to work on specific problem areas.

    For example with pencil clamping, I can clamp with an upward moving jaw or with a downward moving jaw. If I clamp the pencil with an upward jaw pressure it achieves nothing and is useless, at least for me. When clamping with a downward jaw movement and using the chops alone to clamp, then it becomes a good and effective practice.

    The same is true of lip buzzing and mouthpiece buzzing, understanding the most effective way to practice these exercises, and applying them within a solid practice method to work on a specific problem area, will reap the rewards that they are capable of.

    Playing scales, long tones, arpeggios, pedal tones, within the staff, above the staff, p, pp, ppp, all these areas are of course practiced daily, concentrating harder on my deficiencies to make improvements there.

    I would therefore recommend all these exercises of pencil clamping, lip buzzing, and mouthpiece buzzing, but only additional to other practice.


    If you can play Jazz you can Razzamatazz,
    But if you can learn to play sweet you always get to eat.

    1893 Bennett & Bennett Cornet
    1928 Selmer Student Trumpet
    1930 Comet Trumpet
    1954 Conn 80A Cornet
    1955 Boosey and Hawkes Emperor Trumpet
    1976 Boosey and Hawkes Regent Cornet
    2001 Yamaha YCR2330II Cornet

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