Pros who buzz versus those that don't

[GrillHorn]

Hi TH,

I recently became involved in an exchange of ideas with a few folks regarding the benefits/detriments of mouthpiece buzzing. I know the discussion on this forum has been relatively exhaustive in the past, but I think it would be interesting to examine the buzzing(or non buzzing) habits of today's top players. I'll get it going with my very limited list.

Buzzers: Wayne Bergeron, Chris Martin, David Bilger, Bud Herseth, John Lewis and Stamp Students

Non-Buzzers: Jerry Hey, Allen Vizzutti, Chris Botti, Randy Brecker, and the vast majority of Adam and Claude Gordon Students
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Yamaha 6310z

Bach 3c
Karl Hammond Custom Lead Piece

[zackh411]

[irith]

Pretty much all "Chicago school" teachers and players use buzzing, in my experience. They view it as a way of freeing up your airflow and improving your connection/centering. That's how I use it. It's not the catch-all for playing problems that a lot of people seem to think of it, and there are definitely situations where it would be unhelpful.

As far as specific people, James Thompson uses buzzing. Check his books out, I really like his approach to it.
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Trumpets.
Mouthpieces.
I have some.

[GrillHorn]

Hey Guys,

Thanks for your responses so far. I tried the Thompson book and Stamp routines for about a year, so I am familiar with them. I am more interested in discussing players/teachers who do or don't buzz the mouthpiece in an effort to codify the habits of these particular players/teachers. I think it is also valuable to point out guys who buzz for a couple seconds in an effort to get their chops feeling good (Roger Ingram) and guys who do extensive buzzing(Wayne Bergeron).

Keep em' coming!
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Yamaha 6310z

Bach 3c
Karl Hammond Custom Lead Piece

[Shaft]

Pops wrote in his book something about if you buzz the way that you play it can be beneficial. That's how I operate. I lip buzz, mouthpiece buzz, and play the same way. One caveat is that when I lip buzz it will be an octave lower than the mouthpiece buzz to get the appropriate facial feel. (in other words, mouthpiece adds 8va)

Personal approach to the horn is that I want everything to be the way that I want it before the horn gets added, I just think of the mouthpiece and then the horn as two 'amplifiers' to what I am doing. In this way the sound just pops--a lot of it being due to mouthpiece buzzing in pitch center with the piano.

For me mouthpiece buzzing gives me focus, resonance, response, and intonation.

Pops told me that...
Arturo Sandoval plays a buzzing set up I believe.
Andrea Tofanelli buzzes a couple hours a day as well I think.
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Curry 70s, 70m, 70tf, 70tc 70flm
Wild Thing Bb trumpet
Bach Stradivarius Flugelhorn

[Peter Bond]

Most pros enjoy a good buzz....

[GrillHorn]

[trombahonker]

Everyone's doing it.

[Chris OHara]

I buzz, and teach buzzing. I have never met a pro who said anything negative about buzzing. I know a lot of people don't buzz on a regular basis, but they all know the benefits of buzzing, especially for students.
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Christopher J. O'Hara
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com

[Vin DiBona]

Having sat shoulder to shoulder with Chris quite a few times in the last year, I know exactly what he does with the buzz. If you could hear him, you would immediately understand his point here.
Being from Chicago and learning from two different but outstanding teachers, I was taught to buzz properly.
Here is what the master, Bud Herseth, says on buzzing. These thoughts are from Tim Kent's notes and taken from O.J. Untes's website.

"Practice on the mouthpiece every day before your regular session. Walk around and play anything musical (no drills) from excerpts to pop tunes.

Concentrate on being very musical on these pieces, and most important, on a very LARGE SOUND on the mouthpiece.

The mouthpiece, because of the lack of divisions, it is possible to go over all ranges, and it forces you to use your ear. Also in emergency situations, it can be used as a substitute for regular practice on the horn.

Play a complete session on the mouthpiece once in a while. This keeps you from getting hangups on the horn, and improves everything from sound to articulation.

Whenever you are having problems on any piece, play it on the mouthpiece.

Play no drills on the mouthpiece, only music."

James Thompson, another great master, does have specific drills he teaches on the mouthpiece buzzing which do work very well. I used both methods and the benefits of them to me are very substantial.

R. Tomasek

[Blue Trane]

There it is ^^^^^

[GrillHorn]

I certainly wouldn't knock mouthpiece buzzing as a viable pedagogical device, and I can't imagine many who would. There are so many great players who buzz as part of their daily routine, that the "proof is in the pudding".

Having said that it CERTAINLY doesn't work/ isn't taught (at least long term) by everyone. As long as we are on the topic of Chicago guys, I know Mark Olen, one of the busier players in Chicago, doesn't buzz and he doesn't teach it. He believes that it can make players "too tight". Don't quote me on this, but I don't believe Danny Barber is a mouthpiece buzzer either.

Bill Adam is quoted as having said, "If we can buzz the mouthpiece without getting tension behind the lips we are in good shape. But more often than not, there is a tension behind the buzz". I know Vizzutti has similar feelings on mouthpiece buzzing.

BTW I guess we can add Tomasek and O'hara to the list of buzzers.
_________________
Yamaha 6310z

Bach 3c
Karl Hammond Custom Lead Piece

[Billy B]

Do what works for you.
_________________
Bill Bergren
Obstacles are what appear when you take your eye off of the goal.
www.synergyjazz.org

[Dan O'Donnell]

For whatever it is worth...

The majority of my students are taught to buzz in their school band class.

Their MP buzzing is very random, uncontrolled, loud and filled with tension as they over-blow.

I have them buzz their MP as I place the horn onto the MP while they continue to buzz.

They then hear a HORRIBLE sound and then I say..."This is what you are practicing to sound like...Practice make perminant NOT perfect"

I then teach them how to blow the leadpipe during their daily warm-ups.

It never fails that all of them improve their tone quality SIGNIFICANTLY in a very short period of time.

Obviously, there is a right and wrong ways to buzz the MP however, most kids are taught to do it wrong ("make a duck sound") and then wonder why they don't have good tone quality.

Blowing the leadpipe helps them reduce tension and use just enough vibrating air to "activate" the Trumpet.

Just my $0.02 based on my experiences.
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God Bless,
Dan O'Donnell

"Praise Him with the sound of the Trumpet:..."
Psalms 150:3

[LXROCKER]

It is said the Bill Chase would buzz for about 45 min after performing. I do believe that buzzing should have a structure and or purpose. Just sticking a mp to your lips to randomly or occasionally buzz won't accomplish much and could have a negative effect.
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The trumpet is the instrument of the Gods. It has led generals into battle and laid our heros to rest. No other instrument can run the gamut of human emotion like the trumpet. Practice hard and be worthy to perform for the heavens are listening!

[Jerry Freedman]

I think that Pops has mentioned that AndreTofanelli buzzes for hours. Caruso used is to fix problems. Pocius has beginners use it ( and free buzzing). Some players do it and like it and play well. Some guys find it detrimental

[Billy B]

[Blue Trane]

[GrillHorn]

[trombahonker]