Mystery to Mastery

[StupidBrassObsession]

If I had to say something about this book it would be:

It terrifies me...

The reason being that I think if more people really start using it, there is going to be a hell of a lot more competition to deal with.



But seriously...

[Perrish D'Andrea]

Greg, if you read this, I have one question (I just recently bought your course online and am underway with it):

Where exactly is your tongue position, when you lip buzz? I know from your materials that the tip of your tongue is most likely contacting the lower teeth, but, while lip buzzing, does any part of the tongue push against the lower lip?

That's all; the rest of this is just an explanation of my experience in trying this..

Except in the extreme pedal range, I can only achieve a buzz in the mouthpiece-sized vibrating area when a forward portion of my tongue is anchored firmly to the inside/backside of my lower lip (actually pushing/holding the lower lip forward the tiniest bit), also possibly aiding in sealing the aperture corners.

Could this indicate that I need more strength around the lower lip to keep it from retreating while playing? As a beginner, I developed the unfortunate habit of allowing my lower lip to roll in and behind the upper lip when going into the higher notes, and to this day, I have to watch that propensity like a hawk.

My tongue does not anchor against the lower lip, by the way, when I'm playing the trumpet. When I try to duplicate the tongue anchoring so strongly against the bottom lip while actually playing the horn, the sound goes straight to hell. Anchoring the tip of the tongue against the lower teeth without pushing against the lower lip while playing is no problem, though, and I developed that ability ages ago in high school when I was fooling around with Roger Spaulding's DHC book.

But while lip buzzing, without my tongue firmly pushing against my lower lip, there's no buzz at all, even if I manage to have the tip of my tongue contact my lower teeth without anchoring against the lower lip. No anchoring of my tongue against my lower lip means just air if I try to lip buzz in any of the non-pedal trumpet range. No matter what kind of tension/relaxation I try to bring.

Should I be able to get that buzz without my lower lip being anchored or held forward by my tongue?

Thanks very much,

Perrish
_________________
Olds Ambassador (L.A., cir 1954)
Bach Stradivarius (cir 1969)
Martin Committee (cir 1951)
Supers, Recordings, Super Recordings
Doc's personal L.A. 3* Prototype
clips- http://www.myspace.com/perrishdandrea

[Greg Spence]

Hey Perrish, I really want to emphasise that I am not particularly a massive fan of much free buzzing as it is generally done incorrectly and creates a pinched set up.

However, to answer your question, the very tip of my tongue is as you suggest behind my lower teeth. When I go for a higher pitch I can feel the lower lip but not necessarily with the tip but the forward arch.

I would not suggest you force your tongue onto your lips to create a lip buzz.

It sounds like you might be doing something akin to the Callet Tongue Controlled Embouchure.

When I play in the upper register, I can certainly feel the tongue very slightly touching the lower lip but that is not an intentional placement, rather the result of changing SHAPE.

There are a few new videos on the site that will help you out and this one that isn't up yet.


Link


Hope this helps.

Cheers,
Greg
_________________
FINALLY, new site with free video lessons and the worlds first interactive trumpet eBook by Dancing with the Stars Oz trumpeter. Endorsed by Yamaha and ITG. Check it out at www.mysterytomastery.com

[Perrish D'Andrea]

Greg, thanks so much for your reply and the early look at this new, really helpful vid!

Yes, I was reminded of TCE when I started describing my problems with lip buzzing, and I'm glad for the direction of your advice- the tongue pushing thing in this setup is not a manipulation I wish to foster.

Anyway, back to your book; very excited about making some real progress in range and endurance, the only areas of my playing in which I have flat-out stalled, for years!

Thanks again,
Perrish
_________________
Olds Ambassador (L.A., cir 1954)
Bach Stradivarius (cir 1969)
Martin Committee (cir 1951)
Supers, Recordings, Super Recordings
Doc's personal L.A. 3* Prototype
clips- http://www.myspace.com/perrishdandrea