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Practicing on the mouthpiece


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Shaft
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PostPosted: Fri Jun 29, 2012 1:11 pm    Post subject: Reply with quote

+1 on Tofanelli buzzing an hour a day. Pops told me the same thing.

I love Terry's mpc blues too
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Jim-Wilson
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PostPosted: Sun Jul 01, 2012 5:04 am    Post subject: Reply with quote

Quote:
I love Terry's mpc blues too


I'm definitely with you on loving the musicality he brings to the mouthpiece (and horn). What I'm going to say now is absolutely not a criticism - just an observation. As lovely as his mouthpiece "blues" is, it is more toward the tighter side of mouthpiece buzzing. It is lovely but mostly core sound without as much resonance as I think is possible on the mouthpiece. Again, no criticism - just observation.
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dbacon
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PostPosted: Sun Jul 01, 2012 12:38 pm    Post subject: Reply with quote

Jim-Wilson wrote:
Quote:
I love Terry's mpc blues too


I'm definitely with you on loving the musicality he brings to the mouthpiece (and horn). What I'm going to say now is absolutely not a criticism - just an observation. As lovely as his mouthpiece "blues" is, it is more toward the tighter side of mouthpiece buzzing. It is lovely but mostly core sound without as much resonance as I think is possible on the mouthpiece. Again, no criticism - just observation.


It's how he heard it in his head..as a great jazz player the form followed the function...
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pmelvin
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PostPosted: Sun Jul 01, 2012 3:13 pm    Post subject: Reply with quote

One of the posts refers to mouthpiece playing rather then "buzzing", an excellent concept. Another post correctly attributes the advocacy of mouthpiece playing to the Chicago school, and the Herseth-Cichowicz-Jacobs philosophy is very singing-based. If mouthpiece playing is approached as an extension of the the voice and a tool for "singing" the lines, it is very beneficial, particularly for developing players.
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dbacon
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PostPosted: Sun Jul 01, 2012 3:23 pm    Post subject: Reply with quote

pmelvin wrote:
One of the posts refers to mouthpiece playing rather then "buzzing", an excellent concept. Another post correctly attributes the advocacy of mouthpiece playing to the Chicago school, and the Herseth-Cichowicz-Jacobs philosophy is very singing-based. If mouthpiece playing is approached as an extension of the the voice and a tool for "singing" the lines, it is very beneficial, particularly for developing players.


Right, I always refer to it as playing the mouthpiece..make it a musical instrument.
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2-5-1
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PostPosted: Mon Jul 02, 2012 4:09 pm    Post subject: Reply with quote

Never buzz your mouthpiece in front of a mirror....if you do, Claude Gordon and John Mohan will appear behind you and slap you in the face with a copy of "Brass Playing is No Harder Than Deep Breathing".
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dmb
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PostPosted: Mon Jul 02, 2012 5:49 pm    Post subject: Reply with quote

2-5-1 wrote:
Never buzz your mouthpiece in front of a mirror....if you do, Claude Gordon and John Mohan will appear behind you and slap you in the face with a copy of "Brass Playing is No Harder Than Deep Breathing".


Most likely you will just have to clean your mirror more often.
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Shaft
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PostPosted: Mon Jul 02, 2012 6:36 pm    Post subject: Reply with quote

Some people may disagree but when I get to watch some people try to make sounds on the mouthpiece, I'll see and hear some strange things, and if they are trying to do a scale and it's rough, I think to myself "aww that's cute; like watching a baby deer trying to walk."

I personally don't worry about how anyone approaches their craft unless one or more of the following three things apply.

1-I have to listen to them
2-I have to play with them
3-I have to teach them.

In either case however I still have to listen to them.

Agree or disagree it is rather amusing for a moment at times and I know we have all seen some things in the green rooms at school and on the job.
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dbacon
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PostPosted: Wed Jul 04, 2012 2:06 pm    Post subject: Reply with quote

Shaft wrote:
Some people may disagree but when I get to watch some people try to make sounds on the mouthpiece, I'll see and hear some strange things, and if they are trying to do a scale and it's rough, I think to myself "aww that's cute; like watching a baby deer trying to walk."

I personally don't worry about how anyone approaches their craft unless one or more of the following three things apply.

1-I have to listen to them
2-I have to play with them
3-I have to teach them.

In either case however I still have to listen to them.

Agree or disagree it is rather amusing for a moment at times and I know we have all seen some things in the green rooms at school and on the job.


Hearing Doc warm up in the Green Room..priceless!
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mbassett1451
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PostPosted: Wed Jul 04, 2012 5:12 pm    Post subject: Reply with quote

2-5-1 wrote:
Never buzz your mouthpiece in front of a mirror....if you do, Claude Gordon and John Mohan will appear behind you and slap you in the face with a copy of "Brass Playing is No Harder Than Deep Breathing".


+1
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solo soprano
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PostPosted: Wed Jul 04, 2012 5:24 pm    Post subject: Reply with quote

dmb wrote:
2-5-1 wrote:
Never buzz your mouthpiece in front of a mirror....if you do, Claude Gordon and John Mohan will appear behind you and slap you in the face with a copy of "Brass Playing is No Harder Than Deep Breathing".

Most likely you will just have to clean your mirror more often.

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+1
Plus the fact that if you are sitting down when you buzz, you will get spit all over your pants!
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sharaku888
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PostPosted: Fri Jul 20, 2012 3:54 pm    Post subject: Reply with quote

Taking the tuning slide off the horn and "air attack" works better than just mcpc alone.
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