Trumpet and the Rule of Three

[kehaulani]

Thanks, Chris.
I think those progressive books are what I need. Looking forward to them.
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"If you don't live it, it won't come out of your horn." Bird
"I wouldn't play like Wynton Marsalis even if I could play like Wynton Marsalis." Attributed to Chet

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet

[Wilktone]

Chis, in your book do you write out all those different scales in every key or do you provide an example and then ask the student to work out the different keys? Do your scale exercises always start on the lowest note and ascend first or do they sometimes start on the highest note? Are the chord arpeggios associated with each scale also part of the exercise?

Just questions of curiosity there. I think there are a lot of ways we should be practicing scales, but there seems to be a tendency to always practice them low to high and back down again. And while I feel it's very important to memorize scales, I also think that learning to read them in every key is beneficial for sight reading. These things are fairly easy to address with more advanced students, but for intermediate or beginners it's helpful to have them written down (and yes, I noticed your new book is for more advanced players, what are your plans for the intermediate and beginning students there?).

[cbtj51]

[Dayton]

[Chris OHara]

[JVL]

Hello
while not everyone respond positively to mpc buzzing, free buzzing, leadpipe playing, other people find in these technics some ways to fix some parameters in their embouchure or lead themselves in the right technical way for playing, giving them a better vibration or response.

In sprint, observe a training only on plain track, and another training including sessions with cart (or trolley, i don't know the english word, sorry) and/or uphill sprints.
These two exercices don't allow you biomecanically to run like you'll do on the plain surface of the track, but they'll give you indeniable benefits.

For me, it's the same with mpc or free buzzing
Best

[Destructo]

Sprinting doesn't require anywhere near the same amount of fine motor control as playing the trumpet so the metaphor is not that relevant imo.

It would be more like practicing sprinting on stilts or something or wearing boots that change the actual way you run for the analogy to work.

Am not for or against buzzing. I just don't think the analogy you made is a strong one in this case

[Destructo]

[JVL]

To clarify, mostly to "Destructo"
My post was not at all against Chris O'Hara. At the opposite, since i use daily free buzzing and, for quick warm up 5mn mpc buzzing. I studied with Bobby Shew who teaches the benefits of these two tools.

Now, about sprinting (i'm a veteran sprinter), you would be surprised how "fine motor control" is needed and all the technicity and biomecanic envolved.
My point was to say that in some fields or some circumstances, someone can benefit from doing exercices a priori not relative (or very different, excuse my english not precise enough to translate my thought) to the specificities of the main activity.

[stuartissimo]

[JeffHager]

Does buzzing a mouthpiece create a vibration that, when connected to a trumpet, is amplified into a louder sound? Sounds like a legitimate analogy to liken it to a picked string vibration being processed by an amp, yes?

If buzzing a mouthpiece works for some, then it cannot be entirely false that it helps some, yes? Is it better said that if buzzing a mouthpiece doesn't work for you, than it doesn't work FOR YOU?

There are many, many, many ways to play a trumpet. Miles, Dizzy and Herb broke most of the rules I learned growing up, and they all made a ton of cash.

Now, I am curious as to the rule of three, as that is how many things I can remember in one sitting anymore. LOL![/b]
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Jeff
Cool: Jazz
Warm: Personality
Bright: Ideas

[Chris OHara]

[kehaulani]

[JeffHager]

Hahaha, will check it out, Chris, thanks, also of interest re “Buzzing” and how it works for some: https://www.wwbw.com/the-music-room/is-mouthpiece-buzzing-for-brass-players-really-that-important
_________________
Jeff
Cool: Jazz
Warm: Personality
Bright: Ideas

[JayKosta]

[Chris OHara]

[Destructo]

Have been thinking about this debate a bit.

It has been put forward as a fact that buzzing the Mouthpiece is different than playing the actual instrument in the most free, 'efficient' way possible. I can't really dispute that claim. But it does make me wonder if understanding how and why people feel positively about it might be the revealing thing.

I think the most compelling argument is probably to do with accuracy. My guess is that Mouthpiece buzzing might help establish the 'onset' pressure and tension a note requires. And people who enjoy its benefits have learned to release the buzz as part of the follow through of an attack on the instrument, and quickly fall in sync with the resonance. I can see how this would be potentially very useful provided you Intuit that 'release' and don't continue to 'grip' the note the way mouthpiece buzzing seems to encourage (at least for me).

I suspect the trap here is that it also encourages you to manipulate for every note, something an approach like stamp which does incorporate buzzing is trying to get you away from. I think there is probably a useful way to do it, and lots of ways that it can be done counterproductively, which is why there is such a divide.

Chris - does any of that prompt any insights that might be useful to share for those who haven't clicked with buzzing in the past?

[poketrum]

[Chris OHara]

[Halflip]

I buzz, but only pitched to "B".
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"He had no concept of the instrument. He was blowing into it." -- Virgil Starkwell's cello teacher in "Take the Money and Run"