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Chris OHara
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 Posted: Mon Oct 09, 2023 7:09 am Post subject: |
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| Halflip wrote: | | I buzz, but only pitched to "B". |
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kalijah
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| Posted: Mon Oct 09, 2023 7:16 am Post subject: |
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Chris Ohara wrote:
| Quote: | | I prefer the mouthpiece |
Then that is what you should take to your gigs. Leave your trumpet at home.
| Quote: | | the mouthpiece is a lie detector. |
No, the instrument is. The mouthpiece alone certainly does lie RELATIVE to playing the instrument.
| Quote: | | A lot of people rely on the trumpet to help tell them where a note should sit. |
And they absolutely should. THAT is the instrument we play. The mouthpiece is not the instrument.
| Quote: | | When playing the mouthpiece, it's all on you. |
Playing the instrument is all on you. But requires quite less effort.
| Quote: | | If you can buzz a tune or passage exactly right on the mouthpiece, it will play better on the trumpet because every note goes where it is supposed to with no guessing. |
If I play exactly like I buzz it sounds horrible. If I buzz like I play there is no sound, just air flowing, or indeterminate and unrelated pitches.
| Quote: | | Pedagogues like Jacobs and Rocco advocate the idea of playing tunes in this same way. |
It still takes more embouchure and air effort to do so. SO use it as a strengthening exercise if you must. But I prefer strengthening and coordination on the full instrument. See Carmine Caruso exercises.
| Quote: | | There are those who say that you buzz a different pitch than you play. This is simply not true. |
Easily shown to be true.
| Quote: | | As part of my initial lesson with a student, I demonstrate how putting the mouthpiece into the trumpet while buzzing, produces a clear, open sound - at the exact pitch |
But you already know how to play a clear tone and you can revert to that when you add the full instrument. A student cannot. Teaching a beginner by buzzing is not the best way, yes it yields a result, but an inferior one with excessive effort. The tonal results are far better with a full instrument. Just have them place the lips together gently and blow air gently and that opens the gently closed lips. Add the instrument. Amazingly mature tone (not the typical buzz-saw frumpy tone), on day one with far less effort from the student.
If you honestly hold the same lip posture as buzzing the sound is indeed inferior. Likewise, remove the mouthpiece from the full instrument while playing a pure tone. The sound goes away, or a different pitch occurs UNLESS you revert to greater effort required to buzz the mp alone.
| Quote: | | (you can even get the pitch you want with the wrong fingering). |
So, playing the mouthpiece is like forcing a badly out of tune sound on the instrument. I agree with you on that one.
Last edited by kalijah on Mon Oct 09, 2023 7:21 am; edited 1 time in total |
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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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| Posted: Mon Oct 09, 2023 7:20 am Post subject: |
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| kalijah wrote: | | Quote: | | I prefer the mouthpiece |
Then that is what you should take to your gigs. Leave your trumpet at home.
| Quote: | | the mouthpiece is a lie detector. |
No, the instrument is. The mouthpiece alone certainly does lie RELATIVE to playing the instrument.
| Quote: | | A lot of people rely on the trumpet to help tell them where a note should sit. |
And they absolutely should. THAT is the instrument we play. The mouthpiece is not the instrument.
| Quote: | | When playing the mouthpiece, it's all on you. |
Playing the instrument is all on you. But requires quite less effort.
| Quote: | | If you can buzz a tune or passage exactly right on the mouthpiece, it will play better on the trumpet because every note goes where it is supposed to with no guessing. |
If I play exactly like I buzz it sounds horrible. If I buzz like I play there is no sound, just air flowing, or indeterminate and unrelated pitches.
| Quote: | | Pedagogues like Jacobs and Rocco advocate the idea of playing tunes in this same way. |
It still takes more embouchure and air effort to do so. SO use it as a strengthening exercise if you must. But I prefer strengthening and coordination on the full instrument. See Carmine Caruso exercises.
| Quote: | | There are those who say that you buzz a different pitch than you play. This is simply not true. |
Easily shown to be true.
| Quote: | | As part of my initial lesson with a student, I demonstrate how putting the mouthpiece into the trumpet while buzzing, produces a clear, open sound - at the exact pitch |
But you already know how to play a clear tone and you can revert to that when you add the full instrument. A student cannot. Teaching a beginner by buzzing is not the best way, yes it yields a result, but an inferior one with excessive effort. The tonal results are far better with a full instrument. Just have them place the lips together gently and blow air gently and that opens the gently closed lips. Add the instrument. Amazingly mature tone (not the typical buzz-saw frumpy tone), on day one with far less effort from the student.
If you honestly hold the same lip posture as buzzing the sound is indeed inferior. Likewise, remove the mouthpiece from the full instrument while playing a pure tone. The sound goes away, or a different pitch occurs UNLESS you revert to greater effort required to buzz the mp alone.
| Quote: | | (you can even get the pitch you want with the wrong fingering). |
So, playing the mouthpiece is like forcing a badly out of tune sound on the instrument. I agree with you on that one. |
Amazing. Every word of what you just said was wrong.
-Luke Skywalker
_________________
Christopher J. O'Hara, DMA
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com
www.alliancebrass.com |
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JayKosta
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Joined: 24 Dec 2018
Posts: 3333
Location: Endwell NY USA
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| Posted: Mon Oct 09, 2023 8:12 am Post subject: |
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| poketrum wrote: | | JayKosta wrote: | | If you continue to 'force' a buzz into the mouthpiece, the trumpet will likely react by producing a poor 'buzzing sound' out the bell. |
Isn’t any mouthpiece-only buzz a forced buzz?
... |
-----------------------------
Perhaps not always, some people might be able to carefully position their lips such that the lips will freely vibrate with a controlled air flow.
But in most instances when a player attempts to 'buzz the mouthpiece' or 'play the mouthpiece', I believe the buzz is being 'forced'.
For actual playing, my view is that the lips (entire embouchure) and air flow ought to be adjusted (postured) so the resonance of the instrument INDUCES the lips to buzz / vibrate at the resonance pitch. And the imagining of that pitch / sound ought to direct the player to make the proper adjustments.
A key element of good playing is learning how to establish those adjustments before sounding the note. With practice, 'Imagining the sound' will result in the reflex action of making the adjustments, including fingering. And by practicing while looking at the written notes, the reflex extends to a combined See / Imagine / Do.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Last edited by JayKosta on Mon Oct 09, 2023 10:10 am; edited 1 time in total |
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Jon Kaplan
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Joined: 14 Aug 2009
Posts: 302
Location: Charlotte, NC
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| Posted: Mon Oct 09, 2023 8:34 am Post subject: |
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| Chris OHara wrote: | Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
Chris,
I feel like this response is kind of unwarranted and to me is indicating a inflexibility to appreciate the difference between what you think of as effective trumpet pedagogy and how another person is using the physical realities of trumpet playing to inform their own pedagogy. This kind of dismissal is not a good faith argument. Why is the disrespect necessary? To say all of what he said is wrong is bizarre.
Kalijah is acknowledging that buzzing can be a useful exercise but they personally don't prefer it based on the effects buzzing has on their own playing. The way he has chosen to do so is a bit confrontational but I think appropriately thought provoking and I can see what he's trying to say through that tone (which is probably canned frustration from dealing with many zealous and dogmatic advocates of various pedagogies).
Objectively playing is different from buzzing, and some find their way of buzzing harms their playing, and others do not. High level players of both mindsets exist. There is no true answer to which pedagogy is more "right" because everybody's interpretation of what's happening physically is individual to them and their mental relationship with the instrument (and mouthpiece). What we can observe is the effect of teaching these concepts to students and how successful they actually are at producing the result we as teachers/self-teachers are looking for - and clearly there is not a consensus yet in our community.
There is however an underlying physical reality that Kalijah is addressing that is not solely focused on pedagogical uses, but on using that better understanding of the underlying physics of the instrument to encourage what he sees as better pedagogy.
Hopefully that all makes sense to you both. No disrespect intended to either of you - I am interested in this conversation so it just made me sad to see a real attempt at an in depth discussion on the subject get shut down so quickly.
_________________
2nd Trumpet, Charlotte Symphony Orchestra
2nd Trumpet, Central City Opera Orchestra |
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poketrum
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Joined: 04 Mar 2023
Posts: 160
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| Posted: Mon Oct 09, 2023 8:50 am Post subject: |
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| JayKosta wrote: | | poketrum wrote: | | JayKosta wrote: | | If you continue to 'force' a buzz into the mouthpiece, the trumpet will likely react by producing a poor 'buzzing sound' out the bell. |
Isn’t any mouthpiece-only buzz a forced buzz?
... |
-----------------------------
Perhaps not always, some people might be able to carefully position their lips such that the lips will freely vibrate with a controlled air flow.
But in most instances when a player attempts to 'buzz the mouthpiece' or 'play the mouthpiece', I believe the buzz is being 'forced'.
For actual playing, my view is the the lips (entire embouchure) and air flow ought to be adjusted (postured) so that the resonance of the instrument INDUCES the lips to buzz / vibrate at the resonance pitch. And the imagining of that pitch / sound ought to direct the player to make the proper adjustments.
A key element of good playing is learning how to establish those adjustments before sounding the note. With practice, 'Imagining the sound' will result in the reflex action of making the adjustments, including fingering. And by practicing while looking at the written notes, the reflex extends to a combined See / Imagine / Do. |
Interesting and helpful. Thank you. |
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kehaulani
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Joined: 23 Mar 2003
Posts: 9079
Location: Hawai`i - Texas
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| Posted: Mon Oct 09, 2023 8:54 am Post subject: |
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| Chris OHara wrote: | Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
Semantics. What does buzz mean?
I'm so tired of this Forum's micro-analysis of things that, in the practical sense, don't matter. Relatively speaking, I don't give a d*** about the intricacies of the scientific/acoustical finite points of all things trumpet. I'm just concerned with what works and the most unplicated way of getting there. I would like to see the differences between Chris' experience and accomplishments and kalijah's.
_________________
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Last edited by kehaulani on Mon Oct 09, 2023 10:08 am; edited 2 times in total |
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Jon Kaplan
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Joined: 14 Aug 2009
Posts: 302
Location: Charlotte, NC
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| Posted: Mon Oct 09, 2023 9:08 am Post subject: |
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| kehaulani wrote: | | Chris OHara wrote: | Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
Semantics. What does buzz mean?
I'm so tired of this Forum's micro-analysis of things that, in the practical sense, don't matter. Relatively speaking, I don't give a d*** about the intricacies of the scientific/acoustical finite points of all things trumpet. I'm just concerned with what works and the most uncomplicated way of getting there. I would like to see the differences between Chris' experience and accomplishments and kalijah's. |
All due respect to you, kehaulani. You have been a devoted and highly active TH member for many years and I respect you very much. But my experiences in the professional world have taught me that someone's playing credentials really do not have that much to do with how much of a deep understanding of the physics of the instrument they have or how much they apply that in their own playing and teaching.
We all find our own way on the trumpet - yes, with teachers help and guidance hopefully, but at the end of the day we're all just experimenting with our own mindset and physical setup until we get the results we're looking for (or give up and try to find a new approach). Some succeed well with minimal additional information beyond what a conveniently placed pedagogue introduces them to, some seek out additional information and dig deep to find the answers they are looking for and need to improve their own unique relationship to the instrument.
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2nd Trumpet, Charlotte Symphony Orchestra
2nd Trumpet, Central City Opera Orchestra |
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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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| Posted: Mon Oct 09, 2023 9:53 am Post subject: |
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| Jon Kaplan wrote: | | Chris OHara wrote: | Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
Chris,
I feel like this response is kind of unwarranted and to me is indicating a inflexibility to appreciate the difference between what you think of as effective trumpet pedagogy and how another person is using the physical realities of trumpet playing to inform their own pedagogy. This kind of dismissal is not a good faith argument. Why is the disrespect necessary? To say all of what he said is wrong is bizarre.
Kalijah is acknowledging that buzzing can be a useful exercise but they personally don't prefer it based on the effects buzzing has on their own playing. The way he has chosen to do so is a bit confrontational but I think appropriately thought provoking and I can see what he's trying to say through that tone (which is probably canned frustration from dealing with many zealous and dogmatic advocates of various pedagogies).
Objectively playing is different from buzzing, and some find their way of buzzing harms their playing, and others do not. High level players of both mindsets exist. There is no true answer to which pedagogy is more "right" because everybody's interpretation of what's happening physically is individual to them and their mental relationship with the instrument (and mouthpiece). What we can observe is the effect of teaching these concepts to students and how successful they actually are at producing the result we as teachers/self-teachers are looking for - and clearly there is not a consensus yet in our community.
There is however an underlying physical reality that Kalijah is addressing that is not solely focused on pedagogical uses, but on using that better understanding of the underlying physics of the instrument to encourage what he sees as better pedagogy.
Hopefully that all makes sense to you both. No disrespect intended to either of you - I am interested in this conversation so it just made me sad to see a real attempt at an in depth discussion on the subject get shut down so quickly. |
Jon,
In all honesty, in this particular situation, it has never been a "good faith argument" which I think is rather evident if you read through the rest of this thread. I have (and will continue to) answered every good faith point. I have stated numerous times that if buzzing/mouthpiece playing doesn't work for you - great, don't do it and keep doing what works for you. I don't think that is a "dogmatic or zealous" approach.
The reality is that the book is 450 pages, of which 9 discuss buzzing and 8 of those have exercises that are mouthpiece specific. This particular individual has read a small excerpt of 1, and on that has decided that my approach is trash. He is welcome to his opinion.
I am happy to answer any questions, and have good faith discussion with anyone that would like the same. Simply saying things like "it sounds horrible" and "playing the mouthpiece is like forcing a badly out of tune sound on the instrument" is hardly good faith.
You said: "There is no true answer to which pedagogy is more "right"" and I completely agree - in fact, I say nearly this exact thing in the book. My approach is simply one that has worked for me (and I feel given me a very successful career - although, that is a slightly biased opinion  ) and my students.
Check out the book, give it a legitimate chance. If there are things that work for you, great - use them! If there are things that don't work for you, you don't have to use them.
No offense taken, nor intended. I hope that helps?
_________________
Christopher J. O'Hara, DMA
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com
www.alliancebrass.com |
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lakejw
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Joined: 06 Jan 2010
Posts: 543
Location: Brooklyn, New York
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| Posted: Mon Oct 09, 2023 9:54 am Post subject: |
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This is still going? Unbelievable. Some websites hire chatbots to generate this kind of engagement...here at TH we get it for free!
Chris, congrats on the book. I hope people find your methods useful for their trumpet playing.
_________________
New Album "ensemble | in situ" on Bandcamp
johnlakejazz.com |
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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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| Posted: Mon Oct 09, 2023 10:26 am Post subject: |
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| lakejw wrote: | This is still going? Unbelievable. Some websites hire chatbots to generate this kind of engagement...here at TH we get it for free!
Chris, congrats on the book. I hope people find your methods useful for their trumpet playing. |
Ha! I'm also a little surprised - I thought this would just be a quick little announcement.
If you teach, you might like the scales portion as it cover a lot of scales that could be used in jazz - I actually got a lot of them (that I wasn't already familiar with) from a jazz packet that Sam Pilafian put together for jazz/improvisation.
_________________
Christopher J. O'Hara, DMA
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com
www.alliancebrass.com |
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Jaw04
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Joined: 31 Dec 2015
Posts: 902
Location: Bay Area, California
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| Posted: Mon Oct 09, 2023 12:33 pm Post subject: |
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| Buzzing the mouthpiece can be part of someone’s pedagogy if they want. They should be allowed to present buzzing without facing the Spanish Inquisition and a litany of attacks based on physics of brass playing. At the same time, I believe those that advocate buzzing should be careful with how they present it and be sure to clarify that buzzing is not how the trumpet works. Some students will take your words quite literally and may run into problems if you aren’t extremely clear with your instructions. |
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JeffHager
Regular Member
Joined: 07 Oct 2023
Posts: 13
Location: Cleveland, Ohio USA
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| Posted: Mon Oct 09, 2023 12:43 pm Post subject: |
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Chris,
After downloading your book, I appreciate the thoughtful explanations you give for practicing music with others, and the concise and clear explanations. Your achievements speak for themselves, and you certainly come across as trying to be helpful, look forward to practicing more with it.
Tone is so important in conversations amongst trumpet players. Ego is our enemy, colleagues, and when someone says a particular pedagogy is patently false, that is just more ego flashing.
If one disagrees, better to say that a particular point did not work for them and question the author accordingly, rather than try to say it will not work for anyone else under any circumstance. Looking forward to more civil and kindly discourse from the professionals in the room here at TH.
Cheers,
Jeff
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Jeff
Cool: Jazz
Warm: Personality
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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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| Posted: Mon Oct 09, 2023 2:32 pm Post subject: |
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| JeffHager wrote: | Chris,
After downloading your book, I appreciate the thoughtful explanations you give for practicing music with others, and the concise and clear explanations. Your achievements speak for themselves, and you certainly come across as trying to be helpful, look forward to practicing more with it.
Tone is so important in conversations amongst trumpet players. Ego is our enemy, colleagues, and when someone says a particular pedagogy is patently false, that is just more ego flashing.
If one disagrees, better to say that a particular point did not work for them and question the author accordingly, rather than try to say it will not work for anyone else under any circumstance. Looking forward to more civil and kindly discourse from the professionals in the room here at TH.
Cheers,
Jeff |
I'm glad that you are enjoying the book so far! Keep me posted, and don't hesitate to reach out if you have any questions along the way!
_________________
Christopher J. O'Hara, DMA
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com
www.alliancebrass.com |
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Destructo
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Joined: 18 Apr 2022
Posts: 178
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| Posted: Mon Oct 09, 2023 11:41 pm Post subject: |
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| Jon Kaplan wrote: | | Chris OHara wrote: | Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
Chris,
I feel like this response is kind of unwarranted and to me is indicating a inflexibility to appreciate the difference between what you think of as effective trumpet pedagogy and how another person is using the physical realities of trumpet playing to inform their own pedagogy. This kind of dismissal is not a good faith argument. Why is the disrespect necessary? To say all of what he said is wrong is bizarre.
Kalijah is acknowledging that buzzing can be a useful exercise but they personally don't prefer it based on the effects buzzing has on their own playing. The way he has chosen to do so is a bit confrontational but I think appropriately thought provoking and I can see what he's trying to say through that tone (which is probably canned frustration from dealing with many zealous and dogmatic advocates of various pedagogies).
Objectively playing is different from buzzing, and some find their way of buzzing harms their playing, and others do not. High level players of both mindsets exist. There is no true answer to which pedagogy is more "right" because everybody's interpretation of what's happening physically is individual to them and their mental relationship with the instrument (and mouthpiece). What we can observe is the effect of teaching these concepts to students and how successful they actually are at producing the result we as teachers/self-teachers are looking for - and clearly there is not a consensus yet in our community.
There is however an underlying physical reality that Kalijah is addressing that is not solely focused on pedagogical uses, but on using that better understanding of the underlying physics of the instrument to encourage what he sees as better pedagogy.
Hopefully that all makes sense to you both. No disrespect intended to either of you - I am interested in this conversation so it just made me sad to see a real attempt at an in depth discussion on the subject get shut down so quickly. |
The trouble is that people are quick to point out the physics, but it's always a negation. What I would love is for someone to go:
Here is the physics, here is how to actually apply this understanding, here are the implications and here's how to solve various problems.
There's a few gurus out there who make out that their approach is supported by physics and acoustics etc but if you ask someone like Kalijah they'll be quick to tell you the attempt at pedagogifying is just as problematic.
The physics seems always to tell us some idea doesn't match reality. Unfortunately it never seems to give anything particularly useful as an alternative. Don't mouthpiece buzz; play the instrument. Okay but that doesn't really help people who are struggling to struggle less. |
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JayKosta
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Joined: 24 Dec 2018
Posts: 3333
Location: Endwell NY USA
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| Posted: Tue Oct 10, 2023 6:07 am Post subject: Re: Accurate but irrelevant |
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| DFC1 wrote: | It’s possible for information to be simultaneously accurate and irrelevant.
...
I look forward to hearing about how this mathematical and physical data may change all of our perspectives and improve our playing and teaching.
I just haven’t seen that happen yet.
...
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-------------------------------------------------
It seems true that teaching and learning how to use the technical information to result in better playing is difficult. At its most basic level it is quite simple, but 'how to teach' and 'how to learn' perfection of that basic level is difficult.
Lips positioned so they are able to vibrate as needed.
Produce adequate air flow to activate the lips.
My view is that if a person (teacher or student) understands the technical issues about 'what is happening' and 'what needs to be happening', then that person is in a much better position to recognize problems and to find solutions.
I think that the 'good teachers' (and 'good self-learners') have that understanding - it's like a roadmap, a good one will show you where you want to go, a bad one will lead you somewhere else.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Steve A
Heavyweight Member
Joined: 26 May 2006
Posts: 1810
Location: Toronto, Canada
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| Posted: Tue Oct 10, 2023 11:42 am Post subject: |
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| Chris OHara wrote: | | kalijah wrote: |
| Quote: | | If you can buzz a tune or passage exactly right on the mouthpiece, it will play better on the trumpet because every note goes where it is supposed to with no guessing. |
If I play exactly like I buzz it sounds horrible. If I buzz like I play there is no sound, just air flowing, or indeterminate and unrelated pitches. |
Amazing. Every word of what you just said was wrong.
-Luke Skywalker |
For what it's worth, Christian Lindberg seems to agree (even less diplomatically) with kalijah, when he says "when you practice on the mouthpiece, you practice a horrible sound."
https://youtu.be/D796wn5uvtw?si=RCga-JrbeFlrdugk&t=363
The fact that the mouthpiece is different than the trumpet doesn't (as kalijah also says) mean that it can't be a useful practice tool, but, from an experiential standpoint, I think kalijah's correct here, and from a physics standpoint, there's nothing to discuss, because this isn't even a question. It may be an easy adjustment to make, and people might not realize they're even doing it, but they're not the same thing. However well-intentioned, it's misleading people to say good trumpet playing results from literally copying what you do when you play on the mouthpiece. |
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Shifty
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Joined: 23 Feb 2013
Posts: 255
Location: Phoenix AZ
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| Posted: Tue Oct 10, 2023 12:10 pm Post subject: |
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| Steve A wrote: | For what it's worth, Christian Lindberg seems to agree (even less diplomatically) with kalijah, when he says "when you practice on the mouthpiece, you practice a horrible sound."
https://youtu.be/D796wn5uvtw?si=RCga-JrbeFlrdugk&t=363
The fact that the mouthpiece is different than the trumpet doesn't (as kalijah also says) mean that it can't be a useful practice tool, but, from an experiential standpoint, I think kalijah's correct here, and from a physics standpoint, there's nothing to discuss, because this isn't even a question. It may be an easy adjustment to make, and people might not realize they're even doing it, but they're not the same thing. However well-intentioned, it's misleading people to say good trumpet playing results from literally copying what you do when you play on the mouthpiece. |
+1
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JayKosta
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Joined: 24 Dec 2018
Posts: 3333
Location: Endwell NY USA
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| Posted: Tue Oct 10, 2023 12:12 pm Post subject: |
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| Steve A wrote: | | ... it's misleading people to say good trumpet playing results from literally copying what you do when you play on the mouthpiece. |
-----------------------------------
I don't recall anyone recommending 'literally copying' the action of mouthpiece buzzing as the way to play the trumpet.
It seems the controversy is whether there is benefit to learning how to 'play the mouthpiece' as an EXERCISE for developing the skills for playing trumpet.
A problem is that someone might make the erroneous decision to 'play as I buzz' due to misunderstanding the role of buzzing as an exercise, and not as a way of playing.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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Steve A
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Joined: 26 May 2006
Posts: 1810
Location: Toronto, Canada
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| Posted: Tue Oct 10, 2023 12:22 pm Post subject: |
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| JayKosta wrote: | | Steve A wrote: | | ... it's misleading people to say good trumpet playing results from literally copying what you do when you play on the mouthpiece. |
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I don't recall anyone recommending 'literally copying' the action of mouthpiece buzzing as the way to play the trumpet. |
Kalijah says:
"If I play exactly like I buzz it sounds horrible. If I buzz like I play there is no sound, just air flowing, or indeterminate and unrelated pitches."
Chris O'Hara quotes that and replies (no doubt with an element of implied light-heartedness or humour):
"Amazing. Every word of what you just said was wrong.
-Luke Skywalker"
None of the words kalijah said in that quote were wrong. All of them were right. |
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