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scottinvt Regular Member
Joined: 18 Jul 2009 Posts: 74
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Posted: Sun Feb 14, 2010 9:15 pm Post subject: Buzzing |
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I know C.G. was against buzzing because it was his opinion that it made the lips stiff. Did he ever elaborate on this or explain it further? I would like to know why he arrived at this opinion, considering so many other great teachers (Stamp for one) advocate it.
I've been using the B.E.R.P. to warm up with for awhile now and it really seems to have helped a lot with improving my tone, so I'm reluctant to give it up. So, that's why I'm asking what CG's reasoning was regarding this.
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jazz-o-matic 12 Veteran Member
Joined: 14 Feb 2007 Posts: 329 Location: farmington ct
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Posted: Sun Feb 14, 2010 10:23 pm Post subject: |
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Different people will always advocate different things. CG obviously got no benefits from buzzing, yet a lot of players out there have had great success with it if not because of it. I happen to find it vital to my playing seeing as though when I get too tight I normally buzz some arpeggios extremely soft and then im right back on track _________________ Getzen 3001 Bb
Getzen 3050 Bb (Bach 3B)
Getzen 3070 C (Bach 3C 24 throat) |
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David Roberts Veteran Member
Joined: 27 Jun 2009 Posts: 103
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Posted: Mon Feb 15, 2010 6:55 am Post subject: |
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If you look on page 31 of Brass Playing Is No Harder Than Deep Breathing, CG states that it is a “waste of time” to practice buzzing the mouthpiece. In the next paragraph he states it’s a “waste of time” to practice free buzzing. Simply adding that both practices do not duplicate the “feel” of playing the instrument - which is what we are all trying to discover for ourselves. By his own writing, I take it to mean that he was against “wasting time.”
If you practice buzzing, be sure to follow the instructions completely (from the great teachers you mention), and remember what Herbert L Clarke stated: “A drop of medicine may cure, whereas a spoonful may kill.” _________________ David Roberts |
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crzytptman Heavyweight Member
Joined: 03 Sep 2003 Posts: 10124 Location: Escondido California
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Posted: Mon Feb 15, 2010 9:17 am Post subject: |
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I truly believe in Claude Gordon's approach and work out of his Systematic Approach regularly. I have not studied with him or any of his students. What I have found is in buzzing the lips in the manner that Pops McLaughlin describes, it is the inner lip tissue that buzzes in a way that directly relates to trumpet playing. When I have my students practice this, I tell them that they are not to replicate the "face" of the buzz, only the feel of the inner lip tissue response. This is also very similar to what happens in the pedal tone exercises, but without all of the air. I don't view free buzzing as a replacement for anything done on the horn, but merely as another thing one can do to condition the response of the embouchure that can be done anytime and anywhere throughout the day. For students who don't practice 3+ hrs a day, it's something they can do before school and between classes that's productive and will help them make good use of their playing time. It's all good. _________________ Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld) |
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scottinvt Regular Member
Joined: 18 Jul 2009 Posts: 74
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Posted: Tue Feb 16, 2010 6:24 pm Post subject: |
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Thanks for the responses. Another thing about the B.E.R.P. device I use: it's helpful not just for chops but musically. It helps me to "hear" the pitch of the notes. I try and buzz slightly more challenging things than the usual diatonic scale: whole tones, diminished whole tone scale, etc. Just wanted to mention this.
I guess we all have to find out what works and what doesn't work. For now I'll stick with using the B.E.R.P. SPARINGLY along with the Systematic Approach exercises. |
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David Roberts Veteran Member
Joined: 27 Jun 2009 Posts: 103
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Posted: Thu Feb 18, 2010 7:16 pm Post subject: |
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scottinvt wrote: | It helps me to "hear" the pitch of the notes. |
I can’t speak to the ‘warm up’ angle of buzzing, because I just don’t practice this technique. In fact, my teacher -Bruce Haag - would probably jump in his car and drive to Virginia to kick my butt for doing this. But, if you are using the B.E.R.P. to practice ear training, then I would like to suggest simply singing and fingering through a passage (scales, licks, phrases, etc.), followed by actually playing it on the trumpet (repeat many times when necessary). You would then be following the advice of both Claude Gordon and Herbert L Clarke by resting as much as you play, as well as developing your ear - and your trumpet playing. For me, this maximizes the efficiency of my (limited) practice time. Just a thought and best wishes with your practicing! _________________ David Roberts |
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