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clarification on buzzing aaproach



 
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txtrumpetguy
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PostPosted: Wed Oct 31, 2018 10:01 am    Post subject: clarification on buzzing aaproach Reply with quote

Hello All,

About a year and a half ago I took a Skype lesson with Chris LaBarbera and he prescribed Dr. Reinhardt's buzzing routine to me. For whatever reason, I didn't commit to doing it but want to try it now. I want to make sure that I am doing it correctly and was a bit confused by the commentary in his encyclopedia. Maybe I'm reading too much into it. Looking for thoughts.

On page 170 under #2, he says to "place the mouthpiece on the embouchure formation in the normal playing manner" when you move to the horn after buzzing the pitch 3 times. Does this mean just how I normally play? I know earlier he states that "buzzing is used as a correctional procedure, not as a method of playing." (Page 169, #11)

However, later on page 173, under #58, subnumber 8 when asked "When does buzzing become a playing detriment", he answers "Buzzing becomes a playing detriment whenever the buzz is used as a method of playing with all but the standard type III."

I am a type 3A, if I remember correctly from my lesson with Chris. He did not tell me to do the walk-in exercises, but that down the road I may want to. But is my goal to eventually change my embouchure to a buzzing embouchure or to just do the buzzing with the expectation that it will morph into my playing over time and I will play with a firmer setup instead of using more mouthpiece pressure or overblowing (as I am prone to do)? I do remember him (Chris) distinctly saying that none of us buzzes exactly how we play and vice versa. I can currently do the #2 exercise on page 170 up to F-sharp. I do notice that when I play the note after doing the 3 buzzed pitches that it feels easier and seems to vibrate easier as well. I would love to get to the point where endurance getting through a gig is not a worry for me anymore. A boost in range wouldn't hurt either...

Any thoughts are appreciated from the Reinhardt experts. Thank you!
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BeboppinFool
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PostPosted: Thu Nov 01, 2018 5:32 am    Post subject: Re: clarification on buzzing aaproach Reply with quote

txtrumpetguy wrote:
On page 170 under #2, he says to "place the mouthpiece on the embouchure formation in the normal playing manner" when you move to the horn after buzzing the pitch 3 times. Does this mean just how I normally play? I know earlier he states that "buzzing is used as a correctional procedure, not as a method of playing." (Page 169, #11)

However, later on page 173, under #58, subnumber 8 when asked "When does buzzing become a playing detriment", he answers "Buzzing becomes a playing detriment whenever the buzz is used as a method of playing with all but the standard type III."

A "Standard Type III" (usually referred to simply as a Type III) is a totally different animal from a IIIA. A IIIA would be one of the types you cited above for which it would be detrimental to play with a buzzing embouchure.

txtrumpetguy wrote:
. . . is my goal to eventually change my embouchure to a buzzing embouchure or to just do the buzzing with the expectation that it will morph into my playing over time and I will play with a firmer setup instead of using more mouthpiece pressure or overblowing (as I am prone to do)?

Your desired goal would be the second part of your question directly above.

By the way, I do not claim to be a Reinhardt expert by any stretch, and I was possibly one of Doc's slowest students as far as fully understanding everything he taught me. Granted, I have made huge progress by adhering to his instruction as much as possible, but I still don't claim to be the "model" Reinhardt student.
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txtrumpetguy
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Location: Texas

PostPosted: Thu Nov 01, 2018 5:57 am    Post subject: Reply with quote

This is very helpful. Thank you!
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BeboppinFool
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PostPosted: Fri Nov 02, 2018 6:48 pm    Post subject: Reply with quote

One more thing . . . Doc said (in his 35 Basic Points):

In The Encyclopedia of the Pivot System, Doc Reinhardt wrote:
3. Your lips must be formed in such a manner that they are just touching—throughout preparation for placement—throughout your placement—throughout your inhalation—and at the completion of your blowing. Your lip aperture (the space blown open -not tongued open) must occur only during your actual blowing.

<snip>

7. Your mouthpiece should be placed upon an embouchure of almost buzzing firmness. This prevents any twisting or winding up during the mouthpiece placement. It is safe to say, therefore, that this essential firmness must be arrested with sufficient grip pressure during your placement and inhalation. The actual lip pucker occurs from the moment of the attack to the conclusion of the blowing. If this is carried out in the proper manner, your grip pressure will prevent too much flesh from rushing in and under the rim and into the cup of the mouthpiece. You can see that the lip pucker being the opposite of the smile is intended to neutralize both the forward and the backward pressures and assist in the formation of the hermetic seal of the mouthpiece rim and the flesh of the outer embouchure.


Those two points imply to me that, although the buzzing formation is a great guideline for forming your embouchure, "just touching" and "almost buzzing firmness" tell me that the playing embouchure is not precisely the same as the buzzing embouchure.
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