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The right mouthpiece buzz



 
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jarrelainen
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Joined: 20 Aug 2003
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PostPosted: Sun Jan 11, 2004 8:01 am    Post subject: Reply with quote

Yes, How to achieve the right mouthpiece buzz?
How do I know I'm on the right track, should I be able to do clean glissandos over my entire playing range directly, or?

Things to look for? Not too tight corners?

Need help on this one...

Thanks in advance!
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ScottA
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Joined: 19 Feb 2002
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Location: Florida

PostPosted: Sun Jan 11, 2004 1:38 pm    Post subject: Reply with quote

One thing you might try is an exercise that Roy Poper suggests in his book. On your Mpc. buzz a pitch in the middle of the staff, say 2nd line "G". while you are buzzing (and blowing) pull the mpc. off of your chops. The resulting "lip buzz" pitch should be about an octave below the note you were sounding on the mpc. If the resulting pitch is the same as your mpc. buzz you are most likely using too much pressure and /or lip tension. Try adding more abdominal support to see if that helps relax you chops. If you do the same exercise with the horn no buzz at all should sound when you pull the horn off of your face. As you add metal you subtract face.

Hope this helps a little.

Scott
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tcutrpt
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Joined: 10 Nov 2001
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Location: Great Lakes, IL

PostPosted: Sun Jan 11, 2004 8:20 pm    Post subject: Reply with quote

For me, the only way that I was able to start getting close to the desired buzz was to study with someone who knew the Stamp method inside and out. Hearing the right buzz is really the only way to be sure that you're doing it right. With that being said, the things I've noticed that have changed since I've been getting it have been these:
-my corners are firmer
-my center is more relaxed
-my abdominal support is much firmer
-my air is always moving forward

These are the things I've noticed happening when I get the desired buzz. One thing you may want to do is get ahold of a copy of Bert Truax's DVD. He's got the buzz down and everything else for that matter. It would really help you get the idea.
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MrV
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PostPosted: Fri Feb 20, 2004 8:11 am    Post subject: Reply with quote

Where can anyone get the Bert Truax's DVD?
What's the price?

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[ This Message was edited by: MrV on 2004-02-20 11:22 ]
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MrV
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PostPosted: Fri Feb 20, 2004 8:22 am    Post subject: Reply with quote

Where can anyone get the DVD?
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tcutrpt
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PostPosted: Fri Feb 20, 2004 2:52 pm    Post subject: Reply with quote

Here's Bert's website. You can get the DVD on there: http://www.berttruax.com/index.htm
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mcstock
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PostPosted: Fri Feb 20, 2004 2:54 pm    Post subject: Reply with quote

Quote:

On 2004-02-20 11:22, MrV wrote:
Where can anyone get the DVD?


You can order it from http://www.berttruax.com/ $35.00 plus $5.00 shipping.

On my website I've posted a page summarizing how Bert taught me to do the Stamp routines. http://www.geocities.com/mcstock.geo/stamp.html But the video and having a sound to copy is far better than trying to figure it out from a verbal description.

Best wishes,
Matt
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trumpetherald
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Joined: 25 Oct 2001
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PostPosted: Sat Feb 21, 2004 9:46 am    Post subject: Reply with quote

Quote:

On 2004-01-11 11:01, jarrelainen wrote:
Yes, How to achieve the right mouthpiece buzz?
How do I know I'm on the right track, should I be able to do clean glissandos over my entire playing range directly, or?


I think the single most important thing about the buzz may be to avoid trying to make it sound like a trumpet sound - in other words, to focus it excessively to clarify it. When you do that, and then return to the trumpet, you'll find your embouchure is very 'bound up' and way too tight for trumpet playing. This is why you may hear some people who do a lot of buzzing who tend to be 'chippy,' striking notes too high particularly on entrances.

Here's my suggestions:

1) Remember that the buzzing is just a drill, and don't overdo it. 15 minutes of buzzing a day is a ton and a half. Keep it less than 10, closer to 5 if you're starting. As you become accustomed to the buzzing and can buzz higher, it might take 10 - 12 minutes to do the complete scalar warm-up. If and when you get to that point, you probably should not be doing it every day, it'll just wear you down.

With that said, I'd just note that Stamp used to teach all day and buzz with every student, and he apparently never wore down. But that's a product of doing it for years and years ... most of can't buzz that much and don't have time to, either, I suppose.

2) Don't 'focus' the buzz! Let some air in the sound. Strive for constancy in the motion of the air and in the posture of your embouchure. When I say 'posture of the embouchure,' though, I'm not saying that you should manipulate the embouchure mechanics to a certain set, rather, that the effort expended by the embouchure is constant. No slight releases when ascending or descending, for example. An effective analogy for both the air and embouchure effort is to lean with one hand against a wall, unless gravity is in flux where you live, the amount of effort you expend to keep yourself from falling over is constant. Naturally on trumpet, as we move higher or lower, we expect that the effort expended will rise or fall slightly. But it's the constancy of the effort to concern yourself with. No little let-ups or steering. This is closely related to Stamp's concept of 'square corners,' where you don't let up either when ascending or descending.

If you're able to do the drills in this manner and begin to apply the same concept to your trumpet playing, you'll find that your mechanics will stabilize throughout your range and the glissandi you mention will become much more effortless and natural.

HTH

TD
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