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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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 Posted: Tue Oct 10, 2023 1:01 pm Post subject: |
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As I have mentioned several times, if mouthpiece playing isn't helpful for you, don't do it. Works great for me and my students! Perhaps you're not approaching it correctly? Who knows? Get the book, see for yourself.
Regardless, of the 450 pages in the book, 9 mention buzzing/mouthpiece playing and only 8 have mouthpiece specific exercises. Still don't like mouthpiece playing? Cool, skip those pages.
The "to buzz or not to buzz" debate is silly. If it works for you, do it. If it doesn't, don't.
_________________
Christopher J. O'Hara, DMA
Bach/Conn-Selmer Performing Artist
Denis Wick Performing Artist
www.chrisjohara.com
www.alliancebrass.com |
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trompette229
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Joined: 21 Mar 2016
Posts: 204
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| Posted: Tue Oct 10, 2023 1:58 pm Post subject: |
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| Steve A wrote: | | 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. |
This is getting off the rails. Either statement might be considered incorrect according to certain players. There are MANY top teachers and world class players who teach and use buzzing both personally and with students to great success.
Buzzing does not create a bad sound. If it works for you great, if it doesn't....that's fine too. |
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Destructo
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Joined: 18 Apr 2022
Posts: 178
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| Posted: Sat Oct 14, 2023 10:13 pm Post subject: |
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Hi Chris,
I bought a copy but haven't had a chance to look through the whole thing so forgive me if this is covered somewhere, but do you have any thoughts about breaks on the mouthpiece?
I have one right on Concert C above the staff. Upto the B feels like hardly any effort required, but then it's like hitting a rubber wall at the C. You can force it up but it doesn't want to go up. I can also seem to slip past it, A-B-C# and the C# comes out without forcing, but that concert C is a real doozy.
There's also one around High E/F. It's easier to pop up to around Double C than it is to buzz anything in the E-f# area.
Is this something you've encountered? Any advice for working through this?
It's annoying because it's such little effort up to that point and then suddenly it feels like something has to be manipulated fairly significantly to proceed... Annoying! |
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Chris OHara
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Joined: 14 Oct 2008
Posts: 169
Location: Chicago, IL
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| Posted: Sun Oct 15, 2023 6:05 am Post subject: |
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| Destructo wrote: | Hi Chris,
I bought a copy but haven't had a chance to look through the whole thing so forgive me if this is covered somewhere, but do you have any thoughts about breaks on the mouthpiece?
I have one right on Concert C above the staff. Upto the B feels like hardly any effort required, but then it's like hitting a rubber wall at the C. You can force it up but it doesn't want to go up. I can also seem to slip past it, A-B-C# and the C# comes out without forcing, but that concert C is a real doozy.
There's also one around High E/F. It's easier to pop up to around Double C than it is to buzz anything in the E-f# area.
Is this something you've encountered? Any advice for working through this?
It's annoying because it's such little effort up to that point and then suddenly it feels like something has to be manipulated fairly significantly to proceed... Annoying! |
The mouthpiece doesn't actually have a "break" like a clarinet, etc. The break you are describing is where the player starts putting in extra effort and "grabs" with the lips.
I have worked several students (and myself) through this. The best thing to do is to start below the spot where you experience a jump and slowly glissando over the spot. Think of it like ironing a wrinkle out of a shirt - slow and consistent. Focus on keeping the sound even.
Does that help?
_________________
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: Sun Oct 15, 2023 6:16 pm Post subject: |
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| I'll have at it and see if it goes away! Cheers! |
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kalijah
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Joined: 06 Nov 2003
Posts: 3280
Location: Alabama
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| Posted: Sun Oct 15, 2023 6:33 pm Post subject: |
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| Quote: | | I have one right on Concert C above the staff. Upto the B feels like hardly any effort required, but then it's like hitting a rubber wall at the C. You can force it up but it doesn't want to go up. I can also seem to slip past it, A-B-C# and the C# comes out without forcing, but that concert C is a real doozy. |
You are experiencing the first resonance of the mouthpiece alone. (Without a trumpet attached) It is around A-concert above the staff and varies with the mouthpiece considered. There is quite a bit of "pull" towards that resonance and it is difficult to slide around it compared to the non-resonant region in the staff and below. Just like it is difficult to bend notes to be above an instrument resonance without the tone jumping up to the next resonance.
There is also another resonance on the mp about and octave or more above that.
| Quote: | | It's easier to pop up to around Double C than it is to buzz anything in the E-f# area |
Congrats, you found the second resonance. |
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