Buzz "G" on the second line - no mouthpiece and no trumpet. Are you able to buzz a good, clean, tone
free of misc. buzzing and noises? Good! Now, keep moving up in half steps.
What do you think you'd need to do, to ascend another half step? To me, it seems patently simple.
When you are no longer able to "hold the buzz in place" (the embouchure collapses, breaks down),
because of the air pressure, you are NOT going to be able to "buzz" any higher. You will need to further
strengthen the muscles all around your mouth, in order to "buzz" higher. THIS - is NO PRESSURE in action!!!!
LOTS of internal pressure - ZERO mouthpiece trumpet pressure. Clyde Hunt
Hello, Charles! Like you, I tend to like a trumpet which "fights back" a little bit.
I believe it makes ppp playing easier, eg., and enables me to "bear down" a little, esp. in a small
club, without blowing everyone out of the room. It also tends to alleviate that "falling into the mthpc."
feeling. I believe that you can learn to supply considerable resistance by tightening the m-m-m-m trumpet
embouchure. Buzz a second line "G" w/o the mouthpiece. Now, note the tension and airpressure required.
This should give a considerable feeling of "support" which may be what you are seeking. I remain
adamant with my belief that a "larger" mouthpiece tends to promote the development of "strong"
trumpet embouchure. HOWEVER - I am no masochist, and certainly would NOT try to play my Bach 1
during a gig which requires a lot of high register "fireworks". But, I do my daily practice on that
big 'ol, silverplate-free, grungy, Bach 1. I guess, for me, it's the equivalent of swinging TWO bats,
before stepping up to the plate. Keep 'Em Flying!
(Question):If you buzz a concert "A" on the mouthpiece and then while
buzzing, slowly connect the mouthpiece with the trumpet, you're NOT going to get a concert "A".
Sorry, but this is PRECISELY the technique I use with my young trumpeters,to demonstrate that
"trumpets do not produce sound - trumpet players produce sound". When the child buzzes "whatever"
pitch, for eight counts, I push the appropriate valve combination while carefully inserting the
receiver onto the mouthpiece. Works every time. Trumpets don't produce vibration, mouthpieces don't
produce vibration - buzzing lips produce vibration which is collected by the mouthpiece, sent on
through the trumpet. And the student is delighted to find out that he is in charge, not an inanimate
object. Heck, isn't this why we chose the trumpet - so we wouldn't have to rely upon mechanical resonators?
Trumpet playing is the next thing to singing!! Clyde ***************************************
(Q) What are your ideas re. buzzing?
(A):I have found that buzzing, without the mouthpiece, is of value. Personally, I don't spend
spend much time on it, but for those who are using entirely too much mouthpiece pressure,
relying on the equipment to form the embouchure, it can be a real eye-opener. It is possible to
develop a remarkably pure sound, free of unwanted overtones, extraneous noise, and with e definite,
defined pitch center. However, I have been able to develop this only to C3 - high C. I use this
technique to help young players (of all ages) understand that playing the trumpet is NOT like
"sounding" a New Years Eve horn, or any other more "mechanical" instrument; that the mouthpiece
"collects" your buzz and, of course, effects the "sound". But you will sound like you, and me like me,
regardless of the equipment used. If your buzz is "in-tune" you will play "in-tune". You can become
less of a "slave" to your equipment.
Thanks for listening! Clyde
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