Live trumpet session - lip and mouthpiece buzzing 101.

The focus of this session is to introduce and demonstrate some lip and mouthpiece buzzing exercises that I do every day which I strongly believe helps me stay more consistent and feel better day to day.
Feel free to ask questions, play a long, and get some practice time in!
Here's what we'll be covering:
►lip buzzing
►mouthpiece buzzing
►Q&A

I've created a free "Mute Handbook" to help you play better 🎺🎺
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Trumpet Gear:
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►Mouthpiece: Denis Wick MM4C bit.ly/3kzFMKO
Camera Gear:
Canon R6:
Sigma 18-35 f1.8
Rode NT1
Shure SM7B
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Josh is a Chicago based trumpeter, composer, and author. He has been featured on NPR, PBS, and has been heard on jazz radio across the world.
Josh tours across North America with Under the Streetlamp.
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[@tomoverton2138]

Great video!
I’d love to see a “Readers Digest” version of this. Just 15-20 minutes running through the exercises.

[@jtier11]

I like this. I’m relatively new to buzzing after 30 years 😮. It’s hard but slowly coming along. I definitely need more time, practice and guidance. Is there a recommended book? Stamp, others that I should get? Ohh the buzzing book?!

[@JoshRzepkaMusic]

Stamp, Roy Poper’s Guide to James Stamp, Buzzing Basics book, all solid choices.

[@jimvanerven]

"Very informative video!
However, there are still two questions bothering me.
About a week ago, I resumed playing the trumpet after a six-year break. This time, my focus is on improving sound quality and range efficiently. In the past, I developed a habit of pressing too hard on the mouthpiece when playing in the upper register. I'm gradually learning to use my abdominal air support to reach higher notes, but so far, I've only managed to extend by one octave.
My first question is, at what point should I consider changing my jaw/tongue position? (By this, I mean the sounds for saying 'aaa' or 'eee.')
Secondly, in the upper register, do I need to move my lips, or should they remain in the same position as when playing a low C?"
Some insights would be great!

[@JoshRzepkaMusic]

Thanks - glad you found this video helpful.
Both of those questions are best answered if I could actually see/hear you play, but here's some general concepts that will help.
1: I'd keep it as natural as possible, like talking or singing. Just as we naturally change the shape/position when we talk or sing - even saying aaa - eee the pitch raises naturally. If you can whistle, same thing. I'd allow it to happen vs. try and control it. (If that makes sense ... kind of like when people force themselves into a "good posture" they are usually adding tension to sit up in some manner, versus, allowing yourself to sit tall and relaxed with an extended spine and no undue tension anywhere)
2: That can vary widely from player to player - but I'm able to play from a low F (first pedal) all the way to the F above double high C (not trying to brag, but I just tested this and repeated it half a dozen times to try and analyze what I'm doing for this answer) and I didn't feel as though I was really moving my lips in an active manner - especially if I was focused on the chops having that support for the pedal F that Thibaud talked about in his books.
I'm far more focused on my air reaching the next note prior to my chops (air moves before chops, ever so slightly, so then chop movement is minimized), and in that manner I find that chop movement can be minimized as much as possible.
All that being said, I find it better to allow the natural movement to happen, vs force something that you think is supposed to happen. There are so many variables in lips, teeth, mouth shape, tongue, gear, that it's really impossible to give a blanket statement that will work for everyone every time.
Let me know if this helps and makes sense!