The Reinhardt way to lip buzz, which was prescribed to strengthen and firm up a flabby chin and mouth corners and improve overall sound. The Reinhardt way was to follow certain guidelines that included: Never lip buzz on a fatigued or tired embouchure, always thoroughly saturate your lips with saliva, even if you normally play dry, always buzz with the airflow going downward, NEVER tongue attack a lip buzz, always use a whoooo no tongue air attack (this is to increase embouchure vibrating fluency) and avoid lip buzzing below 2nd line G.
@@jaegertiger384 "Well, I had only one lesson with Charlie Porter a few years ago, and it changed my way of playing the horn. During the lesson, we never took the trumpet, and we worked on widening the aperture. I can't be more gratefull to Charlie, I made a huge step forward !
@@jaegertiger384 being a great player does not mean you know how to teach someone else how to setup an embouchure or even know how it works, or how to figure out how someone elses embouchure should work. Thats why teachers or coaches in anything alot of the time, especially in sports, cant do the actual thing well themselves, but can teach someone else how to do it.
After many years of not buzzing my lips because that's not how sound is created on the horn, I'm now a believer that it's a pretty helpful tool. For me, the most useful part is buzzing scales and melodies with my lips. It forces me to use tongue level to hit the pitches which is exactly the technique on the horn that really allows me to be more accurate and in tune throughout all registers.
We change pitches with the lips, not the tongue. buzzing requires FAR more embouchure effort than playing efficiently. The tongue movement is a reaction to embouchure effort. Specifically, the action of rolling-out the lips. Buzzing is completely unnecessary and counterproductive.
@@BrassBro-Science-ys7sg Lip buzzing may be beneficial for proper embouchure development. A lot of people out there talk about their positive experiences. Julie Landsman, classic French horn player, specifically advocates and demonstrates Carmine Caruso method which includes lip buzzing.
@@yasinunlu443 "proper" meaning typical? Optimum embouchure function is hampered by buzzing activity. The mouthpiece is an arbitrary small portion of the full instrument. It has no resonances that most players can play. Buzzing is a FORCED and excessive effort activity. Completely unnecessary.
@@BrassBro-Science-ys7sg You get that I understand you don't buzz into the instrument when you play, right? There are multiple conceptual tools that people use to get to a good result on the trumpet. Some work for some and don't work for others. Charlie Porter is an absolute master.
Doesn't necessarily help. Everyone I know retracts the tongue and THEN brings it forward when they begin to play. Don't try to find some elusive secret. Follow the standard protocols and make it as easy as possible.
NOT CONVINCED.... So much of what we do is directly associated with the HORN. Our bodies develop a relationship with all of the aspects that we must apply when playing the horn. For me, long-tones get me centered... pure release of air without ANY vibrato. In that way, i hear everything. FWIW... Wayne Bergeron adheres to the same school of thought I've developed over the years.
@da11king. As I said. Go to UA-cam and search for Wayne Bergeron addressing a Masterclass where he demonstrates WHY buzzing DOESN'T work and why it actually hurts you. My contention is that the Horn and MP are a complete system, and you MUST play that complete system all the time so every aspect of what your body does aligns with that entire system. If buzzing is so good then why don't, clarinetists, saxophonists, oboeists, bassoonists, and flautiists "buzz" on their MPs, but the stupid trumpet world thinks we're unique ??? And to add insult to injury, when have you seen trombonists, french hornists, and tubists "buzz" on their MPs as a SERIOUS exercise?? But for SOME magical reason, trumpets are different? Right there is your answer. The Trumpet world has been duped. PLAY THE ENTIRE SYSTEM TOGETHER.. like they are meant to be played. And stop messing with your head by going down the road of "buzzing" that actually HARMS you.
@@da11kingask Malcolm McNab or any successful Stamp student. Wayne isn’t wrong either, it’s just another way. It’s all just another way. I personally find this very helpful to my own playing.
Lip buzzing does not have very much to do with producing sound. The sound is really buzzing the lips, not the other way around. No human creature can make the lips themselves buzz at 1000 or 2000 hz, which ist in the register of a trumpet. This old video (ua-cam.com/video/MVs2G60-ilo/v-deo.html) with Professor John Harbaugh of Central Washington University where he teaches trumpet, shows what really happens when sound is created in a tube - which a trumpet basically is. If the buzzing is more of an exercise to strengthen and control the muscles for controlling the dynamics of the sound, I would agree more. Apart from that, I like your video.
Why you insert the tongue between the lips, it is not necessary to do this, it is better to focus only on the vibration and emission of air without involving the tongue between the lips... in my opinion
Great way to describe lip buzzing and forming the embouchure 🎺 Thanks!
The Reinhardt way to lip buzz, which was prescribed to strengthen and firm up a flabby chin and mouth corners and improve overall sound. The Reinhardt way was to follow certain guidelines that included: Never lip buzz on a fatigued or tired embouchure, always thoroughly saturate your lips with saliva, even if you normally play dry, always buzz with the airflow going downward, NEVER tongue attack a lip buzz, always use a whoooo no tongue air attack (this is to increase embouchure vibrating fluency) and avoid lip buzzing below 2nd line G.
Would love to grab a lesson w/ him sometime, I've been having a lot of problems w/ my embouchure. I hope he returns to offering Zoom lessons.
A lesson with Wynton Marsalis... Wayne Bergeron... or Hakan Hardenberger or Sergei Nakariakov would be more valuable.
@@jaegertiger384 "Well, I had only one lesson with Charlie Porter a few years ago, and it changed my way of playing the horn. During the lesson, we never took the trumpet, and we worked on widening the aperture. I can't be more gratefull to Charlie, I made a huge step forward !
@@jaegertiger384 being a great player does not mean you know how to teach someone else how to setup an embouchure or even know how it works, or how to figure out how someone elses embouchure should work. Thats why teachers or coaches in anything alot of the time, especially in sports, cant do the actual thing well themselves, but can teach someone else how to do it.
👍 Very detailed analysis!
After many years of not buzzing my lips because that's not how sound is created on the horn, I'm now a believer that it's a pretty helpful tool. For me, the most useful part is buzzing scales and melodies with my lips. It forces me to use tongue level to hit the pitches which is exactly the technique on the horn that really allows me to be more accurate and in tune throughout all registers.
We change pitches with the lips, not the tongue. buzzing requires FAR more embouchure effort than playing efficiently. The tongue movement is a reaction to embouchure effort. Specifically, the action of rolling-out the lips.
Buzzing is completely unnecessary and counterproductive.
@@BrassBro-Science-ys7sg Lip buzzing may be beneficial for proper embouchure development. A lot of people out there talk about their positive experiences. Julie Landsman, classic French horn player, specifically advocates and demonstrates Carmine Caruso method which includes lip buzzing.
@@yasinunlu443 "proper" meaning typical?
Optimum embouchure function is hampered by buzzing activity.
The mouthpiece is an arbitrary small portion of the full instrument. It has no resonances that most players can play.
Buzzing is a FORCED and excessive effort activity.
Completely unnecessary.
@@BrassBro-Science-ys7sg You get that I understand you don't buzz into the instrument when you play, right? There are multiple conceptual tools that people use to get to a good result on the trumpet. Some work for some and don't work for others. Charlie Porter is an absolute master.
@@MrCrescendo master of misinformation .
Mr Porter can you explain why you start you sound with the Tongue going between your lips? Just curious👏🏾
Doesn't necessarily help. Everyone I know retracts the tongue and THEN brings it forward when they begin to play. Don't try to find some elusive secret. Follow the standard protocols and make it as easy as possible.
What I would like to see is a student present trying what he is talking about. That way we could see how well this information works.
NOT CONVINCED.... So much of what we do is directly associated with the HORN. Our bodies develop a relationship with all of the aspects that we must apply when playing the horn. For me, long-tones get me centered... pure release of air without ANY vibrato. In that way, i hear everything.
FWIW... Wayne Bergeron adheres to the same school of thought I've developed over the years.
You Don t believe that lip buzzing us helpful ? Is it harmful to the player s development ?
@da11king. As I said. Go to UA-cam and search for Wayne Bergeron addressing a Masterclass where he demonstrates WHY buzzing DOESN'T work and why it actually hurts you.
My contention is that the Horn and MP are a complete system, and you MUST play that complete system all the time so every aspect of what your body does aligns with that entire system.
If buzzing is so good then why don't, clarinetists, saxophonists, oboeists, bassoonists, and flautiists "buzz" on their MPs, but the stupid trumpet world thinks we're unique ??? And to add insult to injury, when have you seen trombonists, french hornists, and tubists "buzz" on their MPs as a SERIOUS exercise?? But for SOME magical reason, trumpets are different? Right there is your answer.
The Trumpet world has been duped. PLAY THE ENTIRE SYSTEM TOGETHER.. like they are meant to be played. And stop messing with your head by going down the road of "buzzing" that actually HARMS you.
@@da11kingask Malcolm McNab or any successful Stamp student. Wayne isn’t wrong either, it’s just another way. It’s all just another way. I personally find this very helpful to my own playing.
It's very likely that buzzing is helpful for certain players and not others. It might not be for you but others could benefit from it.
Lip buzzing does not have very much to do with producing sound. The sound is really buzzing the lips, not the other way around. No human creature can make the lips themselves buzz at 1000 or 2000 hz, which ist in the register of a trumpet. This old video (ua-cam.com/video/MVs2G60-ilo/v-deo.html) with Professor John Harbaugh
of Central Washington University where he teaches trumpet, shows what really happens when sound is created in a tube - which a trumpet basically is.
If the buzzing is more of an exercise to strengthen and control the muscles for controlling the dynamics of the sound, I would agree more.
Apart from that, I like your video.
Why you insert the tongue between the lips, it is not necessary to do this, it is better to focus only on the vibration and emission of air without involving the tongue between the lips... in my opinion
He stated to wet the lips. He's doing that to wet his embouchure.
Too wordy, and convoluted.