Interesting thanks! Something that had come to my attention recently via Louis Dowdswell is that mouthpiece buzzing may not be beneficial to certain embouchure types specifically Reinhardt IV. I’m a IV and I’ve never found mouthpiece buzzing helpful. I do a quick 2 second buzz on the mp prior to warmup to reacquaint myself with the rim but any more than that and things start to go downhill.
So many factors . . . . for most of my career, I found it counterproductive; all of a sudden, due to renewed understandings and perspectives on practice, it's very helpful. . .. I do think it's worth experimenting with for most of us! And, yes, I know several other Reinhardt-informed players who have found it to not be helpful. All my best! Ryan
Your video is fantastic because it explains the best and most efficent way for the buzz to sound. Do you have some exercises to help accomplish this or how to get a lesson to improve the quality of the buzz?
Thanks, Walter. I'm currently working on putting together an online course that will go into more detail. Sadly, I'm not in a position to take on additional students right now. The short answer is, more coming soon!
as a "come back" player in search of my chops again, I can see how this would be beneficial tpo help me "feel" a small apature. And Like Ryan, mnaybe use if for a short period to get the tactile feeling on the chops
Thanks, @patricklarge3744 -- Yes. It's one of the things I was concerned about in posting this video; I don't think I emphasized enough how *little* time I spend doing this . . . It's really 2-5 minutes at the beginning of my playing day, with *occasional* 30-second "check-ins" to remind my face what it feels like to show up! I appreciate you emphasizing the "short period" in your comment. All my best, Ryan
It's possible that it would, depending on your dental bite. Let sound and ease of response be the guide, always. If you go from the Embosure to the horn, and it sounds better and feels easier, you're on a happy path forward!
@ryanstrumpet I had the same question. I buzz the embosure and free buzz with my tongue touching my bottom lip. If I don't, and I release the aperture setter, air comes out no buzz. I am wondering if this is a problem with my inner embouchure setup or if it's okay to use the tongue to assist the buzz.
@@EEE85- It will likely look different for all of us . . . just make sure that the border where the upper lip meets the face is *inside* the rim of the mouthpiece, and pursue the "double reed" buzz sound. And be careful not to over do it . . . for me, 2-3 minutes is a workout!!!
@@FandenFaen It's difficult to know for sure . . . Sound is always our guide. If the sound on the horn gets easier and more resonant, then it's a keeper . . . For me, when no sound comes out, I tend to need to work on creating a pinpointed relaxation at the tip of the lip, guided/invited by the aperture setter. Hope that helps!
Could you explain me if the double reed means the two lips vibrating in a similar way or, expecificatly, which two vibrating surfaces are you talking about in this video. I have the same throat issue. Thanks for you videos.
@@josealejandrocalerodiaz877 Only the outer (naturally dry) surface of the lip tissue vibrates. For me, I experience the double reed as the two lips vibrating in a similar way. I know I've found it when the amount of pressure I apply with the mouthpiece does not cause the buzz to stop. If my top lip is the only one buzzing, then the buzz cuts out around the top of the staff. If the double reed is in place, I can buzz on the visualizer up to a high F or G, without difficulty. Hope that helps!
Thank you!
I can't say I understand this; but, no wonder I LOVE your playing!
Thank you, Frankie!
Interesting thanks! Something that had come to my attention recently via Louis Dowdswell is that mouthpiece buzzing may not be beneficial to certain embouchure types specifically Reinhardt IV. I’m a IV and I’ve never found mouthpiece buzzing helpful. I do a quick 2 second buzz on the mp prior to warmup to reacquaint myself with the rim but any more than that and things start to go downhill.
So many factors . . . . for most of my career, I found it counterproductive; all of a sudden, due to renewed understandings and perspectives on practice, it's very helpful. . ..
I do think it's worth experimenting with for most of us! And, yes, I know several other Reinhardt-informed players who have found it to not be helpful.
All my best!
Ryan
Your video is fantastic because it explains the best and most efficent way for the buzz to sound. Do you have some exercises to help accomplish this or how to get a lesson to improve the quality of the buzz?
Thanks, Walter. I'm currently working on putting together an online course that will go into more detail. Sadly, I'm not in a position to take on additional students right now.
The short answer is, more coming soon!
as a "come back" player in search of my chops again, I can see how this would be beneficial tpo help me "feel" a small apature. And Like Ryan, mnaybe use if for a short period to get the tactile feeling on the chops
Thanks, @patricklarge3744 --
Yes. It's one of the things I was concerned about in posting this video; I don't think I emphasized enough how *little* time I spend doing this . . .
It's really 2-5 minutes at the beginning of my playing day, with *occasional* 30-second "check-ins" to remind my face what it feels like to show up!
I appreciate you emphasizing the "short period" in your comment.
All my best,
Ryan
But the price... 🤔
Does the tip of the tongue touch your lower lip while using the embosure?
I can hear an extreme difference in my sound touching the lip or not.
It's possible that it would, depending on your dental bite. Let sound and ease of response be the guide, always. If you go from the Embosure to the horn, and it sounds better and feels easier, you're on a happy path forward!
@@ryanstrumpet OK, it always feels better but doesn't neither sound nor look like you do
@ryanstrumpet I had the same question. I buzz the embosure and free buzz with my tongue touching my bottom lip. If I don't, and I release the aperture setter, air comes out no buzz. I am wondering if this is a problem with my inner embouchure setup or if it's okay to use the tongue to assist the buzz.
@@EEE85- It will likely look different for all of us . . . just make sure that the border where the upper lip meets the face is *inside* the rim of the mouthpiece, and pursue the "double reed" buzz sound. And be careful not to over do it . . . for me, 2-3 minutes is a workout!!!
@@FandenFaen It's difficult to know for sure . . . Sound is always our guide. If the sound on the horn gets easier and more resonant, then it's a keeper . . . For me, when no sound comes out, I tend to need to work on creating a pinpointed relaxation at the tip of the lip, guided/invited by the aperture setter. Hope that helps!
Could you explain me if the double reed means the two lips vibrating in a similar way or, expecificatly, which two vibrating surfaces are you talking about in this video. I have the same throat issue. Thanks for you videos.
Maybe that means not only the outer surface of the lip or lips but the inner too..
@@josealejandrocalerodiaz877 Only the outer (naturally dry) surface of the lip tissue vibrates. For me, I experience the double reed as the two lips vibrating in a similar way. I know I've found it when the amount of pressure I apply with the mouthpiece does not cause the buzz to stop. If my top lip is the only one buzzing, then the buzz cuts out around the top of the staff. If the double reed is in place, I can buzz on the visualizer up to a high F or G, without difficulty.
Hope that helps!
@@ryanstrumpet it's really helps. Thanks for your videos