Here's the followup, going through the components of my warmup and their basic versions. All polite feedback welcome, as always! Take care of yourselves, out there.
It’s crazy how many great information on a 30” clip can benefit everyone. Love that tip about 7:28” because must of it it’s there only and folks don’t get the ideia. In fact, with all my respect to all, I really agree that, like you have said, most of who don’t like or can’t do the buzzing, have made it wrong and don’t get the point and goal. Hopefully you are in and help us. Thank You !!!
Hi Freddie. Hope you’re well. Glad you enjoyed the video. Volume is definitely a consideration, but it’s also about not blowing. You’re taking the deep breath not because you plan to move all that air but because you need higher air pressure in your lungs. With more air pressure the air will move, once released, based on pressure balancing rather than pushing it out. All you have to do is tense your lips enough to ride the air. I hope that makes sense. Most importantly, having got the lip buzz going, how did your chops feel by the time you got to the horn?
Thanks for your videos once again! I was going to ask if you have any tips for practicing in a one bedroom apartment and then I remember there is this thing called Silent Brass. So I thought to take this opportunity to ask if you have any experience with this or any electronic mute equipment and what's your take on it?
In the case of the lip buzzing, that will become apparent throughout the rest of your playing day. 30 seconds lip buzzing is about as much work, for your muscles, as 15-20 minutes of long tones. Hence the 30 second daily limit. Experience of teaching this in lessons over many years suggests that that’s an appropriate amount for those starting out with lip buzzing.
In general, when practicing, you should rest as much as you play, overall, but also rest when you feel tired! Don’t practice to exhaustion ever. Repetition on tired chops means that the tiredness becomes part of the habit of playing. Take a short break as soon as your chops or tongue feel a bit tired. Just a couple of mins to regain the freshness then continue practicing. You’ll find that you take breaks more often to begin with, but that the practice periods get longer day by day.
After finding the low lip buzzes were helping my range, I took out my old E-flat alto horn and started playing on it more frequently, and discovered it was also helping my trumpet range. Any thoughts on the effects of doubling between trumpet and low (or lower) brass?
I know a good number of players who double, and do so successfully. It will certainly develop different muscles in the embouchure in different ways. If you’re using your air efficiently then that can be very helpful, in both directions. The problem for most people is that they become proficient on one instrument - trumpet, for example - and then find that while they can take to trombone (for instance) fairly easily, it then messes up their feel for playing trumpet. My experience has been that, if you’re going to learn to double on a different member of the brass family, it’s best to switch back and forth in short bursts to begin with. Literally every few minutes. Perhaps practice the same things on both instruments too, switching back and forth.
If I feel overworked after playing, then I flutter my lips to get loose, per the start of the warmup. I’ll do that a little during the gig as needed, too. I find that eases everything enough to make the warmup fairly easy the following day.
Ok, so if it still feels a little big, then by all means go a little smaller. 3C and 5C are the same basic size, but the shape of the rim makes them feel smaller. 7C is a smaller diameter. Obviously, it could be a little tough to get a hold of something different to try, right now...
I only just figured out the lip buzzing now! I’ve been lip buzzing with really tight cheeks, in comparison to mainly using the mouth area it’s pretty interesting. Does this mean my tight lip buzzing for warming up is a bad idea? Would you recommend higher lip buzzing in general?
I don’t lip buzz above a low C at trumpet pitch. I work very low from that high point. It gets my corners focused and engaged, and allows my lips to move as they need to.
Here's the followup, going through the components of my warmup and their basic versions. All polite feedback welcome, as always!
Take care of yourselves, out there.
Wow, my chair is creaky! I didn't notice it so much as I was editing the video. I'll be paying better attention in future!
Ok I get it now! 👻👻👻
Thanks Bryan! 🙏
It’s crazy how many great information on a 30” clip can benefit everyone. Love that tip about 7:28” because must of it it’s there only and folks don’t get the ideia. In fact, with all my respect to all, I really agree that, like you have said, most of who don’t like or can’t do the buzzing, have made it wrong and don’t get the point and goal. Hopefully you are in and help us. Thank You !!!
Like I said, there isn't only one way to do things. Best I can do is offer what works for me and break down as many misunderstandings as possible.
Nice to see you Bryan :-)
You too, Jan. Hope everything's still copasetic.
Garden is smarter than ever and the furniture is painted, more practice than ever, feeling good!@@AirflowMusicNYC
Ok I get it now! Thanks 🙏
I wish I would have known these details 8 years ago, by now I'd have been a pro.
Hi Brian! Great video, got a nice fat pedal C from my lip buzz! Takes a lot of air though, will try it quieter to try and get up to 10s 🎺😀👍
Hi Freddie. Hope you’re well. Glad you enjoyed the video.
Volume is definitely a consideration, but it’s also about not blowing. You’re taking the deep breath not because you plan to move all that air but because you need higher air pressure in your lungs. With more air pressure the air will move, once released, based on pressure balancing rather than pushing it out. All you have to do is tense your lips enough to ride the air. I hope that makes sense.
Most importantly, having got the lip buzz going, how did your chops feel by the time you got to the horn?
Thanks for your videos once again!
I was going to ask if you have any tips for practicing in a one bedroom apartment and then I remember there is this thing called Silent Brass. So I thought to take this opportunity to ask if you have any experience with this or any electronic mute equipment and what's your take on it?
Some thoughts about practice mutes coming up!
Lip buzzing and mouthpiece buzzing is just something to accomplish, which may apply to the horn.
Are you offering an opinion or asking a question?
15:05. How do you know if you overdo it? I always struggle with how much I should be able to play during a practice.
In the case of the lip buzzing, that will become apparent throughout the rest of your playing day. 30 seconds lip buzzing is about as much work, for your muscles, as 15-20 minutes of long tones. Hence the 30 second daily limit. Experience of teaching this in lessons over many years suggests that that’s an appropriate amount for those starting out with lip buzzing.
In general, when practicing, you should rest as much as you play, overall, but also rest when you feel tired! Don’t practice to exhaustion ever. Repetition on tired chops means that the tiredness becomes part of the habit of playing.
Take a short break as soon as your chops or tongue feel a bit tired. Just a couple of mins to regain the freshness then continue practicing. You’ll find that you take breaks more often to begin with, but that the practice periods get longer day by day.
After finding the low lip buzzes were helping my range, I took out my old E-flat alto horn and started playing on it more frequently, and discovered it was also helping my trumpet range. Any thoughts on the effects of doubling between trumpet and low (or lower) brass?
I know a good number of players who double, and do so successfully. It will certainly develop different muscles in the embouchure in different ways. If you’re using your air efficiently then that can be very helpful, in both directions.
The problem for most people is that they become proficient on one instrument - trumpet, for example - and then find that while they can take to trombone (for instance) fairly easily, it then messes up their feel for playing trumpet. My experience has been that, if you’re going to learn to double on a different member of the brass family, it’s best to switch back and forth in short bursts to begin with. Literally every few minutes. Perhaps practice the same things on both instruments too, switching back and forth.
@@AirflowMusicNYC Interesting, thanks for the thorough reply.
thx!
what do you think about warming down?
If I feel overworked after playing, then I flutter my lips to get loose, per the start of the warmup. I’ll do that a little during the gig as needed, too. I find that eases everything enough to make the warmup fairly easy the following day.
Im late with this question but I was wonder if I should get a smaller mouth piece if a Bach 1 1/2 c mouthpiece feels a little big
Not late at all. How long have you been playing trumpet and how long have you been playing that mouthpiece?
@@AirflowMusicNYC I've been playing trumpet for 2 years and I've been playing with that mouthpiece for a few months now
Ok, so if it still feels a little big, then by all means go a little smaller. 3C and 5C are the same basic size, but the shape of the rim makes them feel smaller. 7C is a smaller diameter. Obviously, it could be a little tough to get a hold of something different to try, right now...
@@AirflowMusicNYC ok thank you for your advice it's greatly appreciated
I only just figured out the lip buzzing now! I’ve been lip buzzing with really tight cheeks, in comparison to mainly using the mouth area it’s pretty interesting. Does this mean my tight lip buzzing for warming up is a bad idea? Would you recommend higher lip buzzing in general?
I don’t lip buzz above a low C at trumpet pitch. I work very low from that high point. It gets my corners focused and engaged, and allows my lips to move as they need to.
@@AirflowMusicNYC Thank you