Mouthpiece Buzzing: "Buzzy" v. "Windy"

No, this isn't some obscure supreme court decision.
But, like some of those decisions, this might stir up some controversy...

1. Play a middle F on your trombone with your best sound.
2. As you continue to attempt to play the note, gently pull the mouthpiece out of the trombone.
3. What happens/should happen to the note when the mouthpiece is removed?

For me, the note stops pretty quickly.

Why?

When I play on the trombone, there is a slightly larger gap between upper and lower lip. The resistance of the instrument sets the lips buzzing.

Conversely, try this:

1. Buzz a nice-sounding middle F.
2. As you continue to buzz the note, gently insert the mouthpiece into the trombone.
3. What does the note sound like?

For me, the answer is, "pinched...memories of middle school"
(actually junior high school in my case but that's beside the point).

Why?

When I buzz on the mouthpiece, there is a somewhat smaller gap between the upper and lower lip. This gives me a nice, full buzz on the mouthpiece but a pinched sound on the trombone.

In fact, I can slightly alter that gap to get different kinds of buzzes, ranging from what I call a "windy" buzz to what might be called a "tight" buzz.

So, we can think of a continuum like this:

I often hear advice like, "Get more buzz in the buzz." or "Strive for a buzzy buzz." To me, these can usually be translated to, "Lips closer together."

True, this kind of buzz generates a clearer tone on the mouthpiece.

But will that translate to a clearer tone on the instrument? Maybe, maybe not.

Some observations:

1. Buzzing isn't physically the same as playing but, for most people, it helps.
2. A tighter buzz may be useful to build embouchure muscles.
3. A tighter buzz generates a clearer pitch to hear.
4. A looser buzz, however, requires more air and is closer to the setting used on the trombone.

I suspect a lot of band directors out there are dutifully telling their brass players to buzz and then assuming that ...the louder the buzz, the better the tone will be on the instrument.

Maybe, maybe not.

Personally, I've been leaning towards the "windy" buzz lately. I like the volume of air it requires and, although it isn't the same as actually playing, it's closer.

Here's the tricky part: a good buzz does need a core to the sound. There is a fine and very subtle line between a good "windy" buzz and a buzz without any definition or core to the sound.

I sometimes demonstrate this in lessons by recording my buzz with the microphone to the side of my head. When we play it back over good stereo speakers, the mid-range and low-range speakers really vibrate as they play back the sound of that buzz.

For a weak buzz lacking in core...not so much.

It's subtle difference but one worth thinking about.

NYPO Mahler 2 ..one spot to see AND hear

As part of the 9/11 decade commemoration, the New York Philharmonic performed Mahler's 2nd symphony. I missed the live broadcast because of a performance of my own but, fortunately, the whole thing is available in high definition on YouTube (which, we should remember, started in 2005 - four years after that terrible day...so much has changed).

Besides being moved by this great performance of one of my favorite symphonies, I found that actually watching the performers was quite instructive. In fact, I've cued up the video and used it in 3 lessons thus far.

In the following video, I've been cueing it up to roughly the 7-minute mark...the powerful chorale that starts with the trombones and bassoons. I've been using it to point out two things:

1. Relaxation: Watch, as the music gets louder, how relaxed the performers are. Such efficiency!
2. Embouchures: You get a lot of close-up shots. What do you notice? Not everyone is the same but there clearly are some general trends....very little movement, firm corners, etc.

Enjoy..watch, listen, learn.

Like lifting with a tourniquet

Ah mouthpiece pressure. It so easily creeps into the playing.

For those of us who are light-skinned, we often see a white ring on the lips immediately after the mouthpiece is removed.

I like to call this the "white ring of death"

Notice how that white ring quickly turns into a red ring.

In case it isn't obvious, I'm guessing those changes of color might have something to do with blood. As in,
white=blood has been squeezed out by mouthpiece pressure
red=blood rushing back in

Now, I'm no expert but I seem to recall learning in school that blood does good things for muscles. Let's see....nutrients....OXYGEN.

Hmm, so what happens to those muscles (you know the ones we rely on to sound good) when we cut off the blood supply?????

Imaging going to the gym and seeing someone lifting weights with a tourniquet around their arms.

Ok, so as I often do, I ran a Google image search with the keywords "weightlifting" and "tourniquet" I didn't really expect to find anything. And then, boom, there it is: kaatsu training in which people actually lift while starving the muscles for blood.


I don't know but this REALLY sounds like a bad idea. Let's just safely say that it might not work for brass players.

(on the other hand, what are the odds that I'll go to one of these conventions and find some new miracle product designed to increase mouthpiece pressure. Maybe the Power Lung guys will the seize opportunity for a new product line here)

The Ripple Effect

Here's something I like to mention to my secondary trombone classes...

Let's say such a class has 10 students. If each student has a career as a band director, let's guess that each year they will encounter roughly 40 new students. Over a career of, say 30 years, each student will directly impact the lives of 1,200 people.

Multiply that by the 10 students in the class and I would guess that what I teach a single secondary trombone class might impact the lives of 12,000 people.

(Not to mention the small percentage of those 12,000 people who, in turn, might do some teaching of their own.)

So, if I teach something dumb like: "Mouthpiece pressure isn't important. Don't worry about it."
Think of how that one bad idea ripples outward over time.

(no, I don't teach that)

Of course, I hope I can pass along something good.

Here's one example which I picked up at en ETW masterclass given by Randy Campora, bass trombonist of the Baltimore Symphony.

Think of the corners of your embouchure as the flagpole, anchored in cement.
Think of your lips as the flag, blowing in the breeze.

I don't know if this was original with Randy but that's where I got it. In other words, the ripple passed from him to me. I include this in my handouts to my secondary trombone classes and sometimes even include it as a quiz question. Rarely do any students miss it.

So, if I teach this class for 20 years, this one idea could conceivably impact 240,000 people.

And now the ripple has passed through me to you....

High Speed Film of Embouchures (don't eat while watching)

I've heard about these movies for years but had never seen them. Interesting...and a little disgusting.

Basically, the films show high speed images of the lips vibrating as seen through a clear mouthpiece. Some big name players including Bill Watrous, Stuart Dempster, Larry Wiehe and George Roberts.

Thanks for David Wilken for getting this up onto YouTube.

Part 1: downstream embouchures



Part 2: upstream embouchures



Part 3: multiphonics

Thoughts from the "Analysis-Paralysis" Department

Warning: I'm mostly an "Inner Game" guy.
I consider analysis of mechanics to be something of a Pandora's Box.


Still....


Item #1: Bounce Backs
Here's one I see often: As a student plays a downward leap I watch their embouchure. Often I see an adjustment, especially for leaps to low notes. Not, in itself, a bad thing (depending on what kind of adjustment we're talking about).
However: I often see the embouchure make too big an adjustment and then "bounce back." Basically, I think the "less is more" or "quiet down the embouchure" approaches are good here. Try the following leaps...




Look in a mirror as you do this. You may notice that your embouchure over-adjusts for the leap and then has to bounce back to a more centered position. In your sound, you may hear this as a scoop up from below the pitch.


Item #2 Pull Aways
I observed something odd in a lesson today. I have often buzzed a note on my mouthpiece and then, while continuing to buzz, gently placed the mouthpiece into the horn.
Try this buzzing an F-sharp and put in the mouthpiece while the horn is in first position. You'll end up with a very pinched F.

But ...
I've never done the opposite. Play the note on my trombone and then, while sustaining the buzz, pull the mouthpiece out of the horn.

When I did this on a low B-flat, big surprise, the buzz magically floated up to roughly a D-flat.
What caused this? Am I aiming too high?
It was easy to make a small adjustment to retain the B-flat pitch, by the way.

You might logically conclude that I could buzz a D-flat and return the mouthpiece to get the same sounding B-flat. Nope, just a really foul, uncentered something.

Incidentally, this effect doesn't seem to happen on higher notes.

Maybe it could just be the act of pulling out the mouthpiece and disengaging from the nodes of the standing wave in the horn.

I'm not too worried about it and don't plan to change anything. Still, I find it interesting. Oh and by the way, if I pull the horn off my face while attempting to continue the sound, the buzz simply stops. I know there are different opinions on this but I'm siding with the camp that says the buzz should stop.

If you try this experiment, I'd be curious to hear about your results in the comments section.

Alessi Seminar Notes, Day 6...Beat Boxing

You might be asking, "What happened to day 5?" Well, that was a day off for everyone.

On to Day 6 (which, by the way, was Friday, Aug. 3rd)

Please note:

These entries from the Alessi Seminar are not a literal transcript. I took written notes and then typed them up. I have made every effort to be accurate but, as you might expect, each blog entry is a meager substitute for actually being there.

Remember that many of the things Mr. Alessi says in these masterclasses are in the context of addressing the needs of a particular student and should not be seen as universal mandates to be mindlessly followed.

If you are serious about pursuing musical excellence on the trombone, there is no substitute for actually attending one of Mr. Alessi's seminars. You'll be glad you did.

This morning's performers were:

Joseph Rodriguez - orchestral excerpts
Nathan Dishman - Stojowski Fantasy
Nicole Abissi - orchestral excerpts
Jared Lantzy - Schnyder Concerto mvts. 2 & 3
Ben Perrier - Arrows of Time, mvt. 3

Here are comments from my notes:

Mozart Requiem:

• Concerning the opening arpeggio, Mr Alessi noted that it was fine to take a breath, if needed, in that passage as long as it was done in time. At one point he demonstrated, snapping the subdivisions and suggested that one should "breathe after the last snap," meaning after the last upbeat before the long B-flat. Later in the coaching, he sang the excerpt, demonstrating a very quick breath before the long B-flat.
  
• He spoke about the importance of a smooth legato, commenting that, 30 years ago, the legato that was going around "was very caveman." He warned against getting the "wah-wah" in legato, describing this note-shape as being "like footballs."

• "When you tense up to play soft, you have two choices: don't tense up or don't play so soft."

• He described that requiem solo in this way, "It's a beautiful little melody. There's not much we have to add."
• Someone asked if vibrato should be used in this excerpt. He replied that it wasn't really necessary. If you do use vibrato, don't use it too much..."just a little sprinkle here and there."
• Concerning excerpts, he said that the hardest thing is to be out there and get scrutinized during an audition.
• He reminded us to "hit those excerpts constantly." (in the context of someone who is serious about winning an orchestral audition).

Hungarian March

• He observed that the level of reverberation in Avery Fisher tends to expose bad attacks.
• In reference to the ascending quarter notes before the big run, he commented, "That scale tells a lot." He reminded the student to get the slide to the next position ahead of the note.
• He used the phrase, "no-man's land" for the gaps between the separated articulations.
• As for the big run, he spent time demonstrating triads built from the longer notes in the run: C-A-F, A-F-D, C-E-G. These notes have to be very stable.
• Of the run he pointed out, "You have to keep reminding yourself what is simple about this."
• When you do any exercise related to an excerpt, be certain to play the exercise with perfect rhythm.
• Be sure not to "telegraph" the next note by moving the slide early, causing a small gliss.

• He sang the run while snapping three big beats:

• Be certain not to slow down at the end of the excerpt. Stay on top of the beat.

(end of Hungarian March comments)

• Concerning any changes to the embouchure, he commented, "You have to be like a policeman to yourself." In other words, you will need to be constantly vigilant.
• He went into a demonstration in which the student lay on his back (keeping the feet relaxed) with one hand laying on the belt buckle. He had the student first fill up the lower part of the lung (closer to the belly), followed by the chest. He then had the student place the finger vertically on the embouchure while breathing in. He suggested that we try this relaxed breathing exercise at any time of the day if we felt we weren't breathing well. Upon returning to the standing position, the breath should just as simple and natural.
• Concerning the placement of the feet while playing, he suggested that we try lining up the feet as if centered on two perpendicular lines on the floor (like a helicopter landing pad). By lining the feet along these line, the feet are aligned and you are facing directly forward.
• He suggested that we might try videotaping ourselves to check posture.
• He recommended that we practice posture and breathing first without the instrument. Then, when the instrument is introduced, be certain that we don't revert to a different posture.
• He reminded us that, as we extend the slide past 3rd position, to be certain the fingers don't reach out for the bell. This causes many trombonists to play sharp.
• For descending into the low register with a rich sound, he called to mind the rich warm quality of Bing Crosby singing "I'm Dreaming of a White Christmas"
• He pointed out that, when the pitch is exactly right, the tone will sound more rich.

Mahler 3

• When playing the opening notes, count 1-2-3-4 (the quarters) rather than 1-2-3 (the half notes). Later he added that he likes to let the sound bleed a little into the next beat.
  
• When you get to the low A's, think 'dah.' "Let the air do more work than the tongue."
• As you descend into the low range, make the air go slower.
• When articulating in the low range, watch out for a chewing motion in the jaw.
• At the end of the first excerpt he suggested that we should "try not to smash these notes. Play them in a singing manner."
• He reminded us that many other musical elements have to be in place along with a big sound.

Ein Heldenleben

• He observed that this is one of the hardest excerpts to play, rhythmically.
• With respect to the occasional out-of-tune notes, he pointed out, "Those few notes start to add up in an audition."
• He observed that, in practicing, he's happy to just focus in on a single measure and really polish it (to apply what has been learned)
• As you play, be careful not to look so "student-like." (meaning with a frantic, tense expression in the face, eyes wide-open)
• It is important to memorize those excerpts that are important to you.
• Concerning the long low F he said, "If you have to take a breath, that's not the end of the world."
• He built on this idea be describing the notion of gaining and losing "points" in an audition. If you play something really well, you gain points and this gives you some license. Of auditions he said, "I want to give these players points." (as they begin their audition). He went to note that some players play with a poor tone or faulty rhythm and they don't get those points.
• If you memorize something and you're able to play well from memory, that means you really know it.
• Concerning tempo choices in excerpts: choose tempos that are "good averages." Don't choose an odd tempo just because one recording goes at that speed.
• For any excerpt, you should know the piece as whole well enough to be able to sing some of the themes. Thinking of these themes can relax you. "You have to put yourself in the piece."

(end of the Heldenleben comments)

• It is important to be able to tape yourself at half speed, especially to study legato and attacks. In discussing the various technologies available to accomplish this, a member of the audience mentioned a website called The Amazing Slow Downer
• He went into a demonstration of correct hand position when holding the slide. He stressed the important of keeping the thumb straight (like holding car keys as you're about the unlock the door) for better control.

"Beat Box" Demo

Mr. Alessi invited Anthony Barfield to the stage. Anthony composed one of the pieces Joe performed on his recital earlier in the week. Using a microphone, Anthony put on a very impressive display which he referred to as "beat boxing." If you closed your eyes, you would swear you were listening to a drum synthesizer. Joe told us this was a great example of internal rhythm. Joe then got up on stage and played Hungarian March while Anthony provided a "beat box" accompaniment. Everybody loved it! Joe pointed out how it is so much easier to play when you have a beat like this.

Moving on...

• If we are trying out an adjustment in technique, it might feel strange. In this context, he observed, "Alien doesn't mean bad." In other words, just because a new way of doing things feels strange doesn't mean it's wrong. He recommended that sometimes it is good to explore new things, even if they are alien.
• While the student was playing a fast, technical passage, Joe suggested that he pretend he was just playing a nice F (the note, note the dynamic)
• As you descend into the lower register, don't allow that embouchure to collapse.
• If you are playing a fast, technical passage filled with awkward intervals and tricky rhythms, be careful you aren't "slicing up your air like mincemeat." He also referred to this kind of playing as "hacking and slashing."
• When you see a difficult passage, don't freak out. When approaching such a passage, Joe observed, "I'm just pretending I'm playing a chorale."

Mini-Lecture on Slide Technique

• Joe observed that people have to have more "respect for the slide."
• He placed two water bottles on the stage, each bottle representing (I believe) the exact point in time when a new note begins. He asked us to consider the question, "When should you move your slide in legato?"
  
• He used the phrase "within the technique, stay relaxed in your own environment" for the avoidance of tension.
• He demonstrated a passage of slow, widely-spaced staccato notes with a quick slide motion in between so that the slide was well-placed before each new note.

(end of lecture)

• When you practice double-tonguing, try emphasizing the "kah" syllable...
  tah-KAH-tah-KAH-tah-KAH
• When multiple tonguing a fast passage, be sure to maintain the right pitches. Later he reminded us to practice technical passages slowly enough to maintain a good tone.
  
• You have to respect a difficult passage and take enough time to learn it at a slow speed
• If a highly technical passage in a solo is marked 'forte' consider not trying to play it so loudly. Don't try to "muscle it out," especially if you are playing alone at the point in the solo.
• With respect to demeanor during auditions, he recalled a recent audition in which Lisa Albrecht was given the one-year position to replace Jim Markey. He observed that is was amazing to see the difference in demeanor of someone who has been there before.
• In terms of playing difficult material, he wants his approach to be "like taking a stroll in the park."
• He demonstrated transposing a difficult passage into the middle range to work on tone quality.
• He observed that, in a lot of the lessons he teaches, they simply devote time to getting the first note of something.

That's all for now...

One to stabilize

Here's a quick little exercise that might help stabilize things a bit...





Keep the embouchure corners as stable tonguing as slurring. Don't let everything get all wobbly.

It's not Easy Bein' GGGGGGGreen

And now for a trip down memory lane ...
In a previous post, I talked about my spectacular solo debut on "Young MacDonald had a Farm"

Fast forward to my junior high days and a glowing chance to be cool playing in the jazz band. Along comes that Kermit ballad, "It's Not Easy Bein' Green." Big trombone feature and it starts on a G.

Here's the catch: that note was bit of a problem for me. All on its own it wanted to split into two octaves.
"Oh great, now I have to stand up and play a solo starting on my worst note."

(I survived)

I still remember my "angry F-sharp" practice session while working on my master's in Cincinnati. After a lesson with Tony Chipurn in which I couldn't buy a clean attack on an F-sharp, I sequestered myself in a practice room and proceeded to play F-sharp over and over for about a half hour.

Finally, one of my friends knocked on the door, "Hey man, are you alright?"

Fast forward to the present day. Now, I've seen a lot of students and I gotta say, there's something about G and F-sharp (4th partial). I have one student who went through an embouchure change and sure enough those were the notes that gave him fits. Another student was recently playing Hungarian March in preparation for a professional audition. When I got nit-picky about clean attacks, guess which note was the culprit time and again. You guessed it: the G. (best intoned like "Da Bears")

This can't be chance. Is it the acoustics of the horn? Is it a slight embouchure shift? Is it just a big psyche-out? Well I think it's more than just that.

Without any prompting from me, my students succeed in struggling just a bit more on these pesky little notes.

Time for new lyrics?
"It's not that easy playin' G.
Havin' to spend each day pounding away on F-sharp, too
When I think it could be nicer playin' A or F or E-flat
Or somethin' much more stable like that.

etc. etc.

Hey Cupid (a.k.a. Hey Santa part 2)

OK, so Christmas is over and I never made my second request.
Here's one:
Maybe a special mouthpiece with a little valve at the stem. If you start to use too much pressure, the valve closes.
Actually, hasn't there been an invention like this before (ah, searching through the land of my vague memories)?
Other ways to reduce mouthpiece pressure (the "high blood pressure" of brass playing).

• While playing a medium-high note, slowly take the trombone off the face. Eventually, the note will break up. How much can you lower the pressure before losing the note?
• While holding that same note (or higher?) have a friend stand behind you and, unannounced, gently push the trombone off your face.
• Stand with your back to the wall and play ascending lip slurs. The wall should prevent you from pushing in.

Another Bonetalk? Hopefully this weekend.