About Buzzing
"There is a wonderful variety of opinion (and occasional vitriolic debate) on the interwebs about buzzing. Some folks swear by it; some folks hate it. There are great players who buzz; there are great players who don’t, won't, or can’t buzz.
One of the arguments against buzzing is that it is not the same as playing. True. If it were the same there would be little point in doing it – the "strangeness" is the point.
“Strangeness is your friend; sameness is your enemy.” – Arnold Jacobs
The brass world is overrun with opinion – everybody has one (see Pedagogy is not Theology). It has been suggested that buzzing leads to a bad tone. Listen (if his Facebook post stays up) to Ben van Dijk's response.
There are a couple other "buzzers" here and there who sound pretty good.
That said, I do have some thoughts. To be clear, I am not interested in debate. If this is helpful to anyone, great – if not – great.
Prof. William A. Adam, a master teacher, who has trained some of the finest trumpet players in the business, had some thoughts on buzzing. In his excellent 1975 International Trumpet Guild Clinic address, he discusses many things, including buzzing. For example:
"There has been much talk about buzzing the mouthpiece on the lips. I agree with some of these theories, when they do what they say they will do. However, I have often found that when we just buzz and purse the lips, the lips become too tense. If we can buzz the mouthpiece without getting tension behind the lips, we're in good shape. But more often than not, there is a tension behind the buzz, and I've tried to devise something that's more relaxed." Buzzing aside, I am struck by what appear to be significant similarities in Mr.Adams' approach to Arnold Jacobs’s concepts. (Pedagogy is not Theology and All roads do not lead to Rome)
In 50 years of playing and teaching trombone, mouthpiece buzzing has been the single most powerful pedagogic tool in my shed. Buzzing is a tool. A hammer is a tool. One can do finish carpentry, frame a house, break rocks . . . or injure one's self – or others . . . with a hammer. (NOTE: If one is going to use this tool, studying with someone who knows how to use it might be helpful.)
As Professor Adam pointed out, how one buzzes is very important. Any tool misused can be detrimental; "missing the nail" and/or "hitting your thumb" is counterproductive. Different approaches yield different results. A tight buzz can lead to a tight sound. One of my great teachers, Robert Simmergren, insisted on a specific buzzing tone: "like an oboe player testing a reed – a 'crowing' sound."
In a 2019 blog post, Roger Bobo agreed about the oboe sound but wrote, “buzzing is not beautiful; it makes a sound that is not dissimilar to the buzzy sound we hear when an oboist or a bassoonist make squawks on their reeds; there is no resonance, or at most very little resonance, on the mouthpiece alone.” He was not wrong about resonance.
Robert T. Sataloff wrote in Scientific American in 1992, “When the vocal folds vibrate, they produce only a buzzing sound. That sound resonates, however, throughout the supraglottic vocal tract, which includes the pharynx, the tongue, the palate, the oral cavity and the nose. That added resonance produces much of the perceived character and timbre, or vocal quality, of all sounds in speech and song.” The trombone is our primary resonator – the "supraglottic vocal tract" makes some contribution. (See Tone Production)
In that 2019 blog post, Bobo wrote he did not feel buzzing was beneficial – to him. He did indicate, "I urge all players to not take my word for it. Experiment and make your own decision." However . . . it is interesting that in 1993 he included a “modified James Stamp mouthpiece exercise” in Mastering the Tuba, saying it was “very good for developing a clear centered tone and good accurate intonation”; advising, “Do not create resistance by blocking the end of the mouthpiece with your fist or a finger.”
Roy Poper’s Commentaries on the Brasswind Methods of James Stamp has a very good explanation of James Stamp’s approach to pedagogy, including buzzing. Basically, mouthpiece buzzing is “looser” than free buzzing, and playing the instrument is looser still; “. . . if they were playing the trumpet and pulled the mouthpiece out while playing, no buzz would be heard at all . . .”
There is a YouTube video of Charlie Vernon discussing buzzing at the 2012 Dutch Bass Trombone Open where he illustrates the difference between a tight buzz and a loose buzz. David Vining discusses buzzing also. Full access ($3.99 per month for a bunch of brass stuff) to David Rejano's article, To Buzz or Not to Buzz — That Is Not the Only Question, reveals: "Playing an F on the mouthpiece and then introducing it to the trombone results in a small sound that lacks brilliance or color. But if you invert the order, (first playing an F on the trombone and then removing the mouthpiece while playing) you’ll get a much different result. In this case, you will have a smaller, 'airy' mouthpiece sound that is about 80% air and 20% sound.” He demonstrates the difference below, almost running out of air when buzzing the way he recommends. My thinking is along those lines.
AND . . . this video is excellent! However, I don't agree that a great sense of pitch eliminates the benefit of buzzing.
Interestingly, some woodwind players also advocate playing the mouthpiece alone – notably Joe Allard. “Allard believed that laryngeal flexibility was key to a centered sound that was capable of pitch and tonal variation. Exercises involving playing on the mouthpiece alone develop this throat flexibility and flexibility at the embouchure.” Allard also advocated pitch bending (using the larynx, not the jaw – on the instrument). See this excerpt from Debra McKim’s. Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Allard’s student, David Liebman, includes play on mouthpiece alone; goal is range of 10th; melodies, patterns, scales, etc. in his Daily Practice Routine. The attribution in the McKim excerpt is a little unclear, but it appears Roger Greenberg said, "I personally find that after I've done these two exercises - the scale on the mouthpiece and the pitch bend - I can immediately play better."
In my view, how one initiates the buzz is pivotal. Keeping the tongue out of the way is essential – breath attacks. Keeping the activity at the lips is vital – “WHuu” not “Hah.” "H" is in the throat; "WH" is at the lips. Family Guy fans may remember Stewie’s pronunciation of "Wheat Thins." Start the buzz with an exaggerated “WH” – air first, then let the buzz start – keep it loose, even a little airy – just medium loud. Allow the airflow to show the lips where, when, and how, they want to vibrate – don't force vibration!
Keeping the activity (friction) at the lips is important while inhaling, too; it keeps the airway relaxed and open, but that is another discussion.
While I don't agree with the way Adam Rapa explains some of this here, there is a lot of truth there (again, same Elephant – different semantics). “If the lips are at just the right distance [see Tone Production] from each other, even a small amount of air can create a free vibration and a full sound. . . . When you get this balance right, you don’t need to 'push' air through the trumpet. It’s enough to 'release' air to spark the lips into vibration.”
Vince De Rosa, arguably the finest horn player of all time, taught that if the lips were right, a whisper of air would create vibration. Vince once told me that his teacher, Alfred Brain, told him, “Never lose your purchase [grip] on the air stream.” In his excellent book, Carved In Stone, Todd Miller shares some of Vince's concepts.
- There is a psychological and physical difference between thinking of holding a note and actually holding onto the air stream. (page 24)
- The lips should never be rigid or tight, but as natural and fluid as possible. (page 25)
- The player should remember to “buzz the air, not the lips.” (page 31)
And Uan Rasey, of Chinatown fame, said, "If you blow the right air, your lips have no choice but to produce the right pitch.
I used to do a long daily buzzing routine. I don’t now. I no longer start by buzzing. I do this; it incorporates some buzzing. I also use glissando “sirens.” The value for me is in comparison – not drill. When practicing music: sing (solfège), buzz, play – a few bars at a time, back and forth. This can be a powerful tool. See RESOURCES.
Arnold Jacobs felt "free" (just lips, no mouthpiece) buzzing is counterproductive, and recommended using a mouthpiece rim. He also felt buzzing should only be performed in the lower mid-range and for very short periods – two or three minutes maximum. I think this is generally good advice, but I do some free buzzing sometimes for some issues. Again, a good teacher is invaluable.
Various companies make mouthpiece practice rims. While metal rims are great, inexpensive plastic ones work fine. A rim that is approximately the same size as your mouthpiece is good, but any rim is better than none. Griego makes practice rims (with no handle) in various sizes in plated brass. Windsong Press offers both plated brass and plastic. S-Mute makes very affordable two-in-one rims in plastic (the trombone rims seem to be roughly 1G and 5G sizes).
I urge folks to give buzzing an honest try before discarding it. Six months or so would be good. If you don’t like the results, stop doing it. Again, if this helps, great! – if not . . .
Take a look at my discussion of Tone Production.
Arnold Jacobs' thoughts on buzzing here.
Blair Bollinger buzzes here.