1974... Maynard's Warm-up on the Bus......

I’m not a big fan of mouthpiece buzzing for practice, or as an aid to building range and/or endurance. I’m not a big fan of warm-ups, either. My questions are always the same. What exactly is being warmed up, and why do it on the mouthpiece alone, when same has a different response than it does when in the horn? The short answer is that sometimes all that is available is the mouthpiece. In Maynard’s case, he worked extremely hard, so was sometimes stiff, swollen or otherwise damaged. In those situations, response can become challenged. Response is probably the most important and often overlooked aspect of trumpet playing. When response is immediate, playing is much easier, and less energy is wasted. I can think of nothing worse/tiring than chops that are not available to vibrate easily in response to the correct application of air. This can be an especially critical issue for small v-cups, like those that Maynard played. Relaxed chops, vibrating all the way across the inner diameter, are not only preferred, but mandatory on the small v-cups, or the sound/precision suffer.

Soooo….. Maynard didn’t do the “duck call” very often in 1974, but when he did, he was clearly checking and optimizing his response, because he felt quite stiff. Several of you have mentioned the hand changing the resistance. Yes it does, and in so doing, the response feedback mechanism becomes variable. This is key. Maynard was able to fine tune his response with different resistances. The parallel and inseparable result was relaxed chops. Keep in mind, this was not the same as typical mouthpiece buzzing, since he only employed a single tongued pitch in the staff, at very moderate volume. His chops became so relaxed, that the notes would quiver as the bus hit bumps.

[hastyberford]

Those bus rides must have really been something.

[strawmangaslightfusion]

Great tip as always Lynn, got the link for the MF protocol yesterday and my XPeice is supposed to show up on Monday. Can't wait!

[colinp]

My guess is he uses his hand to create resistance, and it takes more air to sound the same volume. By controlling the resistance and simultaneously controlling his breathing and embouchure, it creates sufficient stress for a good warmup

[jrw]

Seems like he was testing some resistance playing

[joksal]

On warmups-James Morrison says he doesn’t do any kind of physical warmup-only mental. He suggests that other players try this.

On buzzing, it’s always seemed pointless to me. It’s nothing like playing with the mp in the horn. What’s the point? If you want to do light playing with no stress on the chops to get rolling you can play some quiet notes at the bottom of the staff.

[CarnivoreLife-]

great tip to share Lynn - thank you so much!

[jackosallotment]

I’m loving this stuff. I’ve recently changed mouthpiece to the Bill Chase Schilke one from a Marcinkiewicz Roger Ingram 12.1 nether thought I’d ever be able to play on this. It I’m pleasantly surprised. I’m not one to swap and change and never do so when playing either lead or 4th with your videos it’s really helped me I’m so surprised of what I’m currently playing after 40 years now.

[evdallas]

Buzzing has always been a big part of warming up and loosening my lips up before playing then blowing warm air through the horn

[tevonvarlack]

man! Lynn I ain't going to act like I know! please tell me!!!

[linlasj]

Hm. I guess he just wanted to feel the mouthpiece with his lips, buzzing lips to get blood stream flowing.

[gregoryoleynik]

How do you warm up? How long? I play long tones and pedal notes as a beginning.

[stirdystirdy]

Are you still selling the mouthpiece and double sided rim?