Producing Sounds & the Misconceptions of Buzzing | Wayne Bergeron
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- เผยแพร่เมื่อ 1 มิ.ย. 2022
- World renowned artist and trumpeter Wayne Bergeron had a residency with the Smith Family Conservatory Instrumental Arts students at The King’s Academy. Wayne held trumpet masterclasses and workshops that inspired the students to perform at a higher level. Wayne finished the week of his residency by being the guest artist for our annual Night of Jazz Concert.
Copyright: The King's Academy, Inc., 2022. All rights reserved. - บันเทิง
Man, what an opportunity for kids who ha the chance to be in this session.
I love how the young ladys on the right edge of the picture - get shaken by Wayne killing these high notes - check out time 03:33 :-) so funny
Exactly, Wayne. Just like Bill Adam taught. I learned it from an Adam student.
What a great set of ideas for young students to hear! Marvelous teaching!!
When W. was in Jr high, Their marching band performed Smoke on the Water in local parades. He's in his element giving back to these young musicians.
Fantastic, pure gold.
Thank good this info is out there. I wish I’d have known it at the outset. And beyond! GREAT POST
Oh yes, thank you! This is how it is!
Loved it !
05:05 a pianist, especially those from Menachem Pressler's studio would strooooongly disagree. Sure, to make a sound is simple mechnically. To make a *beautiful* sound where one does not overtax the string and cause it to emit fewer overtones takes real skill and understanding of diminishing returns.
But I quibble. :-b
Why I am writing to say is there is more here for classical/operatic tenors singing technique than meets the eye. Serious wisdom is being doled out. It represents the radical departure tenors made around 1940 when they began to sing "more open" which is Wayne's preferred aesthetic on trumpet. He's mastered resistance (something Mario Del Monaco said he thought long and hard on) and has presented a REAL strategy and concept how to negotiate this physical demand. It's a complete departure from "Head Voice" thinking in singing and gives us the greatest voices in the modern era who all shared Wayne's priorities. He seeks to make it as efficient as possible but within respect to his aesthetic priorities. Blows my mind how articulate he is here and other videos. Thank you!
E X P E R T I S E and W I S D O M !!
Hmmm...and yet Lynn Nicholson does segments where it is all about the buzz, showing extreme high playing on just the rim and advocating for that. Contradictory concepts from two famous players.
more than one way to skin a cat
I don’t think if you pulled the mouthpiece out of the trumpet when Lynn plays one of his stratospheric notes you would hear a buzz from the mouthpiece. In one of his short clips he demonstrates clamping his lips together as an attempt to create resistance for a high frequency buzz and explicitly says it doesn’t work. He emphasises keeping an aperture and exposes a lot of the red of the lips, he calls it unfurled or the MF protocol, and that is a bit controversial among the trumpet playing community. Lynn definitely advocates fast air as the way to get high notes rather than relying on clamped lips, which is what I think buzzing implies. Of course I may be misunderstanding what you are saying but I just wanted to put this forward as an alternative explanation. Only the other week I put question in the comments on one of his clips and within a day he had responded in a way which makes me pretty sure he advocates fast air over lip compression.
@@tomrees4812 fast air? or air with more pressure behind it? the reason i ask is because it seems like fast air would also mean more air which would also mean more volume. i can play quiet high notes (although certainly it is true that playing louder helps make the high notes easier), but I think that is done more with pressure behind (or in support of) the air rather than with fast air.
Using the rim is a tool to center the vibration, but it is not the way to play the trumpet with a very open sound. Lynn Nicholson explanation is indeed confusing and contradicting what he then does with the horn in general. I think he is not closed at all when he is playing...😅 In fact he really emphasizes all the the time to stay soft at yhe center of the lips and show how to place the embochure to do so.
@@brians9508 More air pressure = faster air. Fluid dynamics 101.
lol the girls... literally can't handle it 😂😂
Oh, yes, literally. Literally, literally literally. It's literally literal. What else could someone mean when they say "can't handle it?" Is there some other figurative meaning? Did you really need to say "literally?" (That's a rhetorical question, the answer is NO!) You LITERALLY didn't need to say "literally." Neither did I.
@@jasonkellogg388 there’s literally so many other things you could be pissed about
@@jasonkellogg388 it's pronounced "litcherally"...
Stop saying literally.
@@jasonkellogg388I’m glad to see others call out this stupid, unnecessary word.
NOTHING IS WRITTEN IN STONE=mc2 CONCERNING EMBOUCHURE=mc2, A VERY🎺PERSONAL POV👅APPROACH TO IT.⚖️🎶
We all think that we know what we are doing but the physics are the same for all.
Bruh, I had my speakers pumping coz he talks so quietly. Nearly died at 3:34
I don’t get why a segment of brass players insist on getting so metaphysical about this topic. The lips do vibrate when one plays. The horn sounds best when the player doesn’t fight the horn with the lips. In his first demonstration he fights the horn. It is physics that a brass instrument pulls the buzz down in pitch. If you don’t let that happen it sounds bad.
Great player, but the stuff he says is pretty much useless.