To Buzz Or Not To Buzz - The Buzzing Book by James Thompson
James Thompson’s “The Buzzing Book” is a valuable asset for brass players. The book comes with treble clef notation, accompaniment cds in Bb and C, and most importantly, Mr. Thompson’s detailed instructions on how to use the exercises. The Buzzing Book helps players at any level discover correct mechanics through modeling and guided practice on the mouthpiece and horn.
Notation
The notation is large and clear. Each exercise is preceded by a few critical bullet points. They are meant to be played twice; first on the mouthpiece, then on the horn. The mouthpiece should stay on your face through the entire exercise - the player is supposed to only breath through the nose in order to extend the same “middle G” setting through the range of the horn. This definitely takes some discipline. I don’t always breath through my nose, but I do always try to keep the idea of “same setting” with me throughout the exercise. Another discipline issue is holding the mouthpiece with both hands so as to strengthen (psychologically) the mouthpiece-horn connection. I’m planning on picking up a berp to help with this. The notation is riddled with detailed instructions (e.g., “glissando as gradually as possible,” “never let the notes sag”) to coach the player through the exercise as effectively as possible. Each exercise strives to go beyond the normal range of the horn, frequently a C (below the staff) down to F gliss, using all 3 valves + slides extended.
Accompaniment
The accompaniment cds feature a harpsichord/organ/piano combo composed by Tadeusz Kassatti and recorded by Kevin McPeak. The organ especially creates a template for your sound: it provides an encouraging palette to paint with overtones. The accompaniment really shines in that each track is preceded by James Thompson modeling the exercise. This provides the player with a strong aural model for both the mouthpiece and horn. The value of this feature cannot be underestimated!
Word
James Thompson’s verbiage is another critical component of this book. It’s easy to overlook the words and get straight to the exercises; just what any aspiring player would do, right? Get to the practicing? However we know that being mentally aware of the skill you want to develop is the key to improving. The notes on habits, thinking in the present time, air/lip balance, a single embouchure, etc. are an invaluable resource. Read many times, practice many times. Discovering the written instructions kinesthetically takes time.
To Buy Or Not To Buy
While a bit expensive at over $20, “The Buzzing Book” is a daily resource for my playing. If there is one thing that has improved my playing more than anything else (short of collegiate level instruction), this book is it. I am still discovering and refining mechanics using this resource. No player is too advanced for it. Bottom line, you are a fool to keep practicing without it!
James Thompson
James Thompson studied trumpet with Richard Longfield, Ray Lichtenwalter and finally, with Roger Voisin.
After a distinguished career as principal trumpeter with several orchestras including Montreal and Atlanta, James Thompson, laureate of the 1979 Maurice Andre International Competition in Paris, also enjoys a career as a soloist. As principal trumpeter he has recorded over 80 CDs.
Professor of trumpet at the Eastman School of Music in Rochester, NY since 1998, James Thompson is considered one of today’s grand masters of trumpet pedagogy.
The Buzzing Book for all brasswind instruments, and Bandroom Buzzing (for group instruction) are two key volumes intended to help develop correct playing techniques at all stages of brasswind instrumental apprenticeship. The Buzzing Book is published by Editions Bim.