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The Berp Buzzing Tool

$17.00 $21.95

Item Details

Birth of the BERP

The Berp comes from the concept of mouthpiece buzzing, which has been used as a teaching technique for brass players for many years. One of the leading proponents of buzzing the mouthpiece was James Stamp. I had the great honor of studying with Jimmy while I was a member of the Los Angeles Philharmonic, and his teachings influence the exercises and practice suggestions that make up the berp concept. He had students add resistance to the mouthpiece when buzzing by either placing their little finger over the end or adding a rubber electrical extension called an “alligator clip.” By learning to blow into resistance, you become more aware of undesirable resistance in your body, and learn how to avoid it by using proper breath support. Jimmy also asked us to finger the valves of our instruments while buzzing the mouthpiece, to make us aware of the connection between the fingers and the brain’s perception of pitch. I put the two ideas together, buzzing and fingering (or moving the slide) to the corresponding pitch, to maximize the benefits for my students and myself.~Mario Guarneri, Inventor of the berp

 

What is a Berp?

Simply put, The Berp is the most efficient tool you can use to help yourself become a better brass player. It helps you develop proper breath support by blowing into resistance, letting you buzz your mouthpiece while you hold your instrument in the regular playing position. The Berp also lets you press your instrument’s valves or move the slide to match the pitches you’re buzzing, so you gain ear-training benefits through reinforcing the connection between buzzing the mouthpiece and playing.

 

How to berp

The clamp. The Berp clamp fits firmly onto the open end of the instrument’s receiver,
with the mouthpiece removed. It’s designed to tighten around a round, hex, or convex-shaped opening.

If a receiver has an oversized ring at the opening, it may be necessary to push the clamp
past that before tightening down. For some receivers, you may also need to add black
electrical tape to the inside of the clamp to help prevent slippage and ensure a secure fit.

Most people prefer to line The Berp up parallel to the receiver at the “three o’clock” position. You may want to experiment with other positions to determine what’s best for you. Once The Berp is firmly attached, you can easily alternate between buzzing and playing your instrument by switching the mouthpiece.

The resistence dial. The dial for the trumpet, horn, and cornet Berp should be positioned below the holes and pushed up to partially cover them to create the desired resistance. The dial on The Berp for trombones, euphoniums, and tubas should be positioned above the holes and lowered to create the desired resistance. Beginners usually have a better chance of getting a good buzz with slightly more resistance. Once a good buzz is achieved, resistance on The Berp should be dialed
similarly to that of the instrument.

Time to berp

  1. Clamp The Berp onto the receiver. Play the starting pitch on your instrument, then place the mouthpiece in The Berp and buzz the exercise like a siren or glissando.
  2. Buzz the exercise again, but this time center each pitch and press your instrument’s valves down or move the slide to the notes that you are playing. When you play The Berp, practice making the beginning and ending pitch sound (resonate) the same. Correct sound production will result when the air leads the way, whether ascending or descending.
  3. Finally, play the exercise on your instrument with the same energy you used to make a consistent buzz. The embouchure should feel more relaxed than when buzzing in order to get a free, resonating sound. Always alternate between the berp and playing your instrument, to gain ear training benefits and strengthen your embouchure.

This exercise can be started on either open partials up and/or down. Practice with the
same routine.

 

Sample exercise

You’ll get a lot more out of this buzzing exercise if you read the information about the Breath Awareness Tool first.

If you practice this routine on a daily basis, you’ll gain many benefits of working with the berp.

  • Play slowly
  • Use the top treble line for trumpet, horn, and cornet
  • Use the bottom bass line for trombone, euphonium, and tuba

 

The Berp Endorsements

What people are saying about The Berp:


“I just wanted to say thanks for a great product! I had a Berp back in high school and just recently got one again. The design is much better than it was back then, and I just keep it on my horn all the time, it is such a useful tool for all levels of players! It’s also very convenient when you have a clip on microphone on stage and need to do some buzzing between tunes to get the blood back! I’m glad it fits in my torpedo case, it’s nice to have it on whenever I feel the urge to buzz!
Thanks again!!!”
Kiku Collins, www.kikucollins.com

“I have been using The Berp for some time now and I find it to be a tremendous aid in working out creeping aberrations. I like using it especially for warming up and working out problem areas. It is a wonderful tool to help a player be more efficient on the trumpet … thank you for
the brilliance of your little device. I recommend it 100% … it’s a permanent fixture on my
practice horn.”
Herb Alpert, trumpet recording artist, founder of The Tijuana Brass

“I’m BERPin’ all the time.”
Doc Severinsen, trumpet recording artist, studio musician, leader of The Tonight Show Band

“I’m very pleased with the new options and will continue to use the BERP as I have for
the past 12 years.”
Joseph Alessi, principal trombone, New York Philharmonic

“I love the Ultimate BERP…the new options are great!”
A. David Krehbiel, former principal horn, San Francisco Symphony

“I never leave home without it.”
Bill Watrous, trombone jazz artist and clinician

“I recommend the BERP in my ‘Best In Class’ clinics. . . (it’s) extremely helpful.”
Bruce Pearson, author, educator

“We talked about the use of your BERP and the excellent results with students.”
Richard Norem, Phil Farkas and Barry Tuckwell, horn performing artists and teachers

“The BERP is a valuable tool–Bravo!”
Roger Rocco, tubist, educator-VanderCook College of Music

“The BERP solves the problem of relating buzzing the mouthpiece to the instrument.”
Marvin Stamm, trumpet jazz artist and clinician

“I’ve been BERPing all over the world.”
David Finlayson, trombone, New York Philharmonic

“There is not a day that goes by that I don’t benefit from the BERP. What a great idea! All my students practice with it and use it during their lessons.”
Sandy La Clair, The Madison Brass

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