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There are two entries under “B,” the topics of breath attacks and buzzing. Both have positive and negative points to consider.
Breath attacks, a risky strategy
There is a section in the Hornmasters series on the topic of breath attacks. It is a somewhat controversial topic, as it can be risky.
How so? I think what happens is people get afraid of their tonguing setup and shift to trying not to tongue at all. This is not the reason to do a breath attack!
Breath attacks, a helpful tool
How breath attacks help is they help you better define your synchronization overall. Tonguing of any attack needs to be done in just one motion, nothing stops. The breath attack should be exactly the same overall motion, with just the addition of tonguing to give even more definition. But you should be starting the note essentially the same way as a breath attack, the only difference is you don’t articulate with the tongue.
Try it! You may be pleasantly surprised how breath attacks are a valuable practice technique. But I would suggest avoiding breath attacks in any real musical context. (Although the opening of Oberon overture might be, for example, a good passage to start as a breath attack, depending on your comfort).
Buzzing: Not like horn playing
Over in the Hornmasters series there is information to be found on Buzzing from the Brophy book. Brophy was a fan of buzzing, but not all horn teachers are.
My own teachers ranged from neutral to negative on mouthpiece buzzing. For some for sure part of the problem was that they understood that a buzz that sounds good on a mouthpiece does not sound good on a horn, and that a buzz that sounds good on a horn sounds hollow and unfocused on a mouthpiece alone.
Buzzing as a practice technique for accuracy
That being said, for years I have found buzzing on the mouthpiece to be a great tool toward accuracy. It confirms clearly if you have the mental picture of the music correct, and if you have the physical control to make that mental picture happen. If you find yourself missing a note in a passage, buzz the passage and it will be clear why you are missing it.
Testing a first note pitch before the entrance on the mouthpiece is another great tool to apply to accuracy. A BERP can be a handy tool in this regard too.
This is an installment of a series on accuracy, drawn from notes developed for a book on the same topic.
Continue in the Accuracy Encyclopedia
