eioday we'll discuss buzzing; when, why and how. Happy practicing!
A few years ago there was a huge (by classical music standards) argument online about the pros and cons of buzzing on the mouthpiece. There were people protesting outside of local music stores, riots were started, others named their newborn children in support of their favorite mouthpiece manufacturers. Just kidding, but people really did argue.
People said buzzing was different from playing the instrument (it is, but not because you create sound in a different way), or that the way you create a buzz differs from playing on the instrument (also true). Neither of which mean that buzzing is a bad thing; far from it! Buzzing is a useful tool to have in your box of practice methods.
Pros

1. If you can buzz it, you can play it. Buzzing is a great way to reinforce the melody in your head.
2. It exposes gaps in your understanding of the part. If you can't hear the piece you're working on, there's no guarantee that you'll get the right notes to come out of your horn.
3. Buzzing is an excellent way to work through the "nodes" in each register. Nodes are the spots where your lips don;t like to vibrate. Try doing glisses from low to high and you'll probably find a few nodes.

Cons

1. A little bit goes a long way. Buzzing is much more taxing than playing and it's no substitute for practicing on the instrument.

My favorite Exercises

1. Anything from The Buzzing Book.
   I always start my playing day with a few exercises from the book.
2. Buzz excerpts from solo rep, etudes, exercises, ensemble parts, or anything else you might be working through. Buzzing is particularly useful when you've got intervals that you're having trouble finding on the horn. Take a reference pitch from the piano or drone and use your ear to learn the part.
3. Simple tunes. You can buzz anything you hear from "My Country 'Tis of Thee," to to Brahms' "Lullaby," or a song you heard on the radio. Doing so helps to reinforce the connection between your mind and your chops.

Tips

1. Make sure you buzz with the same form (or better) as when you play on the instrument. The main difference will be that you need to use about four times as much air when buzzing, but that's okay.
2. I've found that when many people buzz the back of their tongue comes up. Keep it down, think "Oh" as if you're yawning.
3. When you buzz it's not supposed to sound as resonant as the instrument. Trying to get a more resonant buzz is probably an act of futility. Your focus should be on a smooth air-stream and consistent, airy sound.

Thank you for reading!

Today, we'll talk about finding your way back to the instrument after a vacation or other break. Happy practicing!
After the New Year 2019 my wife and I went on a seven day cruise to Central America. It was amazing! We saw Mayan ruins, beautiful beaches, and floated down  a river through a mountain. I also gained 12 pounds...but I digress. I took a CC tuba mouthpiece and had great intentions of working through the Buzzing Book by James Thompson. 
I did this twice throughout the week. It just isn't the same as playing the instrument. Buzzing is much more taxing and (at least to me) much less gratifying, though still a useful tool. I'll talk more on that in a future edition.
Once we were safely back home, I found my way back to the tuba. I'm typically pretty consistent when it comes to practice and usually take a tuba (or two) with me when we travel. However, if you've ever been on a cruise ship you know that space is on a premium. Bringing an instrument was not an option.
After a long break from practicing I make sure to do things differently for a week or so before I move back to full-bore.
1) Have temporarily low expectations
I'm not saying you should accept bad sound or sloppy technique. You still need to strive to get better. Just keep in mind that during the time you took off from practice you did de-train a little bit. You won't be where you were before you left, so go in with the expectation that you won't be able to do as much as you could before.
2) Go SLOW
Everything needs to be slowed down...more than you initially think it does. If my gut says "play this lip-slur at quarter = 80" I slow it down to 70 or 60 or even slower. Make sure you set yourself up correctly to start making progress.
3) Don't worry about lessened abilities
You won't be able to play as high/low/fast/slow/loud/soft, etc. It's not a big deal, you'll get back to where you were before you left. Take your time!
4) Work through your routine every day
This should go without saying, but I'm saying it anyway. It's that important! You need a routine that you work on every day.
5) Stay away from the rep you were working on before the break
Before the break I'd been working on a recording project and was very familiar with the repertoire. I haven't touched any of it since my return and probably won't for a few more days. This is important to me because I tend to be very critical of myself, especially in situations where I'm not in top playing shape.
6) Play only things you enjoy for a while
I like to take an etude book and gradually read through it over the course of a day or two. My favorites are Bordogni Bel Canto Etudes, Snedecor Low Etudes for Tuba, or Fritz Twenty Characteristic Etudes. Other times I'll just work on Arban exercises like arpeggios or intervals.
The point is to stay in your comfort-zone for a while until you get your chops back.
Thank you for reading!