Chase Sanborn is an engaging modern jazz trumpet voice with a warm, inviting tone, fluid lyrical phrasing, and a style that always swings. He exhibits the cultivated sensibility of a player at the peak of his powers.
Music Business Tactics is an easy and enjoyable read that provides sound, practical advice. If you are an aspiring musician, or you know one, get this book! You need this information!
Chase Sanborn goes right to the heart and soul of the music. His performance was an inspiration to hundreds of festival participants, and his positive and upbeat outlook made a lasting impact on our students
Jazz Tactics presents the material in such a clear and simple way, with the vitality and spirit of a live teaching session. This method speaks to all musicians, regardless of age and previous experience.
Chase addresses the needs of developing musicians in a manner that is understandable and relevant. My students were thrilled to work with someone who understands their learning curve.
Tuning Tactics teaches you to listen. In just a short time, I've witnessed strong improvement in my students' awareness. Tuning Tactics makes good intonation attainable for all!
Chase Sanborn has a natural gift for engaging and involving an audience. He shares a wealth of honest and knowledgeable information about music and the music business.
Brass Tactics offeres authoritative instruction balanced with sage and homely advice. It shows you how to handle yourself in any professional or amateur situation. No trumpet player should be without this book!

Air!


All notes on a brass instrument are produced by a combination of air compression and lip compression. The balance can be shifted: the more work your air does, the less your lips have to do (and vice versa). A quick look at the musculature surrounding the lungs compared to the musculature of the face tells you this is an area of strength that you should utilize.

The first and most important step is to take full deep breaths. The more air you have in you, the easier it is to push it out, and the more relaxed you will feel. When away from the horn, practice deep breathing to remind yourself what it feels like to fill up completely.

Posture is critically important. Stand or sit up, elbows away from the body, chin lifted so there is no throat constriction. Legs should not be crossed and your feet should be firmly planted. When sitting, feel as if you are ready to stand at a moment’s notice.

As air enters your lungs, fill the bottom section first, eventually expanding up into your chest. Your shoulders will rise as your chest cavity swells, but don’t lift them consciously at the start of the breath—this will lead to a shallower breath.

The inhalation and exhalation are one fluid and connected movement, just like the backswing of a tennis racket, or drawing your arm back in preparation for a punch (for the more violent among you). Relate your inhalation to the tempo and intensity of the entrance, just as the upstroke of the conductor’s baton relates to the music to follow. I typically breathe precisely on beat 4 of a one or two-bar count off. This is usually enough time to get a full breath but not enough to get ‘stuck’ at the top of the breath, which can create a stuttering attack. Timed breathing helps to coordinate all the muscles involved with the start of a note.

When you hear a great brass player, rest assured there is terrific breath control at work. It may not always be visually obvious, but the sound reveals the effort.

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