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!

Stand Still


You should strive to reduce or eliminate extraneous body movement when playing your instrument. Ralph Bowen, jazz saxophonist extraordinaire and professor at Rutgers University demonstrated this vividly at a recent clinic for the University of Toronto Jazz students. When Ralph plays, he stands incredibly still. Yet what comes of his horn is spectacular: fantastic time, harmonic fluidity and technical virtuosity. He is fully in command of every aspect of the music and of his horn, yet he looks as if he is doing nothing at all! Ralph describes the process of playing the saxophone as nothing more than breathing into the instrument and moving the fingers. The music resides within him and he transfers it to the horn with no wasted motion or energy.

As I observe students, I notice all sorts of unnecessary body movement unrelated to playing the instrument: lifting one foot off the floor; swaying to and fro or side to side; scrunching the shoulders; clenching the elbows tight against the body; pointing the horn towards the floor or the ceiling. While these may be a reflection of focused creative energy—may—it does them no favors when it comes to actually producing sound on the instrument, which of course is job #1.

Like all physical activity, when you play your horn certain muscles are involved; others are not. Tensing or activating muscles that are not needed for the task diminishes the end result. As you practice, stand in front of a full-length mirror and observe your body critically. Adopt the most correct posture you can muster and try to play in that position for a while. Feel that you are fully supporting your air, yet still maintaining a feeling of relaxation—a relaxed body produces a more resonant sound.

In the practice room ingrain proper playing habits so that when it comes time to play, the mind is free to concentrate on the music rather than on the horn. Unless you are marching, stand still and play!

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