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!

Tongue Levels

In a previous article I touched on tongue levels briefly. This column will expand on the topic.

The tongue works in conjunction with the breathing muscles to determine air velocity. You control the arch of your tongue by using syllables:

• ‘aa’ places the tongue low in the mouth

• ‘oo’ raises the tongue to the middle of the mouth.

• ‘ee’ or ‘ich’ raises the tongue high in the mouth.

As you arch the middle/back of your tongue upwards, the air speed is increased, thus it stands to reason that ‘aa’ is for low notes, ‘oo’ for the middle register, and ‘ee’ for the upper register. The tongue level is infinitely variable, however, and there is no absolute tongue position for a given note. What might be a high note for one player, requiring a raised tongue position, might not be so high for another. If you were to slur an octave between two notes in the mid-register, you would emphasize the syllable change (aa-ee) to help execute the slur, even though both notes might individually be played with a medium tongue level.

The effect of syllables on pitch can be readily demonstrated with your voice. Sing a low note with the syllable ‘aa’. Quickly change to a high note with the same syllable (aa-aa). Now try the same thing with an ‘ee’ syllable for the high note (aa-ee). Go back and forth (aa-ee-aa-ee-aa). Aside from the fact that you sound like a donkey, notice how much easier it is to sing the high note when you change the syllable and how much more strain is involved when you don’t, particularly in the throat and neck. The effect is exactly the same when playing: a higher tongue level will contribute to a sense of ease when playing notes in the upper register.

The syllables have an effect on tone, as well. The lower tongue position emphasizes the lower partials, and creates a darker, more resonant sound, appropriate to the low register. The higher tongue position emphasises the upper partials, giving it a bright edge, appropriate to the upper register.

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