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!

Fingers!


Distracted as we are by the challenges of making our lips vibrate, brass players often neglect finger dexterity. You must have as much technique with your three fingers as a pianist has with 10.

Pushing or releasing a valve changes the length of the instrument by channeling air through the valve slides. The seven valve combinations correlate to the seven positions on the trombone slide. Missed notes commonly result from fingers that move too slowly or the player not being prepared for the sensation of blowing through a longer or shorter tube.
Your fingers must move as fast as possible, regardless of the speed of the notes, and your tongue must be coordinated exactly. Otherwise, the definition of your attacks will suffer, and you may be thrown off your note by the changing tube length. Snap your fingers up and down!

Develop finger dexterity by fingering scales or patterns during breaks in the practice routine. Listen for a defined click on each valve change. Do not accept sluggish or uncoordinated finger movements. Slow down and pay attention! Keeping track of what note you are playing—without hearing the sound—forces you to think.

An additional benefit of these finger exercises is the insertion of additional rest time into the practice session; most players don’t rest enough. Keeping your brain active through the periods of rest will enhance the effectiveness of the entire practice session.

Use the snap of your fingers as a mental focus point: At the piano, play two notes a fourth apart, for example, C to F. Move your fingers as crisply as possible. Now go to your horn and slur the same two notes. Imagine that the pitch change comes solely from the fingers as it does on the piano. Let air and embouchure adjustments happen subconsciously; focus on the precise movement of the fingers. You may be surprised by the way the notes jump out of the horn when your fingers snap to it!

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