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 Talk

The tongue helps determine the forcefulness of the initial air expulsion (the attack), the velocity of the air to follow and the duration of each burst of air (staccato vs. slurred). The primary syllables involved are aa, oo, ee; daa, doo, dee; and taa, too, tee.

The vowels (oo, aa, ee) determine the tongue level, which affects air velocity. Whisper these sounds and notice that the back of the tongue arches up towards the roof of the mouth for the ‘oo’ and ‘ee’ syllables. This increases the speed of the air, facilitating faster lip vibrations for higher notes. Sing a very low note quickly followed by a very high note. Do it once with ‘aa’ syllables on both notes, then again with an ‘ee’ syllable on the higher note. It is much easier to change registers with a change of tongue arch level.

The consonants, ‘d’ and ‘t’ affect the forcefulness of the initial attack. The tongue strokes are similar; the tongue pulls away faster for the sharper ‘t’ syllable. When practicing tonguing, make sure you work on both staccato and legato tongue styles.

Following is my approach to tonguing. Others’ may differ. When inhaling, slurring or sustaining, the tip of my tongue contacts the gum below my bottom teeth. At the moment of attack, simultaneous with the compression and expulsion of air, the tip of the tongue jumps up to contact the gum above the top teeth, then snaps back down to the starting position. The more rapid the tongue strike, the sharper the attack. For a series of attacks, the tongue hovers just behind the upper gum, reducing the distance it must travel for each attack.

The movement of the tongue must be precisely coordinated with the fingers. Faulty coordination is often the cause of indistinct articulation. (See my previous column on finger dexterity.)

Timed breathing–relating the inhalation to the tempo of the music–helps to minimize stuttering attacks or a feeling of being tongue tied on the initial attack as the tongue gets ‘trapped’ by the column of air.

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