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!

Time Well Spent

Q: Should a brass player strive to practice the same number of hours as a saxophonist?

A: Brass players will never be able to match a saxophonist hour-for-hour. When a reed gets worn out, there are more in the box. Like the Energizer bunny, saxophone players can (and often do) keep going and going. When your lips get worn out, there is nothing to be done but let them rest. In fact, playing too much can be more detrimental than not playing enough.

The lips are like the quarterback on a football team. They have a vital role to play and they cannot do the job effectively if they are tired. Don’t practice to the point of exhaustion. Approach your sessions intelligently and strategically, with the goal of setting yourself up to feel good the next time you pick up the horn. Play until the chops feel well worked, then let them rest and rebuild.

You can increase the length of time you practice by injecting more rest into the routine; most players don’t rest enough. Balance the time that you play with an equal amount of rest and increase the length of the rest periods as you go. Make use of the rest time by fingering scales or patterns; work your fingers and your brain while your lips take a break. When working on a piece of music, finger each passage at least once for every time you play. Don’t ask your lips to perform something your fingers have not mastered.

When your lips start to feel tired or the sound deteriorates, it’s time to put the horn down. This doesn’t necessarily mean the practice session has to end. You could write some music, transcribe a solo or sit down at the piano. Playing a brass instrument is a means to an end: making music. There are many aspects of being a musician beyond buzzing the lips. In the end, it’s not the total number of hours you put in; it’s what you do with the time.

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