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!

Brass & Strings

brass-and-strings-hanne-lore-koehlerI often compare brass players to singers because we share the significant element of vibrating a part of the body to produce the sound. If the voice is the purest musical instrument, I consider brass instruments to occupy the next rung on the ladder. But let’s compare a brass instrument and a string instrument; say a trumpet and a violin. On the surface they seem quite different, other than that they play in a similar register. But dig a little deeper and similarities appear.

The trumpet player’s lips may be compared to the violinist’s strings. The vibrational frequency (pitch) of the violin string is determined by the tension of the tuning peg and the position of the finger on the fingerboard. The vibrational frequency of the lips is determined by the tension and shape of the embouchure. When a violin string is tensioned to a certain pitch, it will emit that pitch regardless of whether the string is plucked, bowed, played loud or soft. Similarly, if a trumpet embouchure is well formed, the same pitch emits regardless of whether the note is played loud or soft, tongued or not. This is a little trickier on a trumpet than a violin, but it can be demonstrated.

The trumpet player’s air may be compared to the violinist’s bow. If the bow does not move smoothly across the string the sound will be scratchy and stuttering. Similarly, the airstream must move steadily and assuredly across the lips in order to produce a resonant trumpet tone. The trumpet player does well to visualize a violin bow when striving to produce a smooth airstream. The violinist invests substantial money into the bow and effort into developing proper bow technique. The trumpet player should invest substantial time and effort into developing and utilizing the power of the airstream.

The trumpet player’s tongue when producing staccato may be compared to the violinist’s fingers when producing pizzicato.

Horn blowers and bow jockeys are more alike than one might suspect. No wonder then, the natural affinity that one often feels for the other.

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