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!

Gear Talk

In this post I answer a couple of questions about choosing a horn.

Q: What is the difference between student and pro model horns?

A: The differences between student and pro horns are subtle but significant: complexity of tone, secure slotting of notes, more refined intonation. Improved design and manufacturing capabilities means that most instruments produced today by a reputable company are eminently playable, so for a player just starting out, a good student horn will do fine for quite a while. A Yamaha student trumpet, for example, shares many of the characteristics of the pro horn, thanks to the design philosophy of vertical integration.

Intermediate models exist, but at that point I recommend taking another step up the ladder. A used pro horn is an excellent option if you don’t mind sacrificing a bit of shine. Brass instruments can actually improve over time, particularly in the hands of a good player.

Q: How do you assess a new horn? Does the playing style have a lot of bearing on your choice? (Lead, jazz, classical etc.)

A: Aside from smooth mechanical action, two things I look for when trying out a new horn are clarity of sound and evenness of scale, e.g. whether each note sounds and feels like the notes next to it. The application doesn’t play much of a role in my choice. I play two main trumpets currently. One was designed for a classical player and the other was designed for a lead player. I’ll happily use either horn in any situation.

Q: Do you change horns often? Is there an adjustment period when you get a new horn?

A: I like changing horns from time to time, as it causes me to reassess and adjust the way I play. Every horn is unique, particularly in tone quality and in the placement of notes. When trying out a new horn I’m likely to miss notes (even more than usual) as I search for the center slot of each pitch, where the note feels secure and the sound is resonant. I have to learn to work with the horn, rather than fight it.

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