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!

Play By Ear

earBy the time you read this the holiday season will have passed, but as I write it is in full swing. For my trumpet students this time of year invokes a test from which few emerge unscathed: playing well-known Christmas carols by ear.

Even if Christmas is not a part of your life, one can hardly escape the tunes; they are played round the clock for the month of December. Despite the fact that they are burned into your memory, when I ask a student to play one of these old Chestnuts (especially Chestnuts) by ear, it generally results in a tumble of wrong notes.

Test yourself: start on a concert ‘G’ and try to play the first line of Rudolph The Red Nosed Reindeer. Try to determine what key you are in; it’s not the key of G! If you go to the end of the tune you’ll discover that the last note is C, which is the key. Most tunes end on the root.

Now, what’s the melody on the bridge? Students often draw a blank until I remind them of the words “Then one foggy Christmas Eve, Santa came to say.” Knowing the words to a tune helps you remember the melody.

One of my favorite tricks is to ask them to play the ‘A’ section of Rudolph, followed by the bridge to Frosty the Snowman. They are very similar; it’s easy to mistakenly switch tunes by the end of the bridge. Again, the words help you remember the melody: “There must have been some magic in that old silk hat they found.”

While Christmas melodies are generally pretty simple, some contain melodic traps for the unwary. Watch out for the second phrase of the aforementioned Christmas Song and the bridge to Winter Wonderland!

Playing a song by ear cuts to the very essence of being a musician. The holidays offer a perfect excuse to brush up on these skills—there is a practical application on holiday gigs—but it is a skill that should be addressed on a daily basis.

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