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!

Project Your Sound

sound_traveling_faster_speed_soundOne of the things that differentiates amateurs from professionals is sound projection. Many brass students produce a sound that barely makes it out of the bell, let alone off the stage and out into the audience. You need to fill the room with sound and you need to understand the effect the room has on your sound.

The notes that we hear emanating from a musical instrument are comprised of both direct and reflected sound. Direct sound goes straight from the source to the ear. Reflected sound bounces off various surfaces in the room before arriving at the ear. The balance of direct and reflected sound is an important consideration in the design of an acoustic concert hall, and it has a substantial impact on the sound of your horn.

You no doubt know that your horn sounds quite different if you are standing in a clothes closet compared to playing in a bathroom. The closet is filled with many sound absorbent surfaces; the bathroom has a lot of reflective surfaces. The room sound has a corresponding effect on the response of the lips: it’s harder to play in an acoustically ‘dead’ environment than one that is ‘live’.

I always strive for the greatest distance between my bell and the first reflective surface. (The antithesis of this concept would be to point the horn directly at the music stand, a bad habit that diminishes projection and resonance.) In a practice room I position myself in a corner, playing towards the opposite corner. In a performance space I aim for the back wall.

In all situations, I focus my eyes on where I want the sound to go, just as a baseball batter focuses on where he wants the ball to go. This encourages me to inject energy into the sound in order for it to travel the distance.

A player who projects will sound louder and more confident to the listener. Side benefits will also accrue, including fewer missed notes, greater efficiency and improved endurance. Don’t just produce a sound; send it forth!

 

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