O.J.'s Trumpet Page Articles and reviews

The Brass Tactics Companion
Chase Sanborn, 1999, www.brasstactics.net
More advice from the real world.

“The single most influential element in your ultimate success or failure as a brass player is the quality of the time spent in the practice room. It is more important than talent, and it is more important than who you study with. You should constantly re-assess your practice habits and make sure that you are learning and growing with each session.”

This quote from Brass Tactics Companion really sets the “agenda”. This new book is a follow up on Chase Sanborn’s Brass Tactics. Here he delves more deeply into how to set up a good practice routine. In his first book he divided the practice routine into 6 groups. Now he has cut it down to 4 groups. Group 1 is Warm-up, group 2 Sound Production with a lot of sub sections, group 3 is Technical/Classical and group 4 is Jazz.

A lot of methods have a rather narrow vision and some even state that you should only work from that method for a long period. One goes as far as having you work for 37 weeks only on scales, arpeggios and pedal routines (every other day) and says not to work on anything else.

Chase Sanborn is far from this. He gives advice from the real world. As both a busy classical and jazz player and teacher, he bases his work on all the other good books and information he can find. This new book shows that he has found several new ones in the last two years since he wrote Brass Tactics. This makes both his books great references to other sources and material.

But he does not only give references. From Clarke’s Technical Studies and Arban’s Cornet Method he gives examples of how to make more of these great books.

One example, Clarke: Study # 2
“This exercise is arguably the most famous trumpet exercise in the world. Despite the fact that it is a simple pattern applied to a major scale, I have seen students play this exercise for years, yet be unable to do it without looking at the printed page.”he says.
Then he shows how to understand or “decompose” this pattern. He also gives example of variations of the pattern – to play it in other moods like minor, lydian, diminished and whole tone.

The book also contains a lot of other types of information, too many to list in a short review. Here are some examples: Lead Trumpet, Section Trumpet, Microphones/Monitors, Auditions, Lip Care, Slides, Groove-Time etc, etc.

Personally, I would prefer to have all the exercises in a separate book. To carry both books (even in a large gig bag) can be quite heavy. One book with only the music - an idea for a new project?

O.J. 1999