This is the ninth episode in the Brass Tactics series and the sixth focusing on the Brass Tactics 6/60 Routine. You'll find the other episodes here: ua-cam.com/play/PLdkYbUyqvkhRs4crE9XhPkLxxosoZgC_c.html Please LIKE any video about which you feel so inclined and leave a comment or a question below. Cheers!
Hello! I've been watching your videos and taking great "philosophical advantage" about improvisation, but I'm learning the clarinet and having great difficulty finding jazz-oriented content, most of the videos seem to be from people in the classical world. Could you point me to a channel with lessons like yours for the clarinet? Thank you very much for your attention
I don't know of a clarinet player who offers online jazz instruction, but that doesn't mean there isn't one. More to the point, although there may be some instrument-specific aspects to improvisation, the basic musical framework such as I present in my Jazz Tactics series is applicable to any instrument. The clarinet is a pretty agile instrument, so the melodic approaches of most instruments, especially horn players are likely playable.
The air "speed" explanation is purely misunderstood and mythical air mechanics. The tongue arch does NOT compress the air. Yes it narrows the air path but that has NO increasing effect on the air pressure bearing on the aperture OR the air "speed" through the aperture. The lips control the pitch played. 100 percent.
@@chasesanborn allowing the tongue to move is helpful. It doesn't require pseudo- technical explanation to justify its use. If it helps then no explanation is required, if it doesn't no explanation is sufficient. Tounge arching to ascend is related to the mouth's native function. Air "speed " is irrelevant to pitch . Should you play varied dynamics on a contant pitch the air flow varies dramatically as well, easily reasoning that the air flow velocity over the tongue also varies. So air speed variations with dynamic changes easily shows that air "speed" is not relevant to pitch.
It's a relatively unique position that air velocity has no impact on the speed of lip vibration, i.e., pitch, but in the end all that matters is what comes out of the bell.
@@chasesanbornvibration has frequency, not speed . Speed is distance per time. Frequency is cycles per time. Air speed = pitch is just something players hear and repeat. It's just popular verbiage. Hearsay. Air speed (flow velocity) through the oral space is always less than through the lip aperture. Narrowing the oral space with the tongue doesn't make air velocity through the aperture greater. Nor does it "compress" the air. (it actually reduces the pressure) If you are actually interested in the air mechanics then endeavor to learn. Don't just accept myths.
Teaching trumpet skills will always have an element of mystery. It’s not like teaching, say, the perfect golf or baseball swing. You can’t actually see what’s happening, except for the embouchure. So you hear completely contradictory opinions on pretty much everything. I’m not a professional player, so grain of salt and all that, but what I always thought I did wrong-no tongue/chops compression-gets me a good sound, and ultimate chops with a huge sound guys like Lynn Nicholson argue for this approach. It’s a matter of ease v sound. I hear Arturo play an upper register tune like A Mis Abuelos, with his tongue arch, and think, Maynard in his prime would sound a lot fatter. Not even close, TBH. Which is why Maynard past his early 60’s declined so much! Too physically demanding. Life has its trade offs. I meant to add that the tongue arch with changed syllables inevitably means closing your throat to a degree. In any case, whatever works, and I definitely admire your melodic jazz skills.
Even if the vibration of the lips was as visible as a golf or baseball swing, I'm not sure that would be of much benefit since the area of the body involved in producing the vibrations is so small and mouth/lip/teeth structure vary so much. I put a lot of focus on the physiologically natural aspects of playing, e.g., delivery of air, operation of valves or slide and using the tongue to articulate. Too much focus on the embouchure can lead to paralysis by analysis, not that it can be ignored entirely. Then there is the question of musical style. If one aspires to sound like Lynn Nicholson or Maynard, the physical approach will likely be quite different than if one aspires to sound like Phil Smith, for one contrasting example. We each have to figure out what works for our own bodies and musical aspirations. For most, that's a lifelong pursuit, especially considering that the body changes over time.
@@chasesanbornI’m not suggesting everyone should emulate any particular trumpeter, but it does seem that avoiding chops/tongue compression helps fatten the sound in the upper register, however that’s defined.
All notes require some degree of air and chop compression to produce vibration, and the higher you play the more compression is required. Excess compression in any register does reduce sound, ultimately to the point of none, so it's a balancing act. Playing in the upper register at all, let alone with a big fat sound is a physical achievement. Doing so in a musical way like Maynard in his prime is an art.
This is the ninth episode in the Brass Tactics series and the sixth focusing on the Brass Tactics 6/60 Routine. You'll find the other episodes here: ua-cam.com/play/PLdkYbUyqvkhRs4crE9XhPkLxxosoZgC_c.html Please LIKE any video about which you feel so inclined and leave a comment or a question below. Cheers!
Another terrific demonstration
Thanks Dennis!
Really like these routines Chase!
Glad to hear it. Hopefully the videos complement and shed light on the routine as it appears in the book.
Hello! I've been watching your videos and taking great "philosophical advantage" about improvisation, but I'm learning the clarinet and having great difficulty finding jazz-oriented content, most of the videos seem to be from people in the classical world.
Could you point me to a channel with lessons like yours for the clarinet?
Thank you very much for your attention
I don't know of a clarinet player who offers online jazz instruction, but that doesn't mean there isn't one. More to the point, although there may be some instrument-specific aspects to improvisation, the basic musical framework such as I present in my Jazz Tactics series is applicable to any instrument. The clarinet is a pretty agile instrument, so the melodic approaches of most instruments, especially horn players are likely playable.
The air "speed" explanation is purely misunderstood and mythical air mechanics. The tongue arch does NOT compress the air. Yes it narrows the air path but that has NO increasing effect on the air pressure bearing on the aperture OR the air "speed" through the aperture.
The lips control the pitch played. 100 percent.
Your view is at odds with my own, but contradictions abound in the brass world.
@@chasesanborn allowing the tongue to move is helpful. It doesn't require pseudo- technical explanation to justify its use. If it helps then no explanation is required, if it doesn't no explanation is sufficient.
Tounge arching to ascend is related to the mouth's native function. Air "speed " is irrelevant to pitch .
Should you play varied dynamics on a contant pitch the air flow varies dramatically as well, easily reasoning that the air flow velocity over the tongue also varies. So air speed variations with dynamic changes easily shows that air "speed" is not relevant to pitch.
It's a relatively unique position that air velocity has no impact on the speed of lip vibration, i.e., pitch, but in the end all that matters is what comes out of the bell.
@@chasesanbornvibration has frequency, not speed . Speed is distance per time. Frequency is cycles per time.
Air speed = pitch is just something players hear and repeat. It's just popular verbiage. Hearsay. Air speed (flow velocity) through the oral space is always less than through the lip aperture. Narrowing the oral space with the tongue doesn't make air velocity through the aperture greater. Nor does it "compress" the air. (it actually reduces the pressure)
If you are actually interested in the air mechanics then endeavor to learn. Don't just accept myths.
I'm interested in the sound that comes out of the bell.
Teaching trumpet skills will always have an element of mystery. It’s not like teaching, say, the perfect golf or baseball swing. You can’t actually see what’s happening, except for the embouchure.
So you hear completely contradictory opinions on pretty much everything. I’m not a professional player, so grain of salt and all that, but what I always thought I did wrong-no tongue/chops compression-gets me a good sound, and ultimate chops with a huge sound guys like Lynn Nicholson argue for this approach.
It’s a matter of ease v sound. I hear Arturo play an upper register tune like A Mis Abuelos, with his tongue arch, and think, Maynard in his prime would sound a lot fatter. Not even close, TBH. Which is why Maynard past his early 60’s declined so much! Too physically demanding.
Life has its trade offs.
I meant to add that the tongue arch with changed syllables inevitably means closing your throat to a degree.
In any case, whatever works, and I definitely admire your melodic jazz skills.
Even if the vibration of the lips was as visible as a golf or baseball swing, I'm not sure that would be of much benefit since the area of the body involved in producing the vibrations is so small and mouth/lip/teeth structure vary so much. I put a lot of focus on the physiologically natural aspects of playing, e.g., delivery of air, operation of valves or slide and using the tongue to articulate. Too much focus on the embouchure can lead to paralysis by analysis, not that it can be ignored entirely.
Then there is the question of musical style. If one aspires to sound like Lynn Nicholson or Maynard, the physical approach will likely be quite different than if one aspires to sound like Phil Smith, for one contrasting example. We each have to figure out what works for our own bodies and musical aspirations. For most, that's a lifelong pursuit, especially considering that the body changes over time.
@@chasesanbornI’m not suggesting everyone should emulate any particular trumpeter, but it does seem that avoiding chops/tongue compression helps fatten the sound in the upper register, however that’s defined.
All notes require some degree of air and chop compression to produce vibration, and the higher you play the more compression is required. Excess compression in any register does reduce sound, ultimately to the point of none, so it's a balancing act. Playing in the upper register at all, let alone with a big fat sound is a physical achievement. Doing so in a musical way like Maynard in his prime is an art.