Відео

Thank you for sharing this important information for many of us !

IM putting down my alto an tenor saxophones down for a bit . going to pick up a trombone tenor .to start i been just useing the mouth piecec .when i get my horn i will follow thank you

great stuff

You should explain and show the buzzing much more without mouthpiece before doing it on the mouthpiece, cause in the pencil exercise you aren't buzzing your lips

Shawn: I just listened to and worked with this video. Very helpful; practical, clear, well illustrated by the examples. I'll be listening several time and using these ideas as I work on RC with my local teacher. Thanks

Great lesson! You’ve articulated my (our) experience so well . I have not come across this important issue about our sound and how we perceive it in the context of out practice environment. My kitchen seems to allow for a decent sound yet allows me to hear the flaws. Hallways and lobbies are great.😂hides a bit. Thanks Shawn!

Thanks Shawn appreciated much from the Philippines

I think Jack Teagarden had an amazing tone

great video, thanks.

I just. picked up the trombone again after many many years away. I tend to play into a closet that is lined with clothes and blankets to hide my sound as much as possible.. Not very proud of what I am playing yet. I like this video and I will try to form a better internal idea of what I want to sound like. Thanks!

I live in a semi detached house, so 95% of my practice is done with a Shhhmute or a Yammy Silent Brass. Not ideal, but there you go.....

It's awesome to hear your journey on this. Setlists are the best! 🙌

Thanks sir

Where can I get the pdf for this lick?

How did you make the trombone go invisible at 1:35

Superb for a pianist arranger like myself! ❤

How do I get any of study materials?

I wish you played this lick with harmonic context so we could hear how it fits

Good vid

Someone hinted me to this video, very good explanation of differences and uses of both scales. THANK YOU, Shawn Bell!

Me as guitarist seen this:

damn dude, over 10K subscribers!?! Youre the man! Hope we can share the stage again one day, pal.

I learn tunes because I love learning old standards!!! I like studying the craftsmanship of some of the old writers. I find myself more connected to Gershwin songs than Daft Punk or whoever is popular now. I'm a musical luddite! 🤣

I like turtles

I love this quote, I’m going to steal this going forward!

great video, man!

Im in high school and was planniny to play bari sax in jazz but there wasnt enough and i wasnt exactly qualified because its been years since i played😅 so i was put on trombone and this video helped so kich with the problem that so many other things had since i either couldnt see the position i was suposed to be in or hear the note. THANKS SO MUCH ❤

The Americanism "for a minute" or "for a hot minute" can be confusing to outsiders, because sometimes they seem to mean "for a long time" and sometimes, ironically, the exact opposite. Joy Spring contains enough ideas to keep you engaged for a month of Sundays. Also, it's just a banging tune: playful, fun, and like Stevie sang, "made with love". I only discovered it this year, and it's difficult even to play the head, lot's of fast slide action and alternate positions. Improvising over the inspired chord changes is tricky too, so it's interesting the way Shawn breaks it down into multiple "key centers" - as a relative beginner that's a concept I can barely grasp, but it's obviously fundamental to jazz. Baby steps is what we take, walking on the alien surface of the jazz moon.

Great video. Gotta learn the Blues & standards as that’s the only way in.

I really appreciate Shawn's videos. "Balancing act" ~ My first few weeks as a freshman music major at university, the standard question many people asked of new acquaintances was "are you into classical or into jazz?". My standard response was that I was going to do both. And so I did. But, and it's a big BUT, I was therefore not as proficient at either as I might have been had I chosen to focus on just one. So, my advice...if you're going to be "an improvising musician", unless you're a savant of some kind who can actually excel at classical and jazz, you would be well advised to follow Shawn's advice closely!!! Having said that, I now play trumpet in a small orchestra, 2nd or bass trombone in a classical oriented trombone choir and am not intimidated by tenor or alto clef sight reading, lead in a big band where I am almost never called upon to improvise, tuba or trombone in a Dixieland style septet, and 3rd trombone - where I am occasionally called upon to improvise - in a 16 piece trombone jazz band (12 trombones plus rhythm section). And oh how I wish I was more proficient at improvising! But some of my colleagues in these various groups can't do some of the things that I can do. So my "balance" comes from enjoying so many varied opportunities.

absolute gold

I haven't gotten that far

I think the advice I got from my instrumental teacher a few years ago still rings true. I'm naturally an adventurous player when I improvise and oftentimes will attempt ideas that might have a 50/50 chance of working out on the band stand (probably worse odds than that, being realistic). My teacher could hear this in my playing back in first year, and essentially said "you suck at what you're trying to do. But the only way you're gonna get better at it is if you suck at it a lot, for a long while, and eventually you'll improve." Fundamentals to a degree always have to be kept on the back burner just to get a noise out the horn, but when it comes to challenging ideas that really take up 100% of our brain power, I find that the only way to really improve quickly is to devote more of that energy to executing those experimental ideas, and foregoing fundamentals, if not for a short while. Like any new skill, it'll refine itself over time - but you have to suck at it first!

Slow

Very Good 🇧🇷🔰🇧🇷🔰🇧🇷

Idk about all that but i love your beard

My approach has been to always, always, dedicate at least 1/3 of my practice time to fundamentals, long tones, flexibility and other simple but essential technique stuff. Often it's a lot more if I'm doubling on bass trombone or tuba or something. The second third is usually a mix of etudes, some classical repertoire and playing "boring" solos - familiar songs and very simple concepts so I can focus 99% on time, tone and basically just keeping the quality of whatever I do high. The last 1/3 can be new stuff whether it's a new and challenging classical piece or some improvisational concepts. New harmonic ideas can be tough as I struggle to hear them internally and end up playing very sloppy as a result. For me, writing out ideas and playing those from sheet music helps alot. You can always alter the ideas and ditch the sheet music later. Also: Isolate, Simplify, Slow Down. Usually when I feel something about my playing doesn't work for whatever reason the solution is this. Also remember to breathe and play long notes.😅 📯 Love the channel. Keep on keeping on! 📯

I need this !!! Thank you so much Shawn .

What horn do you play. Bach 36?

Everything you explained here is interesting and useful, and l just ove that solo... Thanks. I would add that when the harmony is quite static, like in this A action, the ear is more open to playing which doesn't adhere meticulously to the chords, or even goes outside on purpose, while when there are changes in tonal centers and more movement it seems to call for a more clear articulation of the harmony.

I love your videos, Shawn. No bells and whistles.... Very straightforward, musical and the content is always impeccable. From France😊

Damn I wish that I had someone to teach me how to play this back the 80 ' s when I was young and first starting out

What mouthpiece are you on currently?

The most articulate performance I've ever heard on this tune

Were are the other notes ? Please

Thanks for the great lesson, Shawn!

Excelente!!!!

I just stumbled upon this concept not long tin a copy paste accident... It's a great idea to use it in improvisation. Thanks.

I havent played in 6 years and it feels like I lost my touch. Thanks for the video

my bass trombone 1st position is not "all the way in". I have to pull my hand slide out half an inch or so. Is this normal? Pulling the main tuning slide out does not help and just makes the tone /focus go out.