*Concept:* - The concept is the most important part of the process - Listen as much as possible! Purchase (and listen to!) CD's, watch youtube, go to concerts/recitals - Be able to describe your sound with as many adjectives as possible - Make it the most beautiful sound you've ever heard. Hear the sound in your mind and turn it up as loud as you can *Execution* - Start with fundamentals, long tones specifically - For example, start on a low Bb. Hear it and then play it. Your goal is to make it the most beautiful sound possible - Spend time on every note to get your air smooth and consistent - Take your sound and carry it to the entire range of the instrument by glissing scales starting from where you sound best - Maximize resonance for a bigger sound- your lips are the instrument and your equipment is the amplifier - Keep your lips as free from your teeth as possible with your teeth away from the "pillow" of your lips so that your lips can vibrate as freely as possible "It doesn't matter what you can do if you're not working with gold. Your sound is the material with which you craft your product. If you're not working with the finest material, then you can't hope to have the finest of products." "Define your sound concept, execute it in your fundamentals, use it in everything you play, and just go for that sound that's made of pure gold in everything you do."

Thank you for this video, and your sound is definitely a role model to mine along with many others.

Thanks a million your tutorial advice Gave me lots of confidence now I can continue self teaching myself much more. I also play other brass and woodwinds instruments. But the trombone is my favorite.

Some very important points makes it worthwhile to watch this video. Such an amazing sound that Brian has - and consistent quality throughout the range. I've found that it is often difficult for an amazing player to precisely articulate what he / she does to produce the desired tone and sound. A few good points to emulate in this video - mainly the thought to keep the teeth apart, and open up the oral cavity more. I would be curious to understand how Brian views the difference in airflow when playing in the various ranges - what changes and how those changes contribute to producing the consistency of tone quality.

Really good video! Thanks for sharing!!!

え、待って、いい音すぎませんか。今まで聞いた中で1番すきです

I like the adjectives as they can prevent our analytical brain from over-thinking anything (and thus leading to all sorts of tension and psychological playing issues). You have a great sound...I wonder what you would sound like on tenor or even small bore!

amazing video, thank you

We will try to attend. Thanks.

Hi Brian, So nice all your concepts, I have many of many like yours, so. I love your sound. I hope we can meet soon in person. Greetings from Spain.

Wow, a Texas native and UT graduate yet! Brian , you do what you say and it comes out beautifully! Thanks for the great playing and the video. Hook ‘Em keep up the great work.

excellent

That picture helps for a reference.

Great video Brian. The point about keeping the teeth apart is a new one to me and it's something I'll be taking into my practice regime. Could you do a video about pedal volume development, and your views on embouchure changes to accommodate this? I find the Ab, G, Gb and F in 6th hard to get really loud.

Thank you for this video! Definitely helped out with my switch from tenor to bass. Though I have a quick question, what is your recommendation for clean articulation in the low register?

Amen!

Thanks Mr. Hecht! How do you work on keeping a great, alive sound in the soft dynamics? Which to me it's easier to play with a better sound when I play at a high dynamic.

Hello can you talk about attack in the low register

Hi Brian, thank you very much for sharing! What were you playing at the beginning of the video?

Hey Brian! What's that rubber thing on your Gb valve lever called? Would love to get it. Thanks

A little background: played professionally from 1973-2010. Played a Reynolds Contempora and King 6B (Duo Gravis). Used a Bach 1.5G when all bass trombone and a Bach 4G when I had to consistently cover the entire range. Haven't touched the trombone since the last weekend of June of 2010. So, with the teeth far apart throughout the range, how long can you stay in the range above Bb of the middle space of the tenor clef? I can't imagine you could do it for a 4-hour gig. I played in bands where I was hired to play lead and did it on the 6B and the 4G mouthpiece. How did I do it? I used the shift and pivot system. No way in hell could I have done it with your teeth apart method.

Is there a mouthpiece size you would suggest for a beginner bass trombonist?

I'm having trouble memorizing the sounds that I want to sound like. Does this just mean that I should be listening more often or is there anything else I should be doing to develop my sound concept?

What mouthpiece would you consider playing in a symphony?

Do you have a video clip "on your own now" that you played.?

I'm curious, is the keeping your teeth apart from one another a concept you have found with tenor players as well?

I want ur sound

By saying pillow do you mean the red part of the lips?

What mouthpiece do you play in?

What’s the piece in the beginning?

The next Blabla

My sound is very close to yours, I just don't seem to be ae to get it that sound, how else can I achieve this sound

Is there a way to get the piece you played at the start?

What type of mouthpiece do you use?

How would you compare the “Lone Star” to a Bach 50B3? Also, how can an adult learn to play a 50B3 near UT?

Te jamoneo

You can stop making me look bad now.

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