Editor’s note: This excerpt from a complete master’s degree thesis project earned a “Model Project” distinction at the American Band College. Download the full project at the end of the article.
Woodwind Pitch Tendencies
ABOUT THIS BOOK
The purpose of this book is to introduce students to the pitch tendencies on their individual instrument. First, this book provides resources for the student to develop their understanding of pitch. It will include tools to help students work on their pitch. Then, students will be presented with a fingering/slide position chart that explains the pitch tendencies on their instrument. There will be accompanying exercises that walk students through adjusting appropriately when they encounter notes with a sharp/flat pitch tendency. Finally, the book will include chamber music with which students can play together to work on adjusting for pitch tendencies in the context of music making. These chamber music pieces can also be used as chorales in a full band ensemble rehearsal. Students should progress chronologically through this book when reading it the first time. Then, they can revisit topics as needed while they continue working on pitch individually or with their peers.
CHAPTER 1 – BASICS
What Impacts Intonation?
There are many factors that impact intonation on your instrument! Here are the aspects of playing that you should consider before you begin working through this book:
- Air – Air is the fuel for our instruments. As a result, if our air suffers, our pitch will also suffer. When playing your instrument, always make sure to take a deep, relaxed breath. Then, breathe out with cold, focused air while maintaining a relaxed feeling in the abdomen. Never let your air supply get lower than 15-25% in order to maintain enough air to operate the instrument properly.
- Posture – Posture directly impacts our air and the way that we hold our instrument. If we are not sitting properly, we will not be able to breathe properly. When sitting to play your instrument, take a moment to lean forward until you feel tension in your back. Next, lean backward until you feel tension in your abdomen. Finally, find the balance point between those two extremes at which you feel balanced and relaxed in your chair. You should not feel any tension.
- Embouchure – The embouchure impacts the air stream, which impacts intonation. Take the opportunity to form your embouchure in front of a mirror to assess whether or not it is formed correctly. Ask your teacher to take a look at your embouchure as well!
- Reeds – Reeds have a large impact on the pitch of woodwind instruments (with the exception of flutes). The thickness or strength of the reed can impact the pitch, so you should always try to play on the appropriate reed strength for you. As reeds get older and more worn, their pitch and tone can change. Make sure to replace reeds regularly to ensure the best quality reed. Make sure to store your reeds properly when not playing.
- Instrument Design – Musical instruments are not designed perfectly in tune due to the physics of sound. Depending on your instrument, certain notes will be out of tune due to the way that the instrument is made. Because of these imperfections in instrument design, we are aware of the notes that have intonation issues, which you will learn more about in this book!
How To Play In Tune
TONE
Before a musician can focus on playing in tune, he/she must play “in tone.” It’s a common saying in the music education world that we must play “in tone, in tune, and in time.” In tune and in time can be self explanatory. But what does it mean to play “in tone?” It means to play your instrument with the best and most characteristic tone possible. Specifics about tone production go beyond the scope of this project, but talk to your band director/private lesson teacher about the following to ensure that you’re playing your instrument with the best tone possible.
- Breathing exercises to ensure efficient breathing
- Tone production fundamentals exercises for your instrument (ex. Long tones, flow studies, lip slurs, register/harmonic exercises, etc.)
- A list of professional musicians who play your instrument so that you can listen to their tone.
SINGING & AUDIATING
One of the best ways to improve intonation on your instrument is to train your ear! Singing is one of the best ways to train your ear because it requires you to produce a pitch without the help of keys/valves/a slide. Throughout this book, you will be encouraged to sing the exercises and your part in the chamber music pieces. Don’t skip this step! Use your instrument or a piano to give yourself a starting pitch, then do your best to sing it accurately. The expectation is NOT that the singing will be perfect. It’s simply a tool to help your inner ear develop, and you’ll improve the more you do it. Audiating means that you can hear music in your head. Try it now! Can you sing a nursery rhyme in your head without humming it? That’s audiating! The more you can audiate before you sing/play, the more in tune your singing/playing will be. When working through the exercises in this book, don’t forget to audiate!
This Guide to Pitch Tendencies for Band continues in the complete PDF with the following Chapters:
Chapter 2: Intonation On Your Instrument
- The Overtone Series for Flute & Clarinet
- Flute Intonation
- Oboe Intonation
- Clarinet Intonation
- Bassoon Intonation
- Saxophone Intonation
- Woodwind Pitch Tendency Overview
Chapter 3: Pitch Tendency Exercises
- Pitch Tendency Exercises
- Intervals of the Major Scale
- Intervals of the Dominant 7th Chord
- Arpeggios
- Major Scales
- Melodies
Chapter 4: Chorales for Pitch Tendency
- Chorales for Pitch Tendency
- Chorales with Pitch Tendency Indications
- Chorales without Pitch Tendency Indications
- Music Theory Appendix
- Works Cited
Download the director’s manual and all the books at the links below:
