Texas Bandmasters Association
Bandmasters Review • December 2014
16
are instructed to “warm up” the instrument – literally
– to operating temperature for at least two minutes
before ever turning on their tuners. In addition,
students are explicitly banned from looking at their
tuners as they start a tuning note. Instead, the student
is told to hold the note until they locate the core,
resonant sound while looking away from their tuner.
They should always play notes down the center of
their horns. Once the characteristic sound is achieved,
the student can glance at the tuner, and adjust the
instrument to bring it in tune.
The Harmony Director
The year-long journey begins as described above. The
next step in the process, however, occurs throughout
the year. I play pure major and pure minor chords
for the students using the Yamaha Harmony Director
while they rehearse together in sectionals. While I play
the chord, the students refer to their individual tuners
in real time. We all use the same model of tuner, the
Korg TM-50, so that we can reference that the third of
any major chord lands at “the dot within the wedge”
on the left, which is 13.7 cents flat on the Harmony
Director in pure temperament. Likewise, we all adjust
our third of the minor chord to “the wedge” on the
right, which is 15.6 cents sharp on the Harmony
Director.
This produces (for the students) a marriage of:
1. Aural input from the Harmony Director, and
2. Visual positive reinforcement from the Korg
TM-50 tuner.
For those of you who are tuning buffs, the Korg
TM-50 tuner does not register “2 cents sharp” when
you isolate the fifth in pure temperament using the
Harmony Director. Additionally, there are multiple
findings that suggest that the human ear can only
pick up a harmonic adjustment of 5 to 8 cents.
(This includes UIL judges!) As a result, I have made
the conscious choice not to concern myself with
adjustments to pure fifths in my ensembles.
I tend to look at all harmony as centered around
either a major chord or minor chord. Thus, I approach
an added 9
th
or 7
th
as a “color tone,” coloring the base
chord and (in the case of a dominant seven chord)
sometimes giving it harmonic motion. This leads the
listener towards the next key center. As a result, I do
not concern myself with harmonic adjustments to
color tones. I have experimented with this for years
and have been quite pleased with the resonance of
the band once I finally made the commitment to only
adjust thirds and look upon all other added 7
ths
, 9
ths
,
4
ths
and 6
ths
as color tones played without adjustment.
Once students consistently demonstrate the
ability to navigate successfully the varied chordal
responsibilities detailed above, I move that expectation
out of the section rehearsal and into the band hall.
Score study!
Great teachers and mentors in my life have
always insisted that score study be completed before
introducing a piece in sectionals, and I have heeded
their advice to great benefit. Once I have my score
study completed, I dedicate two to three sectionals
on a piece (or movement) before moving it into the
band rehearsal. This methodology allows me to infuse
appropriate style, articulation, dynamic range and
chordal responsibilities into a new piece in a small-
group setting. Tuning is also best approached first in
a small group, where there is less to listen through. I
have learned from these very wise mentors to look at
every musical phrase as utilizing either vertical tuning
or horizontal tuning
• Horizontal tuning (equal temperament) - a musical
line that does not interact “chordally” with other voices
sounding at the same time. Often this is an ostinato,
motif, sequence, or independent melodic line / counter
Guiding Students to Intonation Independence