Page 8 - 2018-BMR-December

Exploring the Process of

Vertical Tuning 2019 TBA PATRON SPONSOR

Richard L. Saucedo

During my tenure as a band in tubas or low woodwinds, but they and the supporting material to sound
director, I was always thrilled when were also listening for harmonies, just as good and as resonant. Where
my students had great moments of especially those harmonies that were I missed the boat at times was the
“side to side” or horizontal tuning. used in accompanying any melodies relationship between all the above.
The idea of listening in trios helped they might be playing within their In other words, I never really got
a bunch as well, but one concept own sections. The more successful the supporting harmonies AND the
that truly made a difference in terms the players became at applying these melodic (as well as counter melodic
of resonance and sonority was the listening skills, the better the group lines) to really gel in terms of bottom
realization by the students that they sounded, no matter what style of piece to top sonority, resonance and tuning.
needed to listen down through the we were attempting. Fast forward to the present. Even
ensemble. While listening down, they As a young director, I was often though I’m retired, I am honored
were constantly on the audio lookout satisfied if the melodic material was to have numerous opportunities to
for anchor pitches from which they played with beautiful tone as well as conduct honor bands and all-state
could tune, such as roots of the chords in tune, but I also wanted the chords bands around the country and even

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Bandmasters Review • December 2018
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