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2014 Pedagogical Practices Related to the Ability to Discern and Correct Intonation Errors: An Evaluation of Current Practices, Expectations, and a Model for Instruction Ryan Vincent Scherber

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COLLEGE OF MUSIC

PEDAGOGICAL PRACTICES RELATED TO THE ABILITY TO DISCERN AND CORRECT

INTONATION ERRORS: AN EVALUATION OF CURRENT PRACTICES,

EXPECTATIONS, AND A MODEL FOR INSTRUCTION

By

RYAN VINCENT SCHERBER

A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy

Degree Awarded: Summer Semester, 2014 Ryan V. Scherber defended this dissertation on June 18, 2014. The members of the supervisory committee were:

William Fredrickson Professor Directing Dissertation

Alexander Jimenez University Representative

John Geringer Committee Member

Patrick Dunnigan Committee Member

Clifford Madsen Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements.

ii

For Mary Scherber, a selfless individual to whom I owe much.

iii ACKNOWLEDGEMENTS The completion of this journey would not have been possible without the care and support of my family, mentors, colleagues, and friends. Your support and encouragement have proven invaluable throughout this process and I feel privileged to have earned your kindness and assistance. To Dr. William Fredrickson, I extend my deepest and most sincere gratitude. You have been a remarkable inspiration during my time at FSU and I will be eternally thankful for the opportunity to have worked closely with you. Throughout this process, you have provided the guidance and insight of both a master teacher and accomplished researcher as you assisted me in achieving my goals. My gratitude runs deep and I look forward to our future relationship. Thank you to Drs. John Geringer, Patrick Dunnigan, and Alexander Jimenez for your willingness to serve on my committee. Your guidance, support, and insight through this process and during my time in this degree are both highly valued and sincerely appreciated. To Dr. Madsen, your kind support and opportunities over these past years for both personal and professional growth have helped me become who I am today. Special thanks are owed to Dr. Steven Kelly. Your guidance and support over the past years have been special to me and I feel privileged to have had numerous opportunities to learn from you. I would not be where I am today without you. This study would not have been possible without the support of students from the Leon County School District, their teachers, and building principals. I am particularly indebted to Mrs. Kendra Wendeln and Mr. Daniel Farr for their support and welcoming me into their classroom. This process was not a solitary venture and I owe a great deal of thanks to many others: Dr. Julia Heath and Mr. Michael Champion – my best friends, colleagues, and support network; Dr. Keith Matthews – my good friend, office mate, and sounding board; Dr. Ann Porter – who started me on this journey; Drs. Jason Silveira, Mark Belfast, and Lesley Mann – for their assistance and editing prowess; and Dr. David Plack, Mr. Chandler Bridges, Ms. Christi Burkett, Mr. Matthew Tavera, Mr. Asher Kelly, Mr. Brian Jennings, Mr. Michael Causey, and Mr. Michael Shapiro for their assistance with my audio recordings. Finally, I would like to extend my deepest gratitude to Pat for your unwavering support, patience, and moments of levity to maintain my spirits. I could not have accomplished this without you and I will never forget that.

iv TABLE OF CONTENTS

List of Tables ...... vii List of Figures ...... viii Abstract ...... ix 1. INTRODUCTION ...... 1 2. REVIEW OF LITERATURE ...... 6 Factors Affecting Pitch Discrimination ...... 6 Personal Factors ...... 6 Acoustic Factors ...... 8 Musical Factors ...... 15 Measurement of Aural Skills ...... 22 Developing Pitch Discrimination ...... 25 Structured Learning Activities to Develop Pitch Discrimination ...... 31 Instructional Sequences to Develop Pitch Discrimination ...... 32 Statement of the Problem ...... 34 3. METHOD ...... 36 Phase One ...... 36 Participants ...... 36 Questionnaire ...... 37 Survey Administration ...... 37 Phase Two ...... 37 Participants ...... 37 Consent ...... 38 Stimulus Creation ...... 38 Pre- and Post-Test ...... 40 Intonation Training Program ...... 43 4. RESULTS ...... 46 Phase One ...... 46 Phase Two ...... 52 Paired-Comparison Task ...... 53 Tuning Task ...... 59 Melodic Task ...... 61 5. DISCUSSION ...... 66 Research Questions ...... 66 Results in the Context of Existing Research ...... 70 Implications ...... 71 Limitations ...... 72 Directions for Future Research ...... 73 APPENDICES ...... 75 A. IRB APPROVAL FORMS ...... 75 B. SURVEY INVITATION EMAIL ...... 77 C. QUESTIONNAIRES ...... 78 D. REMINDER EMAIL ...... 86 E. CONSENT FORMS ...... 87 F. SOFTWARE SCRIPT ...... 94

v G. PERCEPTION TASK INSTRUCTIONS ...... 98 H. VERBATIM ANSWERS TO FREE-RESPONSE QUESTIONS ...... 99 REFERENCES ...... 169 BIOGRAPHICAL SKETCH ...... 182

vi LIST OF TABLES

3.1 Intonation Training Program Outline ...... 44

4.1 Responses by Region and Sample Type ...... 46

4.2 Tuning Process Responses ...... 48

4.3 In-class Techniques to Improve Sense of Pitch ...... 49

4.4 Personal Exercises to Improve Pitch Discrimination ...... 50

4.5 Means and Standard Deviations of Stimulus Latency Responses (M/SD) ...... 53

4.6 Chi-square Analyses of Participant Accuracy in Categories of Magnitude Deviation ...... 59

4.7 Means and Standard Deviations of Tuning Task Deviation Responses (M/SD) ...... 59

4.8 Interval Relationships in Equal Temperament and Just Intonation ...... 61

4.9 Mean Deviations of Melodic Task Intervals from Equal Temperament and Just Intonation (M/SD) ...... 62

vii LIST OF FIGURES 3.1 Perception Task Instruction Screen ...... 41

3.2 Melodic Task ...... 42

4.1 Overall Latency Responses by Deviation Magnitude ...... 55

4.2 Overall Latency Responses by Magnitude and Deviation ...... 56

4.3 Overall Latency Responses by Level and Condition ...... 56

4.4 Pre-Test, Post-Test Overall Latency Responses by Condition ...... 57

4.5 Overall Latency Responses by School Level ...... 57

4.6 Mean Accuracy Responses by Condition and Test ...... 58

4.7 Pre- and Post-Test Tuning Task Cent Deviation by Condition ...... 60

4.8 Pre- and Post-Test Cent Deviation by Stimulus Instrument ...... 60

4.9 Melodic Task Interval Assessment ...... 61

4.10 Mean Cent Deviation by Test Administration and Interval ...... 63

4.11 Mean Cent Deviation by Temperament and Test Administration ...... 64

4.12 Mean Cent Deviation by Temperament and Interval ...... 64

4.13 Mean Cent Deviation by Condition and Test Administration ...... 65

4.14 Mean Cent Deviation by Level and Test Administration ...... 65

viii ABSTRACT The purpose of this study was to identify current practices and expectations associated with pitch discrimination ability as well as assess the effectiveness of a model intonation training program. Specifically, this study was implemented in two phases. Phase one sought to discern current tuning procedures and intonation training techniques utilized by K-12 school directors (n=273) and collegiate band directors (n=55), as well as identify expectations of incoming collegiate music students. Two questionnaires were developed and distributed to a national sample to gather information related to tuning processes. In phase two, available teaching texts and empirical literature were reviewed to develop an intonation training program. The program was implemented over six weeks with students enrolled in a middle and high school band program. Two equivalent additional sites were utilized as a control group. All participants (N=47) were assessed using an identical pre- and post-test. The test was comprised of three tasks. The paired-comparison task asked participants to identify if the second note of each pair was in-tune or out-of-tune, the tuning task asked participants to tune their instrument to three stimulus timbres, and the final task was performing a brief melodic example. Reviewing results from phase one, it appeared school directors believed it was somewhat important to tune everyday while collegiate directors felt it was very important to tune everyday. When tuning, most directors appeared to favor a “bottom-up” approach beginning with the tuba. While school directors identified F and Bb as their initial tuning note(s), collegiate directors identified A and Bb as their preferred initial tuning note(s). Often cited in-class teaching techniques included working with a tuner, vocalization, and practicing with drones. Outside of the classroom, directors asked their students to work with a tuner and complete intonation- tendency charts. While a majority of collegiate directors (65%) indicated they taught their ensembles differences between systems of temperament, a majority of school directors (54%) elected not to teach this concept due to time concerns or less-experienced ensemble members. Additional sample-specific questions were utilized. A significant majority of school directors believed intonation instruction should begin in beginning band or earlier as part of an elementary music course. Collegiate directors appeared to expect incoming music students to posses a high- level of pitch discrimination ability and successfully operate the mechanical and physical tuning aspects of their instrument.

ix Phase two results from each task of the pre- and post-test were reviewed to determine the effectiveness of the researcher-designed intonation training program. No significant differences were found between conditions on each task thereby indicating the program was not effective in developing participant’s pitch discrimination abilities within the treatment period. However, several findings corroborated prior research. Both latency and accuracy responses to the paired- comparison task significantly improved when stimuli deviated greater than 20-cents. Additionally, an interesting effect was found when comparing results by deviation magnitude and deviation direction. Though a tolerance for sharp intonation has been noted in prior literature, results from the current study indicated sharp stimuli were identified significantly faster than flat stimuli when deviated greater than 20-cents. Reviewing results of the tuning task, participants were significantly more accurate when tuning during the post-test than during the pre-test. As no significant differences were found between conditions on the tuning task, the increased level of tuning accuracy may have been the result of musical training or task familiarity. Additional findings in the melodic task indicated unison intervals deviated less than other intervals. Implications for teacher education, as well as suggestions for further research, are discussed.

x CHAPTER ONE

INTRODUCTION

In studying the ancient art of Zen, emphasis is placed on the journey in which one must partake to achieve a selfless state of being. This journey, under conscientious guidance of a skilled teacher, requires an individual to repeatedly conquer inner qualms in search of enlightenment. In his introduction of Zen in the Art of Archery, Daisetz Suzuki perhaps best encapsulates the idea of enlightenment when he wrote “as soon as we reflect, deliberate, and conceptualize, the original unconsciousness is lost and a thought interferes…..great works are done when he is not calculating and thinking” (Herrigel, 1989 p. viii). Musicians may be well aware of similar issues within their own performance. Barry Green and W. Timothy Gallwey in The Inner Game of Music (Green & Gallwey, 1986) discuss unique differentiations between rehearsal and performance. Here, the authors highlight two modes of music making: analytical and global. The analytical mode finds musicians scrutinizing various aspect of their performance from articulation to tuning, while in global mode, musicians focus upon the mere act of performing. While Zen ideologies seem as though they may advocate for a purely global mode, Inner Game principles advocate a balance. It is this juncture to which music educators strive to lead students: a place where students possess both the analytical tools and the global mindset to continue and partake in our art as independent musicians. As noted psychologist Carl Seashore has stated, “Musical talent is not one, but a hierarchy of talents” (Seashore, 1967, p. 2). This hierarchy is comprised of hearing, feeling, understanding, and expressing music, a conceptual model Seashore called “musical mind” (Seashore, 1967, p. 2). As educators, we strive to guide our students in such a way as to develop each of these four components. It is worth noting Seashore’s ordering of these components, for without hearing, music likely cannot continue. Several authors have posited the aural experience (Mursell, 1964, p. 18), and by extrapolation, sensation of pitch (Oxenham, 2013), may be the “most basic measure of musical capacity” (Seashore, 1967, p. 63). As such, it would appear necessary for teachers to develop a deep understanding of both auditory processes as well as ways in which to assist students develop their abilities. As Krumhansl (1990) succinctly stated: To understand the listener’s response to music, it is necessary to specify which of the potentially available features of the music are realized by the listener, how they are

1 processed and remembered, and how they contribute to an appreciation of the overall plan of the piece of music. (p. 3) Explication of this statement may lead one to consider the individualized nature of the musical experience, the need for structure, and possibly even ways in which this experience may be assessed. The often-quoted adage “We are what we repeatedly do, Excellence, then, is not an act, but a habit” (Durant, 1961, p. 87) implies the concept of process, or a systematic series of actions directed to some end (Process, n.d.). We find process nested within all activities, and particularly so in music as it is unlikely a beginning instrumentalist will be instantly able to perform a concerto. It is the aim of this document to focus upon but one facet of the process of musical training: that of developing pitch discrimination to improve intonation. Background and Importance of Project In Effective Performance of Band Music, author and composer W. Francis McBeth differentiates between tuning and intonation. Tuning is a mechanical process of adjusting an instrument to the correct length to play closest in-tune. Intonation is a physical process requiring the performer to play the instrument in such a way as to closely match pitch of others (McBeth, 1972). These processes require the musician to exhibit a substantial degree of aural acuity to hear small differences in pitch. This ability is known as pitch discrimination (Seashore, 1967). Small differences are audible through the presence of acoustic beats that are the aural phenomenon when two waveforms intersect. By manipulating frequency such that the waveforms are complimentary to each other, the beats diminish and eventually disappear (Helmholtz, 1954). This process of matching frequency is known by musicians as intonation and describes the act of performing in-tune. Since the initial publication of Hermann von Helmholtz’s foundational work in acoustics, On the Sensations of Tone, in 1863, a substantial body of literature regarding pitch perception and performance has been completed. These works may be found spanning the fields of psychology, acoustics, and music. Reviewing relevant literature, these studies seem to fall into the categories of (1) Factors affecting pitch discrimination and (2) Development of pitch discrimination. The correction of intonation has often been found to be an elusive issue due to task complexity. Numerous factors act in combination to influence the perception of pitch and may

2 include personal, environmental, acoustic, and musical factors. As pitch discrimination is primarily an aural experience, the listener should be at a cognitive state of development at which he/she can both discern tone and voice feedback. Children as young as five have been found to be able to improve their pitch discrimination abilities on basic tasks (Jordan-DeCarbo, 1989) while older students, though more adept in their skills, may require more specialized training such as private lessons to be successful on more complex tasks (Yarbrough, Morrison, & Karrick, 1997). Additionally, the physical instrument a musician plays, as well as the environment in which it is played has an effect on perception of pitch (Pottle, 1961; Sergeant, 1969; Stauffer, 1954; Wuttke, 2011). Once an individual has cognitively developed to a point at which he/she can discern pitch and navigate potential issues arising from equipment and environment, acoustic factors may come into play. Research studies have shown the just noticeable difference (JND) in frequency, or the smallest threshold for discrimination between two notes, may be somewhere between two and twenty-five cents (Bentley, 1973; Madsen, Edmonson, & Madsen, 1969; Vos, 1982). However, these numbers may vary based on direction of deviation. A well-noted tolerance for sharp intonation as well as a proclivity to perform slightly higher than in-tune has been found (Bentley, 1973; Geringer & Sogin, 1988; Kantorski, 1986; Papich & Rainbow, 1974; Siegel & Siegel, 1977; Sogin, 1989). Additional acoustic factors include harmonic content (Platt & Racine, 1985; Zeitlin, 1964), octave placement (Byo, Schlegel, & Clark, 2010), or preferred tuning temperament (Barbour, 1951; Karrick, 1998; Kopiez, 2003; Yarbrough & Ballard, 1990). Adding to this veritable mélange, it seems as though various musical factors, i.e., those arising from the performance of music, may also affect pitch discrimination. In particular, timbre and tone-quality have often been found to yield a consistent influence on the discrimination of pitch. When assessing intonation performance between good- and bad-quality tones, findings have consistently shown those excerpts exhibiting good tone-quality were rated highest, without regard to actual intonation deviations (Geringer, Madsen, & Dunnigan, 2001). When the interaction between dark/bright timbre and intonation were evaluated, consistent trends were found once again: musicians tend to associate bright timbre with sharp intonation and dark timbre with flat intonation regardless of the actual intonation deviations. As available literature appears to highlight a considerable number of factors influencing perception of pitch, it would appear necessary for musicians to improve their ability to discern pitch. In regards to improving pitch discrimination, Seashore (1967) was clear to differentiate

3 the relationship of training to physiological and cognitive functions. Training will likely have no effect on physiological function as sensory organs are relatively independent of intelligence and age. For example, the sensory structures typically reach their maximum capabilities very early in the life cycle and tend to diminish as an individual ages. However, cognitive functions, such as the way in which we interpret sound or infer meaning, are trainable and may benefit from systematic processes designed to improve pitch discrimination. Across the literature, numerous examples of pitch discrimination training may be found. An often-cited method to improve intonation, as noted above, is the ability to identify and eliminate beats. Miles (1972) asked beginning band students to participate in a training process in which the students were allowed to alter the frequency of a variable pitch source in an attempt to match a second, steady tone. All participants were able to recognize beats and a significant portion were successfully able to eliminate beats between the two tones. A similar study by Elliott (1974) used vocalization as the treatment variable and found similar results to Miles (1972). Additional instruction through recordings (Colley, 2004) or software (Dalby, 1992) have also been found to be effective. While task-specific strategies have been found to be beneficial, the conventional method, i.e., teacher-directed instruction, has been found to be the most salient variable affecting a student’s ability to discern pitch (Graves, 1963; Wuttke, 2011). While the body of literature appears replete with a variety of task-specific training strategies, it appears more substantial sequences of instruction to improve pitch discrimination are fewer in number. Several authors have recommended incorporation of various instructional strategies into daily rehearsals, however the majority represent phenomenological viewpoints of the authors based on their own teaching, experience, and inferences from acoustic data (Garofalo, 1983; 1996; Jagow, 2007; 2012; Lisk, 1991). To date, one sequence of instruction has been developed through empirical measures (Latten, 2003, 2005). Experts in the field of wind-band performance were asked to rank order a collection of teaching concepts in such as way as they felt they should be introduced to students. However the methodology resulting from the rankings has not been systematically field-tested. Despite a broad and varied collection of literature regarding pitch discrimination and performance, a systematic review of current practices and empirical examinations of instructional sequences appears to be absent. If it is indeed true that performing with good intonation is “an elusive and mysterious goal” (Colnot, 2002, p. 13), then it would seem teachers

4 and ensemble directors alike may be best served by continued investigation within this area. Therefore, the aim of this study was to assess current practices in school ensemble rehearsals, identify expectations collegiate ensemble directors hold for incoming musicians, and formally test a sequential methodology within a K-12 school-based environment.

5 CHAPTER TWO

REVIEW OF LITERATURE

This chapter describes a body of literature relevant to research conducted in the field of pitch perception and performance. It is organized into four main sections with subheadings as necessary: (1) Factors Affecting Pitch Discrimination including Personal Factors, Acoustic Factors, and Musical Factors; (2) Measurement of Aural Skills; (3) Developing Pitch Discrimination including Structured Learning Activities to Develop Pitch Discrimination and Curricular Designs to Develop Pitch Discrimination; and (4) Statement of the Problem. Factors Affecting Pitch Discrimination Personal Factors Age and Musical Training The degree to which students are able to discriminate pitch may partially be a function of their level of musical training which is also likely to increase as an individual ages. At which point do individuals have the cognitive capacity to recognize changes in pitch and therefore engage in pitch-related musical training? In an effort to explore this question, Jordan and DeCarbo (1989) asked young students, ages three through five, to participate in pitch discrimination tasks. While accuracy of responses was not significantly different between three- and four-year olds, there were significant differences between the five-year old age group and other participants indicating a potential change in cognitive abilities at this age level. Lamont (1998) continued explorations with children from age six through sixteen. Participants listened to synthesized diatonic sequences and following a gap in sound, heard a single probe tone and were asked if the tone was an appropriate continuation of the melody. Older students with more musical experience were found to be more accurate with responses, but musicians and non- musicians both responded to tasks similarly between the ages of six and eleven. Those students without musical training over the age of eleven were significantly less accurate than their peers with musical training. Lamont (1998) suggested this may be another potential cognitive boundary at which point routine enculturation to music is less effective than more specific musical training. Litke and Olsen (1979) found similar results while evaluating non-musician’s performance on pitch discrimination tasks. Participants in this study ranged from four to 26 years of age and the authors found younger participants able to achieve the tasks more quickly

6 than older participants, again indicating a potential need for more specific musical training as individuals age. Numerous studies have explored effects of musical training on pitch discrimination. Effects may be found across cultures (Walker, 1987) and with as little as one year of training (Thornton, 2008). Evaluating simple frequency discrimination by participants ranging in age from second-grade through graduate school, Madsen, Edmonson, and Madsen (1969) found accuracy of responses improved with each successive age group likely a result of their specialized training. Yarbrough, Morrison, and Karrick (1997) also investigated effects of advanced musical experience (five to seven years of participation) and private lessons on pitch discrimination. Participants were asked to match both a variable pitch keyboard and their instrument to a constant stimulus tone. Results seemed to corroborate previous findings (Lamont, 1998; Litke & Olsen, 1979); responses between experience levels of older students were not significantly different. However, a common factor found to improve pitch discrimination was the act of taking private lessons, a highly specialized and individualized form of music training. Other studies have also found musical training positively affects an individual’s level of pitch discrimination through perception tasks (Akin & Belgin, 2009; Dunnigan, 1999; Schellenberg & Moreno, 2010), neurological responses (Brattico, Näätänen, & Tervaniemi, 2001), and performance tasks (Geringer & Witt, 1985). Equipment and Environment While a majority of factors affecting pitch discrimination include personal aural skills or acoustic issues, sometimes the actual instrument or the environment in which the musician performs may affect tuning. Pottle (1961) provides a brief overview of the various factors affecting tuning including loudness, temperature, insufficient warmup, and disregard for the standard tuning frequency of A440. Wuttke (2011), Burns (1984), and Stauffer (1954) have also indicated effects attributed to equipment issues. Changes in dynamics, a routine aspect of music performance, tend to affect pitch. Data gathered by Pottle (1961) shows a tendency for brass instruments and flutes to perform sharp as dynamics increase and flat as dynamics decrease while single reed instruments are the converse. Temperature in the performance space also appears to exert a significant influence on the tuning of instruments. As temperature increases, often due to large ensembles, audiences, and stage lights, pitch also tends to rise (Burns, 1984; Pottle, 1961). Similarly, as air temperature within

7 the instrument itself increases, pitch rises (Burns, 1984; DeCarbo & Fiese, 1989; Dugger, 2004; Pottle, 1961). It is for this reason a significant warm-up period prior to initial tuning is recommended to ensure accurate tuning; even a two-minute break in playing has been found to adversely affect pitch (DeCarbo & Fiese, 1989). In addition to environmental factors the instrument itself may present challenges in performing with correct intonation. Describing a hypothetical model of factors affecting intonation, Wuttke (2011) found instrument quality to be a significant factor. Those instruments constructed according to specific design specifications yield more consistent intonation tendencies than those instruments constructed with less regard for design specifications and desire to mass-produce product. Pottle (1961) also recommended strict adherence to the A440 pitch standard as instruments are typically constructed to perform most closely in-tune when the length of the instrument is set to A440. Utilizing other tuning standards in an effort to alter tone quality places instruments at a disadvantage to perform in-tune due to the placement of tone holes or valve slide length. Though outside the scope of this study, a thorough examination of factors affecting wind-band instruments may be found in Stauffer’s (1954) Intonation Deficiencies of Wind Instruments in Ensemble. Acoustic Factors Magnitude of Deviation As noted in Morrison and Fyk (2002), determining the point at which an individual may discern changes in pitch is reliant upon a number of variables including musical training, environment, and measurement procedures. As such, it is often difficult to pinpoint the just noticeable difference of frequency (JND), i.e., amount of change in frequency needed for a listener to detect changes. Across the literature, a variety of responses have been found indicating JND thresholds may be anywhere from two cents to a full semitone. Williamson (1942) and Vos (1982) identified a magnitude change of two cents was necessary for participants to detect change. While this relatively minimal amount of deviation may indicate highly attuned sensitivity to frequency changes, the authors did qualify the findings to acknowledge that results were the result of favorable experimental conditions without additional musical influences. Madsen, Edmonson, and Madsen (1969) utilized two oscillator-produced tones, one which remained steady and the second which either remained the same or gradually changed frequency in either direction. Participants were asked to identify the point at which they discerned a

8 change. The authors found frequency perception was most accurate during the initial five seconds of the stimuli. During these five seconds, the second tone changed frequency from zero to ten cents. These data would seem to indicate the JND is ten cents or less. Bentley’s (1973) findings appear to indicate the threshold may be higher. Using a paired-comparison task in which the second note was altered between three and 26 cycles per second (Hz), participants appeared to be significantly more accurate when deviations were greater than five Hz, approximately 20-cents. Parker’s (1983) findings appear to corroborate Bentley’s (1973) proposed 20-cent threshold. Participants listened to two simultaneously presented tones where one tone was altered in a series of 10-cent intervals and were then asked to indicate if one note or two notes were heard. The authors found participants were able to consistently discern changes at the 20-cent threshold. Additional findings in Vos (1982) suggest the discrimination boundary may even be as high as 30-cents. Participants were asked to evaluate mistuned intervals of a third and fifth and the larger difference thresholds elicited a higher tolerance for mistuning of intervals. Results of the preceding studies appear to lack a degree of agreement that may indicate the effects of other influences on an individual’s ability to detect frequency changes. Direction of Deviation Assessing responses to mistuned stimuli, Siegel and Siegel (1977) found participants unable to successfully differentiate sharp from flat during trials. Though the relatively small sample size (N=6) likely negates generalization, there appears to be evidence indicating perceptual differences between responses to sharp and flat intonation. A significant body of literature exists suggesting a propensity for, and even tolerance of sharp intonation (Bentley, 1973; Duke, Geringer, & Madsen, 1988; Dunnigan, 1999; Geringer, 1978; Geringer & Sogin, 1988; Geringer & Witt, 1985; Kantorski, 1986; Morrison, 2000; Papich & Rainbow, 1974; Sogin, 1989; Yarbrough & Ballard, 1990) versus equal discrimination or propensity for flat intonation (Benson, 1995; Byo et al., 2010) in both perception and performance tasks. Perceptually, it is often beneficial to understand how individuals interpret musical stimuli. Several perception task studies have been undertaken to assess trends in pitch discrimination through single note exercises, chordal exercises, and evaluations of recordings. Bentley (1973) utilized a paired-comparison task in which both musically trained adults and students rated the second note in each pair of stimuli as same, up, or down when compared to the first. Results indicated, regardless of age, those stimuli that were deviated in the sharp direction

9 were significantly more difficult to discern. Additionally, magnitude estimation of these deviations found participants perceived flatter stimuli deviations as wider than sharper stimuli deviations even if magnitude was the same. These data indicated either a tolerance for sharp intonation or an aversion to flat intonation. Dunnigan (1999) sought to determine effects of mistuned chord degrees on pitch discrimination. While the overall data analysis showed participants responding more accurately to flat stimuli as in Bentley (1973), there was evidence of an interesting effect of chord degree. Dissimilar to prior research, when a mistuned note was placed as the third of a triad, participants were more accurate discerning sharp errors than flat. However, when a mistuned note was placed as the root or fifth of the triad, flat errors were more accurate. The author hypothesized this divergence may reflect a potential moving zone of tolerance depending on note function, or may be related to the participant’s potential preference for purely tuned thirds in which the third is flat when compared to equal-temperament. Additional studies identifying a propensity for sharp intonation have included performance evaluations. Geringer, Madsen, and Dunnigan (2001) sought to evaluate interactions between trumpet tone quality and intonation. Findings indicated participants rated stimuli with sharp intonation and poor tone quality higher than in-tune and flat stimuli also with poor tone quality, likely a result of a “brighter” quality to the sound. Preferences for brighter tone quality via sharp tuning in performance have also been found in Geringer (2010). The author asked participants to listen to fast and slow orchestral excerpts, and by means of a Continuous Response Digital Interface (CRDI), manipulate the pitch level of each excerpt. Participants tended to leave the pitch of fast excerpts unaltered, but while listening to slow excerpts they were found to raise pitch. Across the literature there appears to be data supporting both a preference for, and a tolerance of, sharper intonation in perceptual tasks, and similar data has also been found in performance tasks. Following interviews of first-chair performers in major symphony orchestras, Pottle (1961) found several ensembles advocating the use of a raised pitch standard, A444, in a effort to achieve more brilliance and projection. While this decision appears to have been consciously made, numerous performance studies have also found a sub-conscious leaning towards sharp intonation. The initial act of tuning at the outset of a rehearsal or performance is a time during which musicians use a reference tone to adjust the physical length of their instrument (Kuhn, 1962). At this point, a musician’s instrument will ideally be set at the optimal length to perform

10 in-tune; however analyses of tuning tasks have found otherwise. Geringer and Witt (1985) evaluated tuning responses of participants to an oboe stimulus that was either in-tune, 25 cents sharp, or 15 cents flat. All participants were found to err on the sharp side, and when asked to describe the mistuned note they more often cited a note as flat despite actual direction of deviation. Morrison (2000) found similar results when participants were asked to tune to a synthesized clarinet timbre. Effects of tuning stimulus type, live or synthesized, have also been evaluated and results appear to be somewhat contradictory to prior research. However, results may be due to the participant’s younger age. Benson (1995) explored potential differences between utilizing a live or synthesized stimulus tone. Participants in this study appeared to perform sharp when tuning to synthesized stimuli and flat to live stimuli. Similar results were found in Byo, Schelgel, and Clark (2010) such that tuning task responses to live stimuli were not found to align with the apparent propensity for sharp intonation. While pitch analyses of Geringer and Witt (1985), Morrison (2000), and Byo, Schlegel, and Clark (2010) evaluated general trends for each performed note, Geringer and Sogin (1988) and Sogin (1989) sought to evaluate pitch tendencies within the duration of single tones. Participants were asked to perform an ascending scale, and select tones were marked for analysis. The authors found a similar propensity for sharp intonation for each tone as well as significant sharpening of each note throughout its duration. While this increase in pitch was significant (c. four cents), the authors cautioned the results may have few implications in overall music performance. Intonation tendencies while performing arpeggios, scales or melodies have also been evaluated with similar outcomes. Kantorski (1986) analyzed intonation of arpeggios performed in both upper and lower registers of string instruments and found participants tended to perform sharp in both registers. Numerous studies investigating scalar performances have found a consistent trend favoring sharp intonation (Geringer, 1978; Madsen, 1974; Yarbrough & Ballard, 1990) as well as in melodic tasks (Ely, 1992; Morrison, 2000; Papich & Rainbow, 1974). It would appear musicians have an often-documented tendency for sharp intonation in performance tasks as well as display a tolerance for sharp intonation errors in perception tasks. Evaluators of pitch discrimination skills should consider these proclivities in order to ascertain the truest measure of aural acuity.

11 Harmonic Structure and Octave In his seminal treatise on acoustics, Hemholtz (1954) identified a “strange and unexpected phenomenon” when describing musical tones: The ear when its attention has been properly directed to the effect of the vibrations which strike it, does not hear merely that one musical tone whose pitch is determined by the period of the vibrations in the manner already explained, but in addition to this it becomes aware of a whole series of higher musical tones, which we will call the harmonic upper partial tones, and sometimes simply the upper partials of the whole musical tone or note, in contradiction to the fundamental or prime partial tone…which is the lowest and generally the loudest of all the partial tones. (p. 22) Hemholtz continued to differentiate between two types of tones: simple and compound. Simple tones are those that contain no upper partials and compound tones are those that do exhibit upper partials to some extent. The presence or lack of these partials appears to have an effect on a musician’s ability to discern pitch and therefore on their ability to perform in-tune. Platt and Racine (1985) and Zeitlin (1964) evaluated responses to pitch discrimination tasks when presented stimuli were pure (simple) tones or complex (compound) tones. The researchers independently found that participants were significantly better able to discern small changes in frequency with complex tones than pure tones. A similar study by Sergeant (1969) used an oscillator to produce both pure tones using sine waveforms and complex tones using square waveforms. Participants performed more accurately on tasks of pitch discrimination with complex tones. Additionally, a follow-up experiment by the same author evaluated responses on pitch discrimination tasks comparing the same oscillator-produced square waveform stimuli from the prior experiment to instrumental sounds of the piano, which also exhibited complex harmonic spectra. No significant differences were found indicating responses to complex tones, whether electronically produced or performed on an actual instrument with a similar spectrum, may yield similar results. Cassidy (1989) further investigated pitch discrimination responses to electronically produced waveforms. Participant musicians playing flute or clarinet were

12 asked to tune their instrument to a variety of stimuli. The chosen audio examples were electronically produced files that incorporated three types of waveforms: sine; square; and sawtooth, and also three different octaves: above; below; or the same octave as the participant’s instrument. Participants who played flute were less accurate than participants who played clarinet. This may have been due to the harmonic spectra of the instruments themselves as the flute is very similar to a pure tone while a clarinet is a complex tone. When evaluating responses by octave and waveform type the author found sine and square waveforms exhibited the least amount of deviation when the stimuli were in the octave below the participant’s instrument, and greatest deviation when the stimuli were in the octave above the participant’s instrument. Sawtooth waveforms exhibited the lowest deviation when the stimulus pitch was in the same register as the participant’s instrument. Cassidy (1989) hypothesized the response variability by octave may have practical implications in an ensemble environment where musicians are commonly asked to tune to their instruments in either higher or lower octaves than the provided pitch. To evaluate effects of both harmonic content and octave placement, Byo, Schlegel, and Clark (2010) asked participants to tune their instrument to one of four stimuli: flute, oboe, clarinet, or tuba. Professional performers of each instrument recorded stimuli while viewing a tuner and a series of recordings were made in order to select the most-in-tune example. Participants were found to deviate least when tuning to either the oboe or clarinet, both of which have complex harmonic spectra followed by flute and tuba. Results seem to be similar to previous data in which the greatest level of pitch discrimination occurs when the tone has complex harmonic spectra. Although the tuba also has complex harmonic spectra, the authors hypothesized participants had difficulty navigating octave changes to most effectively tune. Temperament Any discussion of intonation is likely to require a tangential review of temperament, that is, a system of tuning in which some or all intervals cannot be expressed in rational numbers (Barbour, 1951). A cursory overview of temperament seems to display several centuries of discourse related to the multitude of systems from which to choose, a debate that appears to continue into the present. Perhaps, the best summation of the issue at hand came from Jules

13 Anglas (1910) in describing the intonation of a symphony orchestra: “a very great lack of precision,” with heterogeneous sounds that are a mixture of “just, Pythagorean, tempered, or simply false.” Barbour (1951) added “Of course the ears of the audience, trained for years to endure such cacophony, actually are pleased by what seems to be a good performance.” While it is outside the scope of this study to explore temperament to its fullest extent, a brief exploration of literature focusing on equal temperament, just intonation, Pythagorean, and meantone temperaments may prove useful. A full overview of temperament may be found in Barbour (1951) or Ostling (1974). Each system of temperament presented here represents some degree of octave subdivision with varying focus on intervals of the fifth and third. Definitions of the following systems are taken from Barbour’s Tuning and Temperament: A Historical Survey (Barbour, 1951): Equal Temperament – The division of the octave into an equal number of parts specifically into 12 semitones. Just Intonation – A system of tuning based on the octave (2:1), the pure fifth (3:2), and the pure major third (5:4). Meantone Temperament – Strictly, a system of tuning with flattened fifths and pure major thirds. Pythagorean Tuning – A system of tuning based on the octave (2:1) and the pure fifth (3:2). Equal temperament reflects a compromise of pure intervals expressed in other temperaments to allow easy transition between tonalities. However, this compromise allows for some mathematically mistuned intervals (Helmholtz, 1954). Due to the differences between systems, it is apparent one note, when judged in context, may be considered in-tune within one system and out-of-tune in another. For instance, interval width of a major third in the equal-tempered system is 400 cents where it is only 386 cents in the just intonation system, a disparity of 14 cents (Jagow, 2007). Depending on an individual’s viewpoint, both intervals may be considered correct. As such, the concept of performing in-tune is a matter of debate. Despite apparent opportunity for debate, some commonalities exist. String musicians have been found to perform closest to Pythagorean tuning (Loosen, 1995; Nickerson, 1949), though wind and choral musicians (when singing a cappella) may tend toward just intonation in

14 some contexts (Kopiez, 2003; Leukel & Stoffer, 2004; Swann, 1999), and pianists prefer equal temperament (Kopiez, 2003; Loosen, 1995). Reviewing available research in temperament, Ostling (1974) recommended utilizing Pythagorean tuning for melodic lines, just intonation for harmony, and equal-temperament when performing with a piano or tuned percussion. Corroborating these views, Bisel (1987) asked participants to rank various stimuli from most in- tune to least. Participants preferred those melodic lines performed with Pythagorean tuning most followed by equal temperament, meantone, and just intonation. However, Bisel’s (1987) results were different from Ostling’s (1974) recommendations when harmonic tuning stimuli were evaluated. Participants rated harmonic stimuli least out-of-tune in mean tone temperament followed by equal temperament, Pythagorean tuning, and just intonation was evaluated as being most out-of-tune. Although many musicians and ensemble directors recommend one system of temperament over another, it seems perception and practice may be divergent. Comparing the expressed performance opinions of string players with their actual performance of scalar passages, Yarbrough and Ballard (1990) did not find consistency. Fewer than half of the participants performed in such a manner as they described. Studying perceptions between equal temperament and just intonation, Ward and Martin (1961) found participants were unable to distinguish between the two systems when evaluating short phrases. Karrick (1998) and Kopiez (2003) independently evaluated participant’s performances with recorded accompaniments and found there were no significant differences between equal and just intonation. Kopiez (2003) hypothesized musicians likely utilize the same system of intonation from context to context. Despite debate, this theory may have validity as musicians have been found to vary least from equal temperament (Dunnigan, 1999; Helmholtz, 1954; Karrick, 1998; Kopiez, 2003; Stauffer, 1954; Ward & Martin, 1961; Yarbrough & Ballard, 1990). Additionally, as noted by several authors, the simplicity of equal-temperament is advantageous in the performance of instrumental music, particularly music utilizing tuned percussion, piano, or that of a highly chromatic nature (Helmholtz, 1954; Mursell, 1964; Pottle, 1961; Stauffer, 1954). Musical Factors In addition to physical and acoustic factors, discrimination of pitch has also been affected by various musical factors. To explore this area, Swaffield (1974) sought to assess a theory in which “aural perception operates within a framework of contextual influence.” Participants

15 listened to a scale fragment followed by a sustained tone that they were instructed to tune to the tonic of the fragment. Stimuli were constructed to include four factors: timbre, intensity, duration, and frequency. The author found each of the factors had a significant effect on tuning indicating contextual elements are influential in pitch discrimination. Additional studies have also found texture, tonality, tempo, and directionality to have an effect on pitch discrimination. Texture The ability to perform in-tune in an ensemble setting may prove difficult when considering the sizeable amount of aural information present in a rehearsal or performance setting. Swor (1982) has titled this effect the fusion of wind instrument sounds. In order to locate an error, the listener needs to posses the skills to aurally dissect the sound to determine its location. The smaller the error, the more difficult it is locate within the aural texture of the ensemble. To evaluate responses to error type and texture location, Rasch (2008) asked participants to rate intonation of two-voice exercises. Errors were placed melodically, in both the soprano and bass line, as well as harmonically between both parts. Participants were significantly more attuned to melodic errors in the soprano line followed by harmonic intonation errors between lines and least attuned to melodic errors in the bass line. As these elements (number of players, size, or location of the error) increase, so to does level of complexity of the task. Evaluating task complexity with regard to intonation, Morrison (2000) asked participants to tune their instrument to both a single note and perform a melody in-tune with recorded accompaniment. Upon analysis of the recordings, it was found that participants deviated significantly more while performing a melody than when performing a single note. The author hypothesized the additional accompaniment voices and increased task complexity lead to greater deviation in pitch. Performing various voices of an accompaniment has also been found to have an effect on intonation. Kantorski (1986) evaluated effects of pitch height on intonation and found the participants performed significantly more in-tune in the upper registers of their instrument. Brittin (2014) asked participants to perform either the melody and bass line of a duet with a pre- recorded piano accompaniment and adjust their pitch to play in-tune. Half of the duets were 25 cents sharp and the remaining half were 15 cents flat. Interestingly, when participants began flat, accuracy between the melody and harmony line was not significantly different. Conversely,

16 when participants began sharp, their accuracy was significantly higher when performing the harmony line, opposite of the findings of Rasch (2008). Timbre As noted above, Swor (1982) discussed error-detection difficulties associated with combinations of instrumental sounds. While instrumental blend may have an effect on error- detection abilities, individual tones themselves may also have an effect on pitch discrimination. The timbre, or tone quality (Wagner, 1994), of a sound has been found to affect perception of pitch. In an effort to explore responses to pure tone and complex timbres, Zarate, Ritson, and Poeppel (2013) evaluated interval size perception when stimuli were either pure tones, e.g., sine waves, or more complex timbres such as synthesized flute, piano, or vocal tones. Both groups of participants, musicians and non-musicians, displayed greater accuracy when intervals were presented with pure tones, leading the authors to hypothesize that spectral characteristics of instrumental timbres may influence pitch discrimination. Through evaluations of pitch matching, findings have shown greater intonation accuracy when attempting to match similar timbres. Green (1990) evaluated effects of three different vocal stimuli on pitch-matching accuracy of elementary school students. One stimulus featured an adult female voice, one an adult male voice, and the third, a child’s voice. Participants heard a descending minor third and were asked to echo back on the syllable “la.” Green found the participants were most accurate when responding to the child’s voice followed by the female voice, and least accurate to the male voice thereby indicating better matching performance with a similar timbre. A similar study evaluated effects of various stimulus timbres on responses of inaccurate singers in grades K-8 (Price, Yarbrough, Jones, & Moore, 1994). Participants listened to a male model, female model, electronically produced sine wave model, and a male falsetto model and were asked to echo back a descending minor third on the syllable “la.” In this study participants were found to perform significantly more accurately to live than electronically produced stimuli. Contrary to what Green (1990) found, male students were more accurate to male models and female students were more accurate with female models. Age differences between both studies may account for the disparity in male responses as Green’s (1990) participants were slightly younger than those in Price, et al (1994). Disparity aside, these results would appear to indicate participants improved intonation accuracy when attempting to match a similar timbre.

17 Although timbre and tone-quality appear to be used interchangeably at times, the term tone-quality may also be further utilized to describe a range of acceptable tone, e.g., “good tone” or “poor tone.” Classifications of tone quality vary from musician to musician based on numerous factors and have also been found to influence pitch discrimination. Madsen and Geringer (1976) evaluated preference responses to trumpet recordings that were altered to include tone-quality differences (trumpet) and intonation differences (accompaniment). The authors found participants unable to differentiate between good and bad tone quality during accompanied excerpts, and while participants cited tone as their primary method of ranking their responses appeared to be based upon intonation. Geringer, Madsen, and Dunnigan (2001) revisited this study with two extensions. The first experiment paired recordings of good or poor tone quality trumpet performances with piano accompaniment in one of four conditions, in-tune, 25 cents flat, 25 cents sharp, or 50 cents sharp. Regardless of intonation condition, participants rated good tone quality examples higher for both tone quality and intonation. The second experiment presented an accompaniment with trumpet performances that were in-tune, 25 cents flat, 15 cents flat, 15 cents sharp, 25 cents sharp, or 35 cents sharp. Similar to the first experiment, good tone-quality examples received higher ratings of both tone-quality and intonation, regardless of intonation condition. Further study by Madsen and Geringer (1981) asked participants to rate tone quality and intonation of flute and oboe duets. The duets represented combinations of good or poor tone quality and were either in-tune or sharp by 50 cents. Participants were able to correctly judge performances of examples that represent both good tone quality and in-tune conditions, however in other trials with either poor tone-quality or inaccurate intonation they were unable to correctly specify error type. These findings are surprising considering the intonation deviation was fairly large (50 cents), indicating other musical factors may be affecting pitch perception. Spradling (1985) also evaluated tone quality and intonation perceptions with duets. The author’s findings were consistent with prior research such that participants, while correctly discerning errors, were unable to determine the specific error. Participants in this study appeared to often confuse poor tone quality with poor intonation (and vice versa) and these findings, along with Madsen and Geringer (1976) and Geringer, Madsen, and Dunnigan (2001), indicate that perception of intonation may be directly influenced by other musical factors.

18 Perhaps one of the more substantial bodies of literature regarding timbre and pitch discrimination concerns effects of dark and bright tone colors. These colors are indicators of varying amplitudes of harmonics present in a complex tone (Wagner, 1994). Dark tone color indicates the stronger presence of lower harmonics while brighter tone color indicates stronger upper harmonics (Wapnick & Freeman, 1980). An initial investigation by Wapnick and Freeman (1980) on effects of dark and bright tone colors utilized recorded clarinet tones in a paired-comparison task in which the second note was altered to sound bright or dark, and 12 cents sharp, 12 cents flat, or in-tune. Participants were found to be significantly less accurate on trials in which timbre was altered when compared to non-altered trials. Additionally, participants appeared to associate changes in timbre with changes in pitch. The association between timbre changes and pitch discrimination was found to be consistent: participants associated dark timbres with flat intonation and bright timbres with sharp intonation, regardless of deviation direction. After reviewing the data the authors suggested tone quality appears to have a significant effect on pitch discrimination, particularly in direction of deviation estimations. Further studies have since substantiated findings in Wapnick and Freeman (1980). Geringer and Worthy (1999) asked high school and college instrumentalists to compare pairs of electronically-produced clarinet, trumpet, and trombone tones, the second tone of which had been altered to sound dark, bright, or remain unaltered. Participants rated pitches that were brighter to be sharper in intonation and those darker, to be flatter in intonation regardless of actual deviation. Worthy (1997, 2000) evaluated effects of dark or bright tone quality on both perception and performance of high school and collegiate musicians. A matched sample was used such that equal representations of musicians who played clarinet, saxophone, trumpet and trombone were utilized. During the perception task, participants evaluated paired sets of four pitches performed on their primary instrument. Each set represent one of three conditions: dark/unaltered, bright/unaltered, or unaltered/unaltered. Participant responses to perception task stimuli corroborated the earlier noted trend of identifying bright tone quality with sharp intonation and dark tone quality with flat intonation. In the performance task, the same stimuli were presented to participants and they were instructed to match stimuli with their instruments. After audio analysis the author found significant differences between bright and dark tone quality conditions. Bright tone quality stimuli were generally sharper in intonation and dark tone

19 quality stimuli were significantly flatter in intonation. Additional findings in Vurma, Raju, and Kuuda (2011) also support the association of bright tone quality with sharp intonation and dark tone quality with flat intonation. Tonality, Tempo, Directionality, and Duration Other factors appearing to exert influence on pitch discrimination include tonality, tempo, directionality, and duration. Marmel, Tillman, and Dowling (2008) asked non-musicians to participate in three experiments to determine the influence of tonal relatedness on pitch perception. The first experiment was a rating task in which participants identified a single target tone (as part of a 12 note melody) as in-tune or out-of-tune. If participants indicated the tone was out-of-tune, they were also asked to determine the degree to which the note was out-of-tune on a rating scale. Experiment two was a response-time task in which a single target tone (as part of an 8 note melody) was in-tune or out-of-tune as quickly and as accurately as possible. Experiment three was a comparison task in which participants were played two identical melodies with the exception of the last note in some cases and were asked if the last note of the two melodies was the same or different. All three experiments found tonally related target tones were more often, and more expediently, identified accurately than non-key related tones. McCoy (1997) investigated pitch matching abilities of musicians and found participants who were best able to maintain a stable and consistent tonal center while singing simple songs were most accurate when asked to match an individual pitch. Comparing findings from Marmel, et al (2008) and McCoy (1997), it would appear pitch discrimination may be more accurate with stable and consistent tonal relationships. Duke, Geringer, and Madsen (1988) sought to investigate perceptions of tempo and pitch discrimination as well as potential relationships between the two. Music majors and non-majors were asked to compare 10 consecutive presentations of an orchestral excerpt to a previously heard example. The stimulus was altered to either reflect tempo alterations, pitch alterations, or both. Results indicated a strong correlation for accuracy of tempo perception in both music majors and non-music majors (.88 and .77 respectively). Pitch alterations appeared to have little impact on perceptions of tempo. Both groups of participants were less accurate in determining pitch alterations (.57 and .37 respectively) than tempo perceptions. Tempo changes appeared to have a significant impact on pitch perception, however alteration of pitch was not found to have an impact on tempo perceptions. Dunnigan (1999) evaluated effects of tempo on discrimination

20 accuracy of pitch errors in melodic examples. The author found responses were significantly more accurate when stimuli were presented in the slow tempo condition compared to the fast tempo condition. Considering results of Duke, Geringer, and Madsen (1988) and Dunnigan (1999), tempo would appear to have an impact on accurate pitch discrimination. Several authors have examined intonation performance of ascending and descending intervals. Edmonson (1972) had forty music majors sing four intervals both ascending and descending. Participants performed significantly more in-tune when ascending than descending. Duke (1983; 1985) asked participants to perform melodic and harmonic intervals. In this study, no significant differences in intonation accuracy by direction were found, however trends were evident where ascending intervals were performed slightly flat and descending intervals were performed slightly sharp. Scalar direction has also been evaluated in regards to intonation performance. Madsen (1966) asked participants to sing both ascending and descending C and D major scales. Participants were found to perform with significantly improved intonation when singing a descending scale versus an ascending scale. Sogin (1989) evaluated intonation tendencies of ascending and descending pitch sets. Participants performed sharp overall, but were significantly sharper when descending than ascending. While results may seem inconclusive in the presented literature it is apparent that direction of intervals or musical lines affects pitch discrimination, however the extent to which may be difficult to predict. In studies involving duration, two aspects that have been investigated include length of tone duration required for pitch discrimination and intonation adjustments during a tone. Robinson and Patterson (1995) sought to determine the duration required for identification of pitch. Participants heard single-note stimuli of varying combinations of instrument type, octave, and pitch. While instrument and octave identification appeared to occur quickly, approximately in one cycle of oscillation per second, or one period of sound, determinations of pitch were significantly more accurate beginning at four periods. Similar results were found by Fyk (1987) who found the discrimination threshold to be between five and ten periods depending on training. Geringer and Sogin (1988) investigated within-tone intonation adjustments. While many previous studies have measured pitch frequency once per tone or as an average, this study recorded five to seven data points per tone. Participants were found to perform sharp overall and each tone sharpened as it progressed. Though results were significant, the practicality of this

21 type of data may not be useful in a musical setting as the mean difference was four cents and likely under the JND threshold. It is safe to say that there are numerous factors that may affect pitch discrimination. Each of these factors, whether they are personal, acoustic, or musical, combine in varying degrees to alter aural perceptions. Due to the broad scope of factors and substantial influence of some over others, the question regarding how to best assess an individual’s abilities in pitch discrimination is essential. Measurement of Aural Skills Assessment of an individual’s musical skill set by teachers is essential to guide instruction that would be most beneficial to the student. Although measures of musical skill appear to be numerous, a variety of assessments may be beneficial when seeking to assess an individual’s level of ability. “While formal measures of musical and nonmusical variables may aid in measuring and predicting musical ability, no one test is likely to be adequate by itself” (Radocy & Boyle, 2003 p. 418). This observation appears to hold true for measures of aural skills or pitch discrimination. For instance, in an effort to examine the validity of six different aural skills assessments, Fogarty, Buttsworth, and Gearing (1996) tested students enrolled in ranked aural skills classes at the collegiate level. The students had previously been ranked via conventional measures, e.g., sight-singing, into beginning, intermediate, and advanced levels. Correlations were found between scores on each of the six tests and the student’s initial class placement, indicating the evaluated assessments each may be a valid measure of aural skill ability. Reviewing available literature, a variety of dependent measures has been utilized to assess pitch discrimination. These measures have included neurological responses (Brattico et al., 2001), standardized tests such as the Watkins-Farnum Performance Scale (Schlacks, 1981), Seashore’s Measures of Musical Talent (Brick, 1983; 1984; Elliott, 1974; Glass, 1986; Harris, 1977; Millsap, 2013; Wyatt, 1945), Colwell’s Music Achievement Test (Graves, 1963; Porter, 1977; Schlacks, 1981), the Aliferis Stecklein Music Achievement Test (Deal, 1983) as well as multiple researcher-designed tests (Bennett, 1994; Brick, 1983; 1984; Codding, 1985; Dalby, 1992; DeCarbo, 1986; Eisele, 1985; Ericksen, 1973; McQuerrey, 1957; Rizzolo, 1969; Schlacks, 1981; Swift, 1985; Tromblee, 1972; Wyatt, 1945). Though numerous measurement tools have been utilized several commonalities are apparent. The pitch discrimination subtest of the Seashore Measures of Musical Talent has often

22 been used to determine an individual’s level of aural acuity (Brick, 1984; Elliott, 1974; Glass, 1986; Harris, 1977; Millsap, 2013; Wyatt, 1945). This test is a series of 50 pairs of tones in which the second tone is either higher or lower than the first and deviated by 30, 23, 17, or 12 Hertz. The final test score represents the number of correct responses. The format of the Seashore pitch discrimination subtest, a paired-comparison format, has also been used by several investigators in development of their own dependent measures (Bentley, 1973; Loosen, 1995; Sergeant, 1969; Tromblee, 1972; Wapnick, 1980; Wyatt, 1945). Data from these tests may indicate a musician’s level of discrimination through number of correct responses as well as perceptual boundaries, i.e., at which point individuals are better able to discern changes. Additional paired-comparison tests have explored response time to tonal hierarchies which have yielded similar results to conventional methods (Frankland & Cohen, 1990; Holahan & Saunders, 1997; Janata & Reisberg, 1988). While data from perceptual note-to-note comparison have been found useful, data from recorded performance tasks may also be beneficial in measures of aural acuity to ensure musicians are able to both perceive pitch issues and correct them in performance. Some researcher-designed tests have included measures to evaluate performance through recorded tones, intervals, or melodies (Bennett, 1994; Brick, 1983; 1984; Byo et al., 2010; Codding, 1985; Eisele, 1985; Ericksen, 1973; Green, 1990; Schlacks, 1981; Swift, 1985). Those measures that require participants to perform isolated tones may yield data about an individual’s ability to match pitch or accurately adjust their instrument to the appropriate length to perform as close to in-tune as possible. Bennet (1994), Brick (1983; 1984), Codding (1985), and Swift (1985) each asked participants to perform isolated notes to be recorded for later analysis via a tuning device to measure deviation. The amount of deviation, in cents, was used to assess changes in pitch matching or tuning abilities when used as a pre- and post-test (Bennett, 1994; Brick, 1983; 1984; Codding, 1985; Swift, 1985), or assess effects of various stimuli on performance (Byo et al., 2010; Green, 1990). As both melodic lines and harmonic content are comprised of intervals, several authors have chosen to measure intonation of interval performance. Schlacks (1981) evaluated effects of an interval training program by having participants record 24 melodic intervals and measuring cent deviations of the second note. Expanding on melodic content, assessments of overall intonation tendencies through performed melodies may also provide data that may be most similar to actual performance

23 outside the experimental environment (Brick, 1983; 1984; Eisele, 1985). Eisele (1985) constructed a melody with limited rhythmic difficulties and intonation issues and recorded the participants performing the exercise. Intervallic relationships were evaluated for cent deviations and compared pre-test to post-test to assess changes. Brick (1983, 1984) composed 16 progressively more challenging melodies and participant recordings were rated on a scale of 1 – 10 by a panel of experts who were asked to assess overall intonation tendencies. Data from melodic tasks may be an indicator of an individual’s overall sense of pitch discrimination as well as a measure of how they may perform in a solo or ensemble setting. Seeming to validate the earlier stated premise of Radocy and Boyle (2003) regarding use of multiple measures in the assessment of musical ability, several studies have utilized series of tests to assess aural skills (Brick, 1983, 1984; Eisele, 1985; Schlacks, 1981; Wyatt, 1945). Eisele (1985) sought to measure pitch discrimination with the pitch test of the Colwell Music Achievement Test as well as overall melodic performance with a researcher-designed measure. Schlacks (1981) combined ratings on the Watkins-Farnum Performance Scales with the pitch test of the Colwell Music Achievement Test as well as a researcher-designed measure of intervallic accuracy. Brick (1983, 1984) and Wyatt (1945) combined the pitch discrimination subtest of the Seashore Measures of Musical Talent with researcher-developed measures. Wyatt (1945) used the structure of Seashore’s measure and expanded it to include different levels of deviation. Brick (1983, 1984) created two measures in addition to Seashore’s, seeking to assess pitch discrimination, tuning accuracy of isolated notes, and overall melodic intonation. This combination of perceptual and performance tasks may provide a more accurate measure of an individuals’ intonation abilities and is further substantiated by Ely (1992), who identified low correlation between an individual’s ability to detect intonation deviations and their ability to play in-tune. Additionally, Geringer (1983) found no relationship between pitch matching and pitch discrimination measures with young children and limited relationship with participants in the fourth grade. Due to the broad nature of pitch perception and performance, it would seem that assessment of an individual’s ability to perform in-tune might be best accomplished through multiple measures. These measures may include perceptual data in the form of written responses or performance data in the form of recordings and pitch analysis. Data from these measures may

24 be utilized to assess an individual’s skills as well as guide instruction to design programs for the improvement of an individual’s skills in pitch discrimination. Developing Pitch Discrimination In the observation of expert school ensemble directors, Goolsby (1997) found expert teachers more often sought to correct intonation errors than other musical elements such as articulation, expression, or tone production. The directors observed in this study appeared to have placed high value on performing in-tune, and therefore likely utilized various instructional strategies to improve the intonation of their ensembles. Of teaching intonation skills to an ensemble, Kohut (1973, p. 198) wrote: “The teacher must make his students conscious of intonation; he must also help them learn what to listen for as well as how to improve poor intonation on their own.” To assist students in the development of pitch discrimination and how to correct poor intonation, numerous strategies have been presented throughout the literature and have included beat elimination, vocalization, audio recordings, computer software, electronic devices, and instructional sequences. Poor intonation, at its most basic level, is the simultaneous presentation of two tones of nearly the same pitch with slightly different frequencies. The slight differences in frequency cause an acoustic phenomenon called beats. This phenomenon is the aural perception of intermittently intersecting waveforms of two tones. As the distance between frequencies of two tones increase, the perceived beats increase in speed. The converse is also true, as the distance between frequencies decrease, so too does the speed of the beats (Helmholtz, 1954). As distance between frequencies widen past 20 Hz, the beats may even be perceived as a third tone, a phenomenon known as difference tones (Wagner, 1994). Therefore, one way that has been suggested to improve intonation, musicians should strive to eliminate the perception of beats and difference tones by attempting to slow the beat rate until they appear to cease. Teaching students to discern and eliminate beats between two tones is an often recommended teaching strategy to improve intonation (Carr, 2011; Colley, 2004; Fabrizio, 1994; Garofalo, 1983, 1996; Heim, 2011; Jagow, 2007, 2012; Latten, 2002, 2003; 2005; Lisk, 1991, 2007; Markworth, 2008; Miles, 1972; Nichols, 1987; Temple, 2013). Several of these works recommended a similar sequence in which students are instructed to first match unison notes and octaves then eventually proceeding to fifths, fourths, and thirds (Colley, 2004; Garofalo, 1996; Jagow, 2007; Lisk, 1991). Where these recommendations differ, however, is the method of pitch

25 reproduction. Jagow (2007) and Colley (2004) recommended beginning with humming or singing while Lisk (1991) and Garofalo (1996) recommended beginning with students on their instruments. Regardless of these differentiations, each instructional strategy recommended beginning with beat elimination as the initial method to sensitize students to intonation discrepancies. While beat elimination appears to be a commonly recommended teaching strategy, there remains debate as to when instruction should begin. Numerous authors recommended intonation training should begin early (Conway, 2003; Groeling, 2003; Kohut, 1973; Mullins, 2001) as even young children have been found to benefit from training exercises in pitch discrimination (Soderquist & Moore, 1970). Miles (1972) designed a study to investigate the extent to which beginning instrumentalists would succeed in recognizing beats and achieve beatless tuning between two variable pitch sources (The Johnson Intonation Trainer,) their personal instrument when compared to the Johnson Intonation Trainer, and their instrument when compared to another participant’s instrument. At the outset of the program, participants were asked to tune two variable pitch sources to unisons, fifths, and thirds. If the participant succeeded, they were asked to tune their instrument to the variable pitch source and finally to another participant’s instrument. The investigator found all participants (N=118) were able to recognize beats and of those participants, 75 achieved perfect scores on all trials. Miles’ (1972) study may indicate the potential tuning abilities of beginning instrumentalists, though some teachers appear to disagree. In a survey of elementary and middle school string teachers, Hopkins (2013) found a majority of respondents elected to postpone teaching intonation procedures for one year as they believed their student’s aural skills were not yet developed, a concept also substantiated by findings in Geringer (1983). Other methods suggest waiting until students could perform with both characteristic tone and good air support on their instruments to begin intonation instruction (Colwell & Goolsby, 1992; Garofalo, 1983; Hayden & Romines, 2013; Jagow, 2007; Markworth, 2008). Although insufficient tone production on an instrument may seem to impede the intonation training process, teaching techniques to improve pitch discrimination may not need to only include intonation specific strategies or instrumental performance. Ensemble exercises focusing on improving tone production may also improve ensemble intonation. Millsap (2013) investigated the effects of daily implementation of sustained tone exercises on tone production

26 and ensemble intonation. Those groups participating in the treatment were found to garner significantly higher scores on measures of ensemble intonation indicating the potential intonation benefits of tone development. Exercises without the instrument, such as vocalization techniques like humming or singing, are frequently recommended teaching techniques to improve pitch discrimination (Bennett, 1994; Burch-Press, 2000; Colley, 2004; Elliott, 1974; Garofalo, 1983, 1996; Jagow, 2007; Latten, 2003, 2005; Messerschmidt, 2009; Nichols, 1987; Porter, 1999; Robinson & Patterson, 1995; Schlacks, 1981; Seddon, 2010; Smith, 1984; Wyatt, 1945). Utilizing these procedures may allow a teacher to begin the intonation training process while students continue to develop characteristic tone and air support on their instruments. Similar to Miles’ (1972) study, Elliot (1974) investigated developing pitch discrimination with beginning band students. The author’s experiment evaluated effects of vocalization on a student’s sense of pitch in a beginning band class. The treatment included daily vocalization of exercises from their usual method book. The author found the treatment variable improved scores on the dependent measure. While control group scores also improved, albeit not significantly, the author hypothesized it was due to routine participation in a band ensemble class (Elliott, 1974). Schlacks (1981) also investigated effects of vocalization on performed pitch accuracy of the participants, but utilized high school students. The treatment variable was a month-long program of interval training in which groups were asked to either sing intervals or play intervals, or play and sing intervals with a fourth group functioning as a control group. Upon comparing results between the pre- and post-test, the author found the act of vocalization led to improved scores on the dependent measures, but not significantly. Those participants exhibiting the greatest gains were those with more limited musical background (Schlacks, 1981) which may support findings in Elliot’s (1974) study. The effects of vocalization were also evaluated with collegiate wind performers (Smith, 1984). Results from this study were interesting in that those participants who performed on a woodwind instrument significantly improved their scores from pre-test to post-test while brass performers did not. Smith hypothesized this disparity was likely due to extremely high intra-subject variability and recommended further investigation (Smith, 1984). While vocalization appears to be an often- recommended instructional strategy for improving intonation skills, it seems prior results may be inconsistent and dependent on other factors such as instrument family or participant-related factors such as age or musical training. Therefore, vocalization may be best suited as one

27 element of a larger teaching sequence including a variety of teaching strategies, both in and out of the classroom. Music teachers often expect their students to develop personal performance skills outside of the classroom through practice. Ideally, these practice periods will not only improve individual skills, but also improve ensemble skills as a whole. Music teachers may encourage students to utilize a portion of individual practice time to improve individual aural acuity in conjunction with classroom methodologies. Specific instructional strategies designed to develop intonation skills have included training devices (Ericksen, 1973; McQuerrey, 1957; Miles, 1972), audio recordings (Colley, 2004; Rizzolo, 1969; Tromblee, 1972), software programs (Dalby, 1992; Glass, 1986; Humphries, 1978), and teacher-led classroom instruction as part of the normal class period (Garofalo, 1983, 1996; Harris, 1977; Jagow, 2007; Latten, 2003, 2005; Lisk, 1991, 2007). Electronic devices such as variable pitch sources and tuners/stroboscopes may be beneficial in developing sensitivity to intonation issues. McQuerrey (1957) designed a intonation training device which produced two tones and allowed participants to alter one of the tones until the interval sounded in-tune. Participants trained with the device over eight sessions each lasting one half-hour and exhibited increased sensitivity to interval intonation for intervals mistuned greater than 30 cents. Ericksen (1973) evaluated three different methods for improving intonation: beat elimination, playing with an electronically produced drone, or manipulating two variable pitch sources until notes sounded in-tune. Upon analysis, the author found participants in all groups improved their ability to discern intonation errors, but those participants striving to eliminate beats performed best, matching results found by Miles (1972) using the same device. A sequential series of audio recordings may assist students to develop aural skills outside of ensemble rehearsal at an individualized pace. An early investigation into this format utilized recorded intervals and chords (Rizzolo, 1969). Recordings included both in-tune examples and several degrees of out-of-tune examples. Participants were asked to listen to the tapes in an attempt to increase sensitivity to intonation. No significant differences were found by the investigator between the control and experimental groups. Conversely, Tromblee’s (1972) series of audio tapes presented students with common intonation errors and also included descriptive remediation strategies. Each tape dealt with concepts increasing in difficulty as participants progressed through the program. Use of the recordings was found to significantly improve

28 intonation discrimination of participants in the experimental group. A program designed to be more participatory in nature by Colley (2004), paired audio recordings of both single tones and chords with notated exercises to be performed by the student. The student was instructed to both vocalize and perform exercises on their primary instrument with the recording to better experience the phenomenon of beats and practice beat elimination. While audio programs may assist musicians to develop pitch discrimination, some musicians may benefit from additional guidance in the form of feedback to further develop their skills. The advent of the personal computer seems to have offered opportunities for more interactive instructional strategies than audio-recordings. The interactive nature of software not only offered potential for individualized pace and remediation for incorrect responses, but also instantaneous feedback to ensure fewer errors in learning. Software programs may be used to improve overall pitch discrimination (Brick, 1983, 1984; Dalby, 1992; Eisele, 1985; Glass, 1986; Swift, 1985), target interval identification (Humphries, 1978), or develop error-detection skills (Deal, 1983). Of the available software programs at the time, some programs focused on single-note or octave matching abilities. A software program called the Pitch Master was utilized with young trombonists in an attempt to improve pitch discrimination (Brick, 1983, 1984). Feedback was given one of three ways: (1) auditory, via a re-sounding of the correct pitch, (2) visual, showing a target above or below a medial line representing in-tune, or (3) via the number of correct responses. Significant differences were found for the experimental group indicating the participant’s level of pitch discrimination improved in each condition. Eisele (1985) investigated a researcher-designed software program to improve intonation discrimination of violin and viola students. Participants progressed through three increasingly more difficult tasks including: selecting the lower of two pitches (0-200 cent deviations), moving a bar graph to match another static bar graph, and matching a moveable pitch to a static pitch without visual cues. Similar to Brick (1983, 1984), those participants utilizing the software were found to have significant gains in pitch discrimination over control group participants. Glass (1986) asked students to play an instructional software game called the Tuning Tutor for 25 minutes per day over 10 days. Unlike previous studies the author did not find any significant improvement in the participant’s scores and attributed lack of positive results to task difficulty.

29 In addition to note matching and octaves some software programs were designed to teach harmonic intonation skills, e.g., equal temperament vs. just intonation (Dalby, 1992; Swift, 1985). Swift (1985) asked high school wind players to use Coda Music’s Intonation Trainer software during eight sessions over four weeks. In addition to drills with electronic pitch sources, the software also directed participants through development of a personal intonation tendency chart. Audio analysis of post-test scores indicated participants significantly improved their ability to tune thirds in just intonation. Dalby (1992) evaluated a researcher-designed software package called the Harmonic Intonation Training Program in which participants practiced tuning intervals, triads, and musical passages. Participants used this program twice a week for nine weeks and showed significant gains in harmonic intonation discrimination skills. Contrary to results found in Glass’s (1986) study, results in Brick (1983, 1984), Dalby (1992), Eisele (1985), and Swift (1985) were positive in favor of the treatment group thereby indicating the potential benefits of computer-aided pitch discrimination training programs. Development of pitch discrimination skills have also been investigated through software programs designed to improve interval identification (Humphries, 1978) and error detection skills (Deal, 1983). Humphries (1978) evaluated a researcher-designed software program to complement in-class instruction in interval identification. Participants were asked to utilize the program zero, one, two, or three times per week. Those participants using the program three times per week scored significantly better on interval identification than other participants receiving less training. Deal (1983) evaluated a software package which presented four-voice excerpts with scripted errors and asked participants to identify location and type of error, e.g., rhythm or pitch. As participant responses improved they progressed to more difficult trials. Control group participants continued using a previously used aural instruction method. Results found both groups improved, however results were not significantly different between control and experimental conditions. It would appear that the software package did improve pitch discrimination though experimental group scores were not significantly better than the previously used aural instruction method. While individualized instruction via software programs may be beneficial (Brick, 1983, 1984; Dalby, 1992; Deal, 1983; Eisele, 1985; Humphries, 1978) the greatest benefits may be reaped when these strategies are incorporated into a larger instructional system which includes teacher-directed instruction in class.

30 Structured Learning Activities to Develop Pitch Discrimination The ability of an ensemble to perform in-tune appears to be an oft-cited objective of directors and often relies on a multitude of variables including, but not limited to, performer age and experience, instruction, director attributes, and physical equipment. In order to assess the degree to which these variables affect ensemble intonation, Wuttke (2011) developed a hypothetical model of factors affecting ensemble intonation and utilized high school musicians to evaluate the model. The investigator’s findings indicated instruction as well as student attributes including age, equipment, and private lessons accounted for a significant majority (99.3%) of the model, with instruction being the dominant aspect affecting ensemble intonation. It would seem teachers should consider focusing on instructional processes used with their ensembles in an attempt to improve intonation performance of the ensemble. Additionally, as students gain experience and develop positive perceptions of their personal intonation abilities, findings have shown correlations to their actual tuning ability (Hamann, Frost, & Wieters, 2002; Hamann, Lauver, & Asher, 2006). As teachers and directors strive to improve ensemble intonation, both consistent instruction and fostering perceptions of tuning ability within each ensemble member may be a successful strategy. Sometimes, ensemble directors may consider the solitary act of initial tuning to be an adequate means of intonation training (Robinson, 1996). While initial tuning may help sensitize students to intonation issues, playing in tune should be an ongoing process throughout the rehearsal (Burch-Press, 2000). The act of initial tuning is an effort to setup the instrument in such a way that the notes will be closest to in-tune for easier adjustments during rehearsal (Barnes, 2010). This process often varies from director to director, but some commonalities are apparent. Tuning from the bottom up, i.e., using a bass-voiced instrument to sound the reference pitch, is an often-recommended approach in order to line up the overtones/harmonics/partials throughout the ensemble regardless of octave (Barnes, 2010; Burch-Press, 2012; Carr, 2011; Hayden & Romines, 2013; Jagow, 2007, 2012; Lisk, 1991, 2007; McBeth, 1972; Meyer, 1967; Mullins, 2001). However, while numerous texts and non-empirical articles recommend this strategy, tuning to a bass instrument may result in the greatest amount of deviation when compared to an upper voice instrument like an oboe or clarinet (Byo et al., 2010). While some authors recommended the use of tuners as a method to sensitize students to pitch changes (Garofalo, 1983, 1996; Markworth, 2008; Temple, 2013), others recommended avoiding

31 excessive tuner use in order to sensitize student’s ears and not their eyes (Fabrizio, 1994; Jagow, 2007, 2012; Lisk, 2007; McBeth, 1972). Concurrently, as students strive to eliminate beats using their ears, they should not worry about designations of “sharp” or “flat” during the initial training stages to reduce the level of complexity involved in the tuning process (Lisk, 1991, 2007; Mullins, 2001; Stone, 1999; Temple, 2013). Above all, directors should possess a high degree of aural acuity in order to quickly diagnose problems and provide appropriate feedback to the student while guiding instruction to improve pitch discrimination (Harmon, Keller, Musella, Drinkwater, & Nichols, 2011; Hayden & Romines, 2013; Swor, 1982; Temple, 2013). One of the most important aspects of any instructional strategy may be the act of providing feedback. If students receive specific feedback they may be more able to improve the skill on which they are working. Several investigations involving pitch perception have evaluated effects of various styles of feedback (Codding, 1985; Graves, 1963; Palmer, 2005; Salzberg, 1980). Graves (1963) investigated methods of improving intonation using three types of feedback including aural: developing awareness of beats, visual: referencing a tuner, and conventional/verbal: teacher correction with instant feedback. While each method appeared to improve intonation performance of the participants the conventional/verbal method was found to be the most effective method, which may be related to the availability of instant feedback and instruction from the teacher. Salzberg (1980) evaluated similar feedback strategies: verbal instruction, recorded playback, modeled performance, and practice time. Listening to a model performance was found to be least effective while verbal instruction, similar to Graves (1963), was most effective. Recommendations in Palmer (2005) also supported the use of verbal instruction to improve intonation. While verbal methods may have been found to improve intonation accuracy (Graves, 1963; Palmer, 2005; Salzberg, 1980), Codding (1985) found that verbal methods did not significantly improve intonation skills. Although results in these studies may be contradictory, it is still likely that teacher-directed instruction has a role in development of pitch discrimination skills in students. Instructional Sequences to Develop Pitch Discrimination Learning is a process, therefore, it is imperative that teachers thoughtfully structure meaningful activities across time to achieve their desired learning objectives (Madsen & Madsen, 1998). With the apparent abundance of instructional strategies, devices, and breadth of concepts related to pitch discrimination, teachers may find it helpful to review published instructional

32 sequences designed to develop their student’s degree of pitch discrimination (Garofalo, 1983, 1996; Jagow, 2012; Latten, 2003, 2005; Lisk, 1991, 2007). An early method, designed by Garofalo (1983), is found nested within a year-long curricular ensemble rehearsal handbook for band and orchestra students as a group of units to be taught at some point during the school year. The first unit covers basic acoustic processes, the overtone series, and equal temperament. The second unit addresses common factors affecting intonation and beat elimination. The final unit addressed individual instrument tuning issues, common remedies, and also pitch tendency charts for the students to fill out. The author later revised his method to include interval instruction, use of tuners, practicing with drones, and singing chorales. This revised method appears to liberate intonation from being taught in “units” and instead incorporates intonation skill development into every rehearsal (Garofalo, 1996). Lisk’s (1991, 2007) recommended methodology focused on striving to achieve beatless tuning, first beginning with unison sounds and ensuring students actively experienced the process of beat elimination. The author recommended a six-step tuning process that falls under the responsibility of the student: 1) Are beats present? Adjust instrument as necessary. 2) Are beats faster? Adjust the other way. 3) Are beats slower? Continue adjusting the same direction. 4) Is the embouchure pinched? The instrument is too long. 5) Is the embouchure too relaxed? The instrument is too short. 6) Is there a beatless sound in a section without any embouchure adjustments? Stop adjusting, the instrument is in tune. While this process may assist students to develop their personal level of pitch discrimination by focusing on beat elimination, the addition of previously mentioned teaching strategies may increase the effectiveness and efficiency of this method. A method proposed by Jagow (2012) cites the work of Garofalo (1983, 1996) and Lisk (1991, 2007) while expanding upon their concepts within three varied learning styles: verbal, visual/aural, and kinesthetic. Verbal instruction included explanations of acoustic concepts such as vibration. Visual/aural methods included pictorial descriptions of waveforms and model performances of in- and out-of-tune. Kinesthetic concepts required students to practice with a tuner, as well as learn alternate fingerings and pitch tendencies of their instruments. Additionally, the author recommended singing intervals as part of the warm-up, using drones to

33 practice unison notes and intervals, performance in chamber ensembles, and practicing with longtones, harmonics, and overtones. Although Jagow’s (2012) work presents numerous instructional strategies to improve various aspects of intonation performance, these strategies may be most effective if paired with a ranked list of intonation concepts the strategies are designed to improve. Such a list may assist teachers in the development of curriculum for their ensembles. Latten (2003, 2005), having surveyed a large panel of experts, developed such an ordered list. The panel of over 40 conductors, studio instructors, researchers, authors, and wind band experts were asked to rank intonation concepts in sequential order as they would have used in their classroom or studio. The resulting list was as follows: 1) Ability to match pitch when humming and singing 2) Correctly operate mechanical systems of the instrument 3) Recognize the presence or absence of beats 4) Ability to bend pitch without mechanical manipulation 5) Knowledge of pitch tendencies of instrument 6) Effects of environmental and equipment factors 7) Ability to raise or lower chord tones as needed 8) Ability to correctly identify chord tones 9) Demonstrated knowledge of various temperaments Latten’s (2005, p. 67) objective was to develop a “complete sequence of instruction” as prior methodologies, noted above, merely represented singular aspects of intonation instruction. As sequential instruction is deemed important in the development of musical skill (Gordon, 1997), including pitch discrimination (Nichols, 1987), explorations of this nature may be beneficial to students. Further study, as recommended by Latten (2003, 2005), to determine the effectiveness of such a sequence may be meaningful to teachers during the curricular planning process. Statement of the Problem Pitch perception is a broad and multi-faceted field of study. Numerous studies have examined both perception and performance of intonation, but only a minor portion have been dedicated to the development of aural acuity in a sequential nature, particularly in large- ensemble settings. If performing with good intonation is considered an important component to

34 quality music performance, it should therefore be considered an important teaching concept in the rehearsal setting. To implement these concepts, it is the responsibility of the ensemble director to posses a high degree of aural acuity in pitch perception as well as utilize sequenced teaching techniques to guide their students in the development of pitch discrimination skills. While a large body of literature exists examining instructional techniques, few evaluate sequential learning in pitch discrimination. Additionally, a systematic review of current practices and expectation appears to have not been completed to date. Such data may reveal implications for both in-service ensemble directors as well as teacher training programs. Therefore, this study sought to address the following questions: (1) What large-ensemble tuning procedures are in-service teachers utilizing in their classrooms and how often? (2) What teaching techniques are currently being utilized in school-based ensemble classrooms, to what extent, and at which point should instruction begin? (3) What large ensemble tuning procedures do collegiate ensemble directors use at the beginning of their rehearsal period? (4) What types of skills in pitch perception do collegiate ensemble directors expect incoming music students to possess? (5) Assess the effectiveness of an intonation instruction method constructed from examining available literature and identifying commonalities among extant methods.

35 CHAPTER THREE

METHOD

Two phases of the current study were designed and implemented for the purposes of addressing the questions posed. Phase one evaluated current practices in K-12 band courses and collegiate band director expectations of incoming students via descriptive methods. Phase two evaluated a sample teaching sequence for intonation training using experimental methods. Institutional approval for research was sought and received from both the primary investigator’s institution and the local public school district in which the intonation training program was administered (Appendix A). Phase One Participants Participants (N=328) were active band ensemble directors who voluntarily and anonymously participated in a survey. One group was comprised of secondary school band directors (n=273) and the second group was comprised of collegiate band directors (n=55). Response rate for collegiate directors was 19%. Response rate for school band directors was indeterminable as survey invitations were shared through central state music education association offices. Participants were recruited using an email sent by the primary investigator (Appendix B). To develop email distribution lists, contact information from professional national organizations for each group of participants were used. The National Association for Music Education (NAfME) was used for school band directors and the College Band Directors National Association (CBDNA) was used for collegiate directors. Both organizations have large membership and their national status allowed for a broad range of responses. The geographical structure of each organization was identical: the United States was divided into six regions. Each region—Eastern, North Central, Northwest, Southern, Southwestern, and Western—contained the same division of states between both organizations. Within each region, one state with the largest population was selected for participant recruiting based on data from the U.S. Census (2010). The six states targeted for participation were: New York, Illinois, Washington, Florida, Texas, and California. E-mail contact lists were available from NAfME-affiliated state organizations in Texas and California. Other states elected to forward the invitation from their

36 NAfME-affiliated central office in lieu of sharing contact information. Due to technical difficulties with survey distribution, Maryland was used in place of New York to represent the Eastern region. Contact information for collegiate directors was available on the CBDNA website and used to develop an email distribution list. Questionnaire Two versions of the questionnaire were developed by the primary investigator (Appendix C). The first questionnaire was designed to assess current practices related to large-ensemble tuning in the secondary school. Descriptions of the tuning process utilized as well as the process for teaching tuning skills were asked. The second questionnaire was designed to gather information regarding collegiate band director expectations of incoming students in relation to tuning skills. Additionally, this questionnaire was designed to gather information about the collegiate director’s tuning process and any instructional methods utilized to teach tuning skills. A panel of experts, former ensemble directors familiar with research methodology, reviewed both questionnaires. Panelist responses indicated each questionnaire was appropriately designed to assess the desired information related to ensemble tuning, teaching techniques, and expectations. Survey Administration The initial request for participation was sent in January of 2014. This time frame was selected to avoid the often-busy marching band season in the fall and the common large-group adjudication season in early spring. Participants were asked to respond within two weeks of receipt. One week from the deadline a reminder email was sent to those participants who had not yet responded. Twenty-four hours before the deadline, a final email reminder was sent to any remaining participants who had not yet responded (Appendix D). The total required time to complete each survey was 15 minutes or less. Phase Two Participants Participants (N=47) were middle school (n=24) and high school students (n=23) from four different schools. The matched sample was divided into two groups: experimental (n=23) and control (n=24) based on participant school. One middle school and one high school functioned as the control group while another middle school and high school functioned as the experimental group. Participants at all schools received a pretest and posttest. Participants at the

37 experimental sites also received an intonation training program developed by the primary investigator thereby establishing a pretest-posttest control group design (Campbell & Stanley, 1963). Consent Following approval for research from university and district institutional oversight committees, contact was established with four area band directors to request participation. Directors with programs at a school designated as a control site were responsible for distributing and collecting student and parent consent forms, providing an acoustically appropriate space for pre- and post-testing, and developing a pullout schedule in which participants were tested individually during band ensemble class time. Experimental site directors were responsible for the same duties listed above as well as providing up to five minutes per day during class time for the primary investigator to run the intonation training program with the participants. All directors provided consent (Appendix E). Similar ensembles between schools were targeted for participation: the top auditioned ensemble in both middle schools and the second ensemble at both high schools. Each director received assent/consent packets (Appendix E) for distribution to their full class. Students under the age of 18 received a packet including an introductory letter, study description, parent consent form, and student assent form. Students over the age of 18 received a packet, which included an introductory letter, study description, and student consent form. Students were asked to return completed packets to their teacher within one week. From each school’s returned packets, 12 students were randomly selected for participation. Stimulus Creation Stimulus recordings were created using advanced collegiate-aged musicians recording in a professional studio with an audio engineer. Tones were recorded using a Shure Beta 57A Supercardioid Pattern microphone, Focusrite Platinum 8 OctoPre LE microphone preamplifier, and a Digidesign 96i interface. The digital audio workstation utilized was ProTools (ProTools, 2011) with a session setup of 24bit, 44.1kHz sample rate. Musicians were each instructed to perform their assigned note five times for a ten-second duration. All tones were recorded while viewing a tuner. Tones were recorded five times to allow the investigator and recording engineer to select the highest quality tone. The extended duration of the recorded tone allowed the investigator and recording engineer to select the most consistent segment of the tone without the

38 initial attack and decay. For the perception task, tone duration was three seconds. For the tuning task, tone duration was six seconds. For the perception task, brass family instruments (trumpet, French horn, trombone, and tuba) were chosen due to the presence of harmonics (complex tones) and easy delineation into four octaves for testing. Different pitches were used in each octave in an attempt to limit learning effects and experimental fatigue: tuba: C2 (65.41 Hz), trombone: D3 (146.83 Hz), French horn E4 (329.63 Hz), and trumpet: G5 (783.99 Hz). The investigator and recording engineer evaluated each tone to determine the most consistent recording. After a selection was determined, the tone was pitch corrected using Melodyne (Melodyne, 2011) software to ensure the tone was in-tune. All notes were evaluated to be +/- 1 cent using Praat audio analysis software (Boersma & Weenik, 2014). In-tune and out-of-tune versions of the tone were utilized for the current study. Out-of- tune tones were created by pitch shifting each in-tune note using Melodyne (Melodyne, 2011) software to reflect each of the desired conditions: 10, 20, and 30 cents, both sharp and flat. After individual tone recordings were made, GarageBand (GarageBand, 2012) was used to pair in-tune reference tones with out-of-tune experimental tones or a repeated in-tune tone. Twenty-eight pairs of pitches were recorded. There were seven pairs of pitches for each range (SATB). In each range, one pair was a control variable with two reference (in-tune) pitches and in the other six pairs the second pitch deviated from the first by 10, 20, or 30 cents in both flat and sharp directions. Each tone was played for three seconds and there were two seconds of silence in- between each pair. In an attempt to limit learning and order effects, all pairs of pitches were randomized such that the same range, deviation magnitude, or direction of deviation were not heard consecutively and two orders were created. To create tuning task stimuli, recordings of advanced collegiate-aged performers were created. Musicians who played oboe, clarinet, and tuba performed a concert A (440 Hz for oboe and clarinet, 110 Hz for tuba) while viewing a tuner and were asked to sustain the tone for ten seconds or longer, five times. The investigator and recording engineer evaluated each recorded tone to determine the most consistent version. After a selection was determined, the tone was pitch corrected using Melodyne software to ensure the tone was in-tune (Melodyne, 2011). All tones were evaluated to be +/- 1 cent using Praat audio analysis software (Boersma & Weenik,

39 2014). Each stimulus tone was repeated in GarageBand (GarageBand, 2012) six times, with one second of silence between each repetition to create the stimulus track. Pre- and Post-Test The investigator designed the pre-test and post-test utilized in this study. Three tasks were included: a perception task, a tuning task, and a melodic task. Each participant completed the test individually and in an acoustically appropriate room, i.e., a room separated from the ensemble classroom with noise reduction materials. A random sample (n=12) from each school location was chosen to participate in the pre- and post-test. Participants were selected randomly from the group of signed consent forms by the investigator. The perception task asked participants to judge one note as in-tune or out-of-tune in a paired comparison format (Akin & Belgin, 2009; Bentley, 1973; Loosen, 1995; Miyazaki, 1992; Schellenberg & Moreno, 2010; Vurma et al., 2011; Worthy, 2000). Pairs were presented using the psychological data collection software Inquisit 4.0.3 (Inquisit, 2013) on a 15” late-2008 model MacBook Pro with a researcher-designed custom script (Appendix F). Audio playback was through Sennheiser HD280 Pro headphones and participants were allowed to adjust the volume to their preference level prior to beginning the task. A standard set of instructions was presented as the first screen of the task (Appendix G). Inquisit 4.0.3 (Inquisit, 2013), was used to measure stimulus response time (latency), in milliseconds and response accuracy. The custom script prepared by the primary investigator played 28 stimulus sound files and asked participants to rate the second note heard in each pair as “in-tune” or “out-of-tune.” An indication of “flat” or “sharp” was not asked, as this information was not part of the current study. On the computer screen, participants saw a black screen with brightly colored labels in the upper two corners. The label on the left read “In-Tune” and the label on the right read “Out-of-Tune.” These labels corresponded with the designated response keys, the left and right shift keys. Additionally, during the instructional phase, a photo of the MacBook Pro keyboard indicated the location of the response keys by showing participants how to respond with their index fingers (Figure 3.1). Participants were given three seconds after the end of the sound file to respond by tapping a designated key on the keyboard. If the participant elected to respond before the end of the second tone, their response was recorded and the software advanced to the next stimulus. The script was written such that no

40 response was allowed until the second tone began. No feedback was provided to participants during the experiment.

Figure 3.1. Perception Task Instruction Screen

The tuning task asked participants to tune their instrument to three external reference audio tracks playing a concert A (Byo et al., 2010; Geringer & Witt, 1985; Miles, 1972; Rakowski, 1985; Worthy, 2000; Yarbrough et al., 1997). Instructions were as follows: You are going to hear an instrument play a concert A natural, your (insert transposed note here) so you can tune your instrument. The instrument you hear will play the note six times with silence between each repetition. While the note is playing, you may play along, hum, or sing if you would like as you tune your instrument. You will be able to hear yourself and the instrument playing in your headphones. If you would like the tuning note repeated, please feel free to ask. When you believe your instrument is in- tune, please let me know and then play a nice long note for the recorder. We will do this task three times, each with a different sounding instrument. Prior to each task, I will ask you to pull your main tuning slide out so the instrument begins out-of-tune. Do you have any questions? Let’s begin.

41 Concert A was chosen as it represents a common tuning note, but is often not used in band- ensemble classes. Stimuli (oboe, clarinet, and tuba) were arranged in three randomly assigned orders and participants tuned their instruments to each stimulus recording. Prior to each of the three tuning tasks, participants were instructed to lengthen their instrument or “pull out.” Participants listened to the stimulus files presented via iTunes software (iTunes, 2013) on a late- 2008 model MacBook Pro through Sennheiser HD280 Pro headphones. Stimuli tracks and participant performances were mixed in real-time using a Shure Beta 57A microphone and Behringer Eurorack MC 602A mixer such that the participant heard both tones as they were tuning. Prior to tuning activities, all participants were given a chance to play into the microphone and adjust volume as needed for their personal level of comfort. All responses were recorded using a Sony PCM-M10 digital audio recorder for later analysis. The melodic task (Geringer & Sogin, 1988; Karrick, 1998; Morrison, 2000; Salzberg, 1980) was a brief, 12-bar exercise in Bb major (Figure 3.2) to be performed following the tuning task. The melody was created to evaluate melodic intonation by determining performed interval width as compared to in-tune interval width in both equal temperament and just intonation. Targeted intervals included unison, major third, perfect fourth, perfect fifth, octave, as well as comparisons of the identical first and final note. Participants were instructed to silently look over the melody and inform the investigator at which point they were ready to play begin the task. A moderately slow tempo (♩=80) was modeled for participants immediately prior to beginning the task. This tempo was chosen to allow ample time for audio analysis of individual notes. Performances were recorded using a Sony PCM-M10 digital audio recorder for later analysis.

Figure 3.2. Melodic Task

42 Intonation Training Program The intonation training program was developed by the investigator after reviewing available literature (Codding, 1985; Colley, 2004; Dalby, 1992; Garofalo, 1983, 1996; Goldman, 1961; Jagow, 2007; Latten, 2003, 2005; Lisk, 1991, 2007; Markworth, 2008; Miles, 1972; Salzberg, 1980). Each suggested pedagogical model for teaching intonation was reviewed and those strategies proving to be most commonly cited were used in the current program. The most often-cited teaching techniques included beatless tuning, vocalization, interval recognition and reproduction, unison melodies, use of an electronic tuner, large-group tuning procedures, and ensemble balance. A six-week program was constructed. The primary investigator administered instruction at experimental sites each day for approximately five minutes following the warm-up period. The program relied heavily upon several strategies such as beat elimination, vocalization, interval recognition, and tuning procedures. As suggested by Lisk (1991), the primary focus was on beat elimination and not designations of “flat” or “sharp.” The extra step of labeling an out- of-tune note would incur additional instruction and time that was unavailable for the present study. The primary vocalization technique utilized was humming as many students often initially prefer to avoid singing, particularly in front of peers. As the program progressed and the investigator began to establish rapport with the students, singing scalar passages on neutral syllables such as “la” as well as numbers was introduced as a precursor to interval recognition and reproduction, a necessary skill cited by Goldman (1961). Intervals were further explored with simple songs, e.g., America or Happy Birthday, that the students were encouraged to learn without notated music by hearing it “in their head” before playing it on their instrument, a process known as audiation (Gordon, 1997). The students then performed these melodies on their instruments as unison exercises in ensemble to practice balance and beat elimination while performing. Additional instruction covered types of tuning such as mechanical, e.g., adjusting the instrument to perform closely in-tune, and physical, e.g., techniques for musicians to adjust a note in performance without adjusting the length of their instrument such as tongue placement or embouchure adjustments. The program concluded with the investigator observing daily music rehearsals of the ensemble and targeting areas for intonation improvement in the ensemble’s concert music. These areas were then addressed, in rehearsal, by the investigator to direct student’s attention to faulty intonation and the way in which it may be corrected.

43 Instruction related to temperament, individual pitch tendencies, or environmental factors was not included as these concepts were outside the scope of this study. This investigation was designed as an introduction of basic intonation concepts. The investigator conducted the program over six weeks at both a middle and high school for a total of 26 sessions after district holidays and teacher professional/sick days were taken into account. An outline of the program may be found in Table 3.1.

Table 3.1 Intonation Training Program Outline Week Concept Activities

(1) Introduction/importance of intonation One Intonation (2) Models of poor intonation (3) Humming to sensitize aural skills

(1) Vocalization procedures with drones (2) Pitch bending Two Beat Elimination (3) Listening for beats (4) Identify speed of beats (5) Directed Listening

(1) Transition from humming to singing (2) Patterns on “la” Three Intervals (3) Introduction of numbers for scalar patterns (4) Singing scales with numbers (5) Introduction of intervals with numbers

(1) Review of numbers and intervals (2) Play openings of familiar songs, identify interval Four Unison Melodies (3) Learn America as a class to introduce audiation (4) Learn Happy Birthday at home

(1) Why vocalize? Sensitization of aural skills Tuning (2) Relation of aural skills and tuning Five Procedures (3) Mechanical and physical tuning procedures (4) Directed listening, where to get the pitch

44 Table 3.1 cont.

(1) Identify intonation errors in current ensemble music Intonation in (2) Provide potential remediation strategies Six Context (3) Allow students to practice identification and remediation (4) Summary of program

45 CHAPTER FOUR

RESULTS

This study was designed to assess current pedagogical practices related to developing pitch discrimination abilities. The study was designed in two phases. Specifically, phase one sought to ascertain current tuning procedures and ear training techniques used within K-12 school and collegiate ensembles. In phase two, a model for instruction was developed, implemented, and tested to determine the model’s viability in a K-12 school ensemble. Phase One Participants (N=328) in this phase were school band directors (n=273) and collegiate band directors (n=55). Response rate for collegiate directors was 19%. Response rate for school band directors was indeterminable as survey invitations were shared through central state music education association offices. Invited participants represented the six regional divisions of NAfME and CBDNA. Respondents by region and group may be found in Table 4.1. Of participating school band directors, 114 (42%) taught at the high school level, 85 (31%) taught at the middle school level and 75 (27%) taught multiple levels. Teaching experience was evenly distributed (c. 15%) for every five-year block from zero through 25 years of teaching and 29% of respondents indicated they taught for more than 25 years. Collegiate band directors primarily taught undergraduate ensembles (95%), as opposed to graduate ensembles (5%), and a majority of collegiate respondents indicated they have taught for more than 25 years (56%). Table 4.1 Responses by Region and Sample Type Region K-12 Directors Collegiate Directors Eastern 1 6 North Central 8 8 Northwest 16 4 Southern 46 5 Southwestern 128 16 Western 74 16

Participants were asked to indicate how important it was to tune their ensemble everyday using a seven-point Likert-type scale where “1” indicated “Not important at all” and “7”

46 indicated “Very Important.” School band directors rated the importance of tuning every day with a mean of 5.86 (SD=1.35) while collegiate band directors indicated it was slightly more important to them with a mean of 6.45 (SD=.77). In the tuning process, school band directors indicated they primarily used the notes F (218 responses), Bb (216 responses), A (142 responses), or some combination of the three as the initial tuning note. Collegiate directors appeared to favor the same notes and similar combinations as school directors, albeit in reverse order: A (45 responses), Bb (43 responses), and F (24 responses). When selecting an instrument to sound the initial tuning note, school band directors responded they primarily used an electronic tone-production device such as a oscillator or Yamaha Harmony Director (148 responses), the tuba (133 responses), clarinet (76 responses), or the oboe (46 responses). Collegiate band directors appeared to favor, in descending order, the oboe (34 responses), tuba (25 responses), and clarinet (19 responses). Each group was asked to select all instruments that applied with some directors choosing multiple instruments. The majority of both school band directors (77%) and collegiate directors (87%) responded they did not require their students to own a tuner. Free-response questions were used to learn more about participant’s preferred tuning process, in-class teaching techniques, individual assignments to be completed outside of class, and whether or not the teacher elected to discuss temperament choices. Additionally school band directors were asked at which point in the educational process intonation instruction should begin while collegiate band directors were asked to describe their expectations of incoming collegiate music students with regard to intonation abilities. Each response (Appendix H) was coded to help categorize and summarize data using a researcher-developed coding database (FileMaker, 2011). An expert in the field of instrumental music education research was used as a reliability assistant to confirm coding (.81). Reliability was computed using the formula: agreements ÷ (agreements + disagreements). Due to the nature of the questions, percentage data were unable to be computed as only some participants provided detailed descriptions; therefore data was presented as response counts. In describing their procedures of tuning an ensemble participants were found to vary greatly in their descriptions from basic, such as “Warm up. Tune to device, tune to ensemble.” (Participant 13) to more descriptive:

47 I play an F concert on Tonal Energy (A=442 to match the mallet instruments...piano is also tuned to 442) as we are getting set for the rehearsal. We hum and sing the tuning pitches before making an initial match on the instrument. We then play warm up exercises descending by half steps (brass on mouthpieces) as I play the pitch along on Tonal Energy. The brass are on horns starting on the third exercise and I continue to play Tonal Energy during each exercise. We always end on a Just Intonation major triad. After 15-20 minutes of exercises, they have a last chance check with the tuner and analysis on Tonal Energy. We are good to go at that point. (Participant 45) Several emergent trends were found in participant process descriptions. Those directors electing to provide detailed descriptions appeared to prefer a live source to produce the initial tuning note to an electronic source, and also asked students to vocalize the tuning note, either humming or singing, prior to playing. There also appeared to be a preference for a “bottom-up” tuning strategy in which the lowest voices, typically starting with the tubas, sound the tuning note as the rest of the ensemble tuned by section in reverse score order. Summarized responses of the process utilized to tune an ensemble may be found in Table 4.2. Table 4.2 Tuning Process Responses Item K-12 Directors Collegiate Directors Initial Source Live 95 21 Electronic 78 4 Vocalization 52 9 Bottom-up 75 16 Top-down 13 19 Intervals 11 4 Sections 15 4

In free-response question two directors were asked to provide details relating to any ear training techniques they may use to improve their student’s pitch discrimination abilities. School band directors seemed to favor using a tuner, vocalization, and drones. A portion of directors (11%) who discussed using a tuner indicated their process was student directed, i.e., students were required to tune themselves prior to the start of rehearsal in order to save rehearsal time.

48 Collegiate directors appeared to favor vocalization, discussions of temperament, chorales, and chord tuning. It would appear the latter three techniques (temperament, chorales, and chord) may be related as directors often described having utilized chord and chorale tuning as means to practice temperament adjustments. Summarized responses of cited techniques used in a classroom environment may be found in Table 4.3. Table 4.3 In-class Techniques to Improve Sense of Pitch Item K-12 Directors Collegiate Directors Vocalization 68* 13* Temperament 7 13* Instrument Tendency Charts 10 3 Balance/Blend/Tone 24 7 Chorales 35 9* Beat Elimination 43 2 Intervals 30 7 Chords 37 9* Drones 58* 7 Tuner 72* 4 Method Book 26 1 Echo Melodies 3 0 Pitch Bends 1 0 Dictation 2 0 Listening Assignments 0 5 Note: * Indicates most often noted technique

In addition to in-class techniques, participants were also asked to detail any exercises they asked of the student outside the classroom in free-response question three. The majority of directors, one hundred and sixty-nine (62%) school band directors and 31 (56%) collegiate directors, assigned exercises outside of class. Both groups of directors indicated practicing with a tuner as well as compiling a tuning tendency chart for their instrument as most-often assigned exercises. While numerous directors indicated they asked their students to practice with a tuner specific exercises or techniques were not often listed. Many responses were similar to “work with a tuner” (Participant 106). A full list of cited exercises may be found in Table 4.4.

49

Table 4.4 Personal Exercises to Improve Pitch Discrimination Exercise K-12 Directors Collegiate Directors Pitch Bends 2 2 Practice with Drones 9 3 Practice with Tuner 111* 13* Learn Alternate Fingerings 2 1 Prepare Tuning Tendency Charts 56* 12* Practice Vocalization 7 4 Self-recordings 6 2 Use Software/Apps 20 4 Listen to Professional Recordings 6 0 Note: * Indicates most often noted exercise

A majority of collegiate directors (65%) indicated they taught their ensemble members the difference between equal temperament and just intonation. While some strong opinions were evident, “Absolutely…severely under-taught in the public schools” (Participant 10), the majority detailed a primary focus on beatless or pure tuning of thirds. The majority of school band directors (54%) elected not to incorporate the concept of temperament. Many directors indicated their decision was influenced by lack of time or having taught a younger, less-experienced ensemble. As with collegiate directors, some strong opinions were evident, “Yes. Equal temperament has ruined harmony. LOTS OF JUST INTONATION DRILLS!!!” (Participant 166), however, the majority of directors indicated these discussions were reserved for their older, more-experienced ensembles and functioned more as an introduction to the concept of adjusted temperament. Free-response question five was adjusted to be sample-specific. School directors were asked at which point students should begin learning about the tuning process while collegiate directors were asked to detail their expectations of incoming music students in regards to their pitch discrimination abilities. A significant portion of school band directors, χ2 (1, N=273)=113.46, p<.05, indicated they believed instruction should begin either during beginning band or earlier within general music courses. Other responses included (in descending order): following development of characteristic tone (12%), middle school (4%), and high school (<1%).

50 In response to beliefs regarding requisite intonation skills in collegiate ensembles, collegiate directors most often cited students should be able to posses a high level of pitch discrimination ability (27 responses), be able to successfully tune their instrument both mechanically and physically (18 responses), perform with good tone (14 responses), as well as understand pitch tendencies of their instrument (13 responses). Additional items cited, albeit to lesser extent, included knowledge of different temperaments (5 responses), intervals (4 responses), and harmony (2 responses), as well as avoiding visual dependency on a tuner (4 responses). Phase one was designed to assess current practices related to the development of pitch discrimination skills. In reviewing responses, of particular interest was the broad spectrum of responses elicited by this study. Although several trends were found with descriptive analyses, a representative example of pedagogical practices may be difficult to conceptualize due to breadth of responses. The following are some illustrative examples of varying opinions held by directors on the development of pitch discrimination skills:

Some directors elected to refrain from detailing strategies they utilized: Participant 5 (Collegiate Band Director): n/a

For some, the process may be simple and straightforward: Participant 204 (School Band Director): Singing, everyday.

Others, detailed a well-delineated strategy: Participant 230 (School Band Director): In our youngest ensemble we will listen to a pitch producing device for the first few months to establish the pitch, let it really soak into our heads, then begin to play the pitch individually in short spurts with a relaxed, consistent embouchure to check if it is the same. We listen for the point right when the instrument sounds and compare it to the sound in our head, adding in from the lowest voices as previously mentioned (but with the pitch producing device standing in for the tubas). If it is not we adjust. After that, we pass several clip-on strobe tuners around the ensemble, making sure to check with our eyes closed first then opening after the relaxed, consistent embouchure has been established so that our brain does not subconsciously adjust automatically. After things are perfect, we will re-do the process, building up from

51 the tubas, using the same relaxed consistent embouchure. This way we learn what perfection sounds like and what the goal is. We do this daily in the youngest ensemble for the first couple months. We proceed on through the scales, adding one new note at a time to our list in a Note Adjustments document that details all the adjustments for each student and their instrument. We also examine the bad notes on each of their instruments, working first from the 7 notes of the Concert Bb scale and learning to "place" our pitches, not just "play" them. As we document each pitch against a strobe tuner after having tuned to perfection, we note which pitches are in-tune, slightly out-of-tune (and which way), or very out-of-tune, and draw an arrow or a double arrow on any note in the scale that needs adjustment and which direction it needs to go to get to equal temperament. We do this most days in the first few months in our youngest ensemble.

Some may find benefit in the use of technology: Participant 196 (School Band Director): Each student has an iPad with a tuning app that they are allowed to use all period. We also stop occasionally to check pitches in passages of the work we are rehearsing, and discuss hearing waves and techniques for improving pitch centers/intonation.

And others may emphasize basic listening skills: Participant 34 (Collegiate Band Director): We teach music in universities for the eye, whereas music is for the ear. To achieve good intonation, the student must hear the chord tones below, not at the same level and not above. If the student can hear the chord tones beneath him, he will play in-tune because a billion or so years of genetic training by the overtone series will take over. No pedagogic left-brain information helps and will certainly confuse the student. Phase Two Participants (N=47) in this phase were middle (n=24) and high school (n=23) students participating in the band ensemble at their school. Control (n=24) and experimental (n=23) groups were balanced such that equal representation of middle school and high school students were utilized in each group. However, the sample itself was non-equivalent as students were divided based on school location and therefore could not be randomized. One experimental

52 group participant, though having participated in the pre-test, moved during administration of the treatment and thus, his/her data were excluded from analysis. Participants were assessed utilizing an identical three-part, pre- and post-test consisting of a paired-comparison task, tuning task, and melodic task. Data collected from each task were analyzed with repeated-measures analysis of variance (ANOVA) tests through SPSS Statistics software. Separate repeated-measures ANOVA tests were computed for each task and an alpha level of .05, adjusted for multiple-comparisons where appropriate, was used for rejection of the null hypotheses. Between-subject variables included condition (control/experimental), school level (MS/HS), instrument (WW/BW), and order (presentation of stimuli). Within-subject variables included pre- or post-test, stimulus range, deviation magnitude, deviation direction, stimulus instrument, interval width, and temperament. Paired-Comparison Task Latency Analysis Participants completed a paired-comparison task in which they were asked to identify stimuli as “In-Tune” or Out-of-Tune” using data collection software. The software was programmed to collect response-time data in milliseconds (latency) and accuracy of responses. The mean overall latency response for the control group was 5014.72 (SD=1048.09) and 4317.76 (SD=999.78) for the experimental group. Descriptive data for each stimuli item between test administrations are reported in Table 4.5.

Table 4.5 Means and Standard Deviations of Stimulus Latency Responses (M/SD) Pre-Test Post-Test Stimulus Item (in milliseconds) (in milliseconds) Control Experimental Control Experimental Soprano Range Sharp +30 4732.58 (1656.92) 3543.83 (1919.07) 4098.79 (1349.52) 3391.22 (1578.50) Sharp +20 4796.71 (1709.26) 3671.09 (1890.57) 4241.38 (1607.01) 4147.35 (2114.51) Sharp +10 4840.21 (1656.17) 4583.52 (2690.25) 4377.79 (1388.06) 4542.17 (1693.59) Flat -10 4702.50 (1878.15) 4491.65 (2110.38) 4485.67 (1582.67) 4175.22 (1586.70) Flat -20 4728.88 (1770.01) 4529.52 (1862.22) 4822.63 (1695.29) 41069.91 (1321.59) Flat -30 4375.54 (2517.36) 3619.13 (2086.02) 4128.79 (1523.74) 3755.61 (1453.17)

53 Table 4.5 cont. Alto Range Sharp +30 4755.08 (1423.51) 3577.57 (1731.31) 4047.88 (1730.98) 3584.78 (1358.82) Sharp +20 5056.04 (1978.83) 4557.61 (3478.33) 4536.88 (1129.96) 4316.74 (1497.94) Sharp +10 5185.21 (1972.68) 5241.04 (3755.79) 4670.45 (1900.04) 4686.43 (1569.65) Flat -10 5032.04 (1982.79) 4004.91 (2016.74) 4777.96 (1360.82) 4379.61 (1635.24) Flat -20 4364.00 (1874.10) 3791.87 (2015.94) 4410.29 (1406.16) 3995.34 (1705.10) Flat -30 4210.88 (1634.44) 3406.17 (1643.16) 4319.46 (1585.29) 3873.52 (1216.57) Tenor Range Sharp +30 4230.50 (1259.98) 3361.09 (1871.59) 4166.42 (1122.88) 3637.39 (1477.24) Sharp +20 4487.29 (1700.92) 4597.35 (3744.39) 4696.04 (1655.22) 4448.74 (2984.88) Sharp +10 4734.21 (2051.04) 3852.39 (2055.34) 4718.08 (1615.41) 4544.70 (1415.17) Flat -10 4773.79 (1704.80) 4031.91 (1789.98) 4207.42 (1669.77) 4105.87 (1506.89) Flat -20 4635.58 (1507.01) 4739.00 (4067.2) 4588.50 (1302.36) 4498.48 (1875.11) Flat -30 4263.04 (1771.22) 4485.04 (3275.81) 4093.46 (1685.97) 3771.35 (1439.66) Bass Range Sharp +30 4424.79 (1837.02) 3957.70 (2059.71) 4546.92 (1610.38) 4015.91 (1630.57) Sharp +20 4958.92 (2518.85) 4774.30 (3812.23) 4671.38 (1213.71) 4258.04 (1573.79) Sharp +10 5055.33 (1961.99) 4648.48 (1899.05) 4658.79 (1304.96) 4594.70 (1819.39) Flat -10 4638.08 (1677.29) 3959.26 (1978.05) 4861.96 (987.22) 4578.13 (1461.85) Flat -20 4783.62 (2049.74) 4267.35 (1918.81) 4514.50 (1378.95) 3946.00 (1945.55) Flat -30 4603.73 (1898.74) 4301.26 (1919.60) 4996.17 (1345.12) 5091.74 (3301.23)

Data were further analyzed utilizing an eight-way analysis of variance (ANOVA) with repeated measures. A significant main-effect was found for deviation magnitude, F (2,64) = 2 23.76, p<.05, ηp = .43. Reviewing pairwise comparisons, response time was not significantly different between 10- and 20-cent deviations, however, responses to 30-cent deviations were significantly different (p<.05) than both 10 and 20 cent deviations (Figure 4.1). Response time appeared to be faster when stimuli were deviated by 30 cents. A significant interaction between 2 deviation magnitude and deviation direction was also found, F (2, 64) = 6.284, p<.05, ηp = .16. Flat stimuli elicited faster responses within smaller deviation conditions while sharp stimuli elicited faster responses in larger deviation conditions (Figure 4.2). No significant effects for

54 presentation order, school level, participant instrument, condition, range, test administration, or deviation direction were found. Comparing responses between condition (control or experimental group) and school level (MS or HS), a significant interaction was found, F (1,32) = 2 6.814, p<.05, ηp = .18, which may indicate potential selection effects (Campbell & Stanley, 1963) resulting from non-equivalent groups (Figure 4.3). Comparisons of latency responses by test administration and condition revealed no significant differences, thereby indicating effects of the treatment variable were not found to influence participant’s performance on response time measures between test administrations. However, graphic analysis displayed a trend for both condition and school level in which response times were faster on the post-test when compared to the pre-test (Figures 4.4 and 4.5). The noted trend may be an indication of potential benefits resulting from the treatment variable or may be a result of maturation and/or testing effects (Campbell & Stanley, 1963).

Figure 4.1. Overall Latency Responses by Deviation Magnitude

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Figure 4.2. Overall Latency Responses by Magnitude and Deviation

Figure 4.3. Overall Latency Responses by Level and Condition

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Figure 4.4. Pre-Test, Post-Test Overall Latency Responses by Condition

Figure 4.5. Overall Latency Responses by School Level

57 Accuracy Analysis Graphic and Chi-square analyses were utilized to assess response accuracy. Reviewing Figure 4.6, trends were evident in which control group participants exhibited increases in response accuracy between test administrations while experimental participants displayed a slight decrease in response accuracy. However, statistical analyses found no significant differences between conditions, school level, or test administration indicating the treatment variable was not found to influence response accuracy. Significant differences were found in analyses of magnitude deviation; however, magnitude responses between test administrations were not significantly different. Participants were more accurate as stimuli increased in deviation magnitude in each test condition (Table 4.6). Comparing latency and accuracy results, it would appear the treatment variable did not have a significant effect on participant responses to the paired-comparison task.

Figure 4.6. Mean Accuracy Responses by Condition and Test

58 Table 4.6 Chi-square Analyses of Participant Accuracy in Categories of Magnitude Deviation Deviation χ2 df p Pre-Test 10-20 Cents 23.44 1 <.05* 20-30 Cents 12.58 1 <.05* 10-30 Cents 68.98 1 <.05* Post-Test 10-20 Cents 20.34 1 <.05* 20-30 Cents 17.42 1 <.05* 10-30 Cents 73.78 1 <.05* Note: * Indicates significant difference

Tuning Task Participants were asked to tune their instrument to a provided stimulus three times. Each repetition of the task was accomplished using a different stimulus instrument: oboe, clarinet, or tuba. Overall mean deviation in cents was lowest for the oboe stimulus (M=11.18, SD=4.20), followed in ascending order by the clarinet (M=11.75, SD=4.93), and the tuba (M=12.00, SD=4.17). Additional descriptive data are reported in Table 4.7.

Table 4.7 Means and Standard Deviations of Tuning Task Deviation Responses (M/SD) Pre-Test Post-Test

Stimulus (in cents) (in cents) Instrument Control Experimental Control Experimental Oboe 14.96 (13.35) 9.65 (8.49) 10.13 (9.41) 10.09 (7.39) Clarinet 14.42 (13.70) 12.36 (11.44) 11.54 (9.93) 9.22 (10.61) Tuba 14.75 (10.72) 13.61 (10.60) 13.21 (12.24) 6.87 (6.68)

A four-way analysis of variance (ANOVA) with repeated measures was computed to assess tuning accuracy in response to three stimuli. No effects were evident with regard to 2 stimuli presentation order; however, significant differences, F (1, 41) = 5.38, p<.05, ηp = .12,

59 were found between test administrations. As show in Figure 4.7, participants in both conditions deviated significantly less in post-test performance when compared to pre-test responses. Additional findings indicated no significant differences between stimulus instruments (Figure 4.8). Direction of deviation was not found consistent between test administrations for oboe or clarinet stimuli; however, deviations from tuba stimuli were consistently sharp (55%). Lacking significant differences between control and experimental conditions, it is likely responses on the post-test may be a result of maturation and/or testing effects (Campbell & Stanley, 1963).

Figure 4.7. Pre- and Post-Test Tuning Task Cent Deviation by Condition

Figure 4.8. Pre- and Post-Test Cent Deviation by Stimulus Instrument Melodic Task Participants were recorded performing a brief, 12-bar melody following the tuning task. Six intervals, comprised of eleven notes in total (one shared note), were targeted for audio

60 analysis as shown in Figure 4.9. Intervals included unison, major third, perfect fourth, perfect fifth, octave, and a comparison of the task’s first and final note of the task. Mean frequency readings were taken from the middle third of each note in an effort to avoid frequency changes due to starting or ending a note. To assess interval width, frequency differences between notes × were converted to total cents using the formula c=1200 log2 (f2 /f1) where log 2 = 0.301029995 (Sengpielaudio, 2010). Interval width measurements were then compared with in-tune intervallic relationships (Table 4.8) in order to determine degree of deviation. Cent deviation measurements were compared using both equal temperament and just intonation (Jagow, 2007). Overall mean cent deviation for the control group was 9.93 (SD=2.95) and the experimental group was 10.99 (SD=3.02). Mean deviation by temperament was 10.42 (SD=2.23) for equal temperament and 10.50 (SD=2.03) for just intonation. Further descriptive data are reported in Table 4.9.

Figure 4.9. Melodic Task Interval Assessment

Table 4.8

Interval Relationships in Equal Temperament and Just Intonation Equal Temperament Just Intonation Interval (in cents) (in cents) Unison 0 0

Major Third 400 386 Table 4.8 cont. Perfect Fourth 500 498 Perfect Fifth 700 702 Octave 1200 1200

61 Table 4.9 Mean Deviations of Melodic Task Intervals from Equal Temperament and Just Intonation (M/SD) Pre-Test Post-Test Melodic Interval (in cents) (in cents) Control Experimental Control Experimental First – Final Note* 2.33 (2.62) 3.29 (7.37) 2.19 (2.17) 2.18 (2.82) Unison* 5.43 (4.94) 9.01 (9.01) 4.75 (4.18) 6.01 (3.65) Major Third Equal Temperament 12.05 (10.28) 17.05 (15.69) 11.14 (9.25) 10.04 (11.45) Just Intonation 8.55 (5.79) 11.69 (10.63) 19.29 (10.72) 17.71 (14.28) Perfect Fourth Equal Temperament 15.06 (15.98) 13.87 (13.53) 12.60 (6.77) 13.93 (13.26) Just Intonation 14.70 (16.09) 12.60 (13.93) 11.77 (7.22) 13.32 (12.89) Perfect Fifth Equal Temperament 14.00 (9.99) 15.09 (15.76) 14.48 (9.05) 12.39 (8.22) Just Intonation 13.40 (9.79) 15.37 (16.21) 14.15 (8.54) 11.32 (8.37) Octave* 12.98 (17.68) 17.38 (15.13) 10.83 (10.04) 11.88 (9.88) Note: * Indicates no difference in temperament

A five-way analysis of variance (ANOVA) with repeated measures was computed to examine deviation data. A significant main effect was found when comparing all intervals, F (5, 2 215) = 23.11, p<.05, ηp =.35. Intervals one (initial and final note) and two (unison) deviated less than all other intervals as shown in Figure 4.10. Significant interactions were found between test 2 administration and temperament, F (1, 43) = 38.91, p<.05, ηp = .46, and between temperament 2 and interval, F (5, 215) = 3.638, p<.05, ηp = .09. Graphic analysis of the interaction between test administration and temperament appeared to reveal deviation from equal temperament was lower in post-test responses than deviation from just intonation (Figure 4.11). Evaluating the interaction between temperament and interval, it would appear while perfect fourths and fifths deviated slightly less from just intonation as opposed to equal temperament, major thirds deviated more from just intonation when compared to equal temperament (Figure 4.12). While the treatment variable was not found to exert a significant influence on melodic task performance, F (1, 43) = 1.79, p>.05, graphic analysis indicates a potential trend. Figure 4.13 displays relatively small changes in control group mean deviation between test administrations

62 while the experimental group exhibited improvement by approximately two cents. Additional data as shown in Figure 4.14 displayed the relationship between age/training levels and performance between test administrations. Older participants improved by approximately two cents during post-test performance.

Figure 4.10. Mean Cent Deviation by Test Administration and Interval

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Figure 4.11. Mean Cent Deviation by Temperament and Test Administration

Figure 4.12. Mean Cent Deviation by Temperament and Interval

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Figure 4.13. Mean Cent Deviation by Condition and Test Administration

Figure 4.14. Mean Cent Deviation by Level and Test Administration

65 CHAPTER FIVE DISCUSSION The purpose of this study was to determine current practices and expectations related to the development of pitch discrimination skills and examine the effectiveness of an intonation training program. Specifically, this study investigated the following: (1) What large-ensemble tuning procedures are in-service teachers utilizing in their classrooms and how often? (2) What teaching techniques are currently being utilized in school-based ensemble classrooms, to what extent, and at which point should instruction begin? (3) What large ensemble tuning procedures do collegiate ensemble directors use at the beginning of their rehearsal period? (4) What types of skills in pitch perception do collegiate ensemble directors expect incoming music students to possess? (5) Assess the effectiveness of an intonation instruction method constructed from examining available literature and identifying commonalities among extant methods. To address the research objectives, two phases of the study were developed. Phase one was descriptive in nature and utilized questionnaires distributed to a national sample. Phase two was designed to implement and assess effectiveness of an intonation training program within a school environment. Results of phase one indicated several common tuning strategies and often utilized instructional techniques to improve pitch discrimination ability. In phase two, the intonation training program was not found to significantly impact intonation performance of the participants. Research Questions The first research question sought to determine tuning procedures currently in use by K- 12 school ensemble directors and how often tuning may occur. Directors indicated tuning everyday was somewhat important, however inherent time constraints of a 40- or 50-minute class period appeared to dictate whether or not tuning may occur. When tuning, a majority of directors favored either an electronic source or the tuba to sound the initial tuning pitch followed by vocalization to internalize pitch prior to playing. Directors identified a “bottom-up” approach in which the lowest voices began the tuning process and instruments added from lowest tessitura to highest. It should be noted, responses to free-response items varied from basic to highly

66 descriptive. Though some commonalities were apparent the overall variability of procedures may be the most important finding. The second research question was designed to identify in-class teaching techniques used by school directors to improve their students’ sense of pitch, to what extent the techniques were used, and at what point in student musical development intonation instruction should begin. A majority of directors believed instruction should begin early, in beginning band or earlier within elementary music courses. The technique most often cited to improve intonation was the use of a tuner. Several directors described classroom sets of tuners with clip-on pickups that they required students to use both during initial tuning as well as during rehearsal. Other techniques included vocalization and the use of drones as methods for internalizing pitch. Less frequently cited techniques were higher-order concepts, e.g., temperament or dictation, which would likely require students to already possess fundamental skills and understanding of intonation concepts. Additionally, lessons incorporating temperament or dictation may require additional instructional time, which, as indicated above, may be a concern. For example, fewer than half of the responding school directors indicated they incorporated lessons on temperament. While many directors suggested they believed such lessons would be beneficial for their students they often cited a lack of time or less-experienced ensembles as reasons for not incorporating temperament lessons. As such it would appear directors primarily focused on foundational skills such as developing basic sensitivity to frequency changes. Outside the classroom the majority of directors required their students to complete exercises to improve their intonation performance. Most directors described asking students to work with a tuner as they practiced in order to increase sensitization to pitch discrepancies. Though numerous directors described asking their students to work with tuners, many chose not to elaborate past “work with a tuner.” Those directors who did elaborate indicated students should complete intonation tendency charts such that the students would understand which notes on their instrument would likely be out-of-tune. Though working with a tuner was a common assignment only 23% of directors indicated they required students to own a tuner, and a small subset of these indicated they owned classroom sets of tuners available to students for checkout. The third research question sought to determine tuning procedures used by collegiate directors. Approximately half of the responding directors chose the aforementioned “bottom-up” approach while the other half indicated a “top-down” approach, beginning with an oboe or

67 clarinet and working in descending order to the lowest voices. This split in responses appears to be related to the director’s choice of sounding instrument for the initial tuning note, i.e., those directors who begin with the oboe tune “top-down” while those beginning with the tuba, tune “bottom up.” Similar to school directors vocalization was also cited as a technique used during the tuning process to internalize pitch. While school directors indicated it was only somewhat important to tune every day collegiate directors indicated it was very important to tune every day. Collegiate directors were also asked to describe in-class teaching techniques they utilized to improve intonation performance of their ensemble and any exercises requested of the student outside rehearsal. Collegiate directors identified vocalization, temperament, chorales, and chords as most-often used teaching techniques to improve intonation. While these techniques were most often cited it should be noted the relatively small response rate for this question. Vocalization and temperament lessons were both cited by approximately 13 directors, which accounted for less than 25% of respondents. Many directors appeared to rely on activities that occurred outside of rehearsal time to develop pitch discrimination skills in students, such as ear-training courses, applied lessons, prior experience, or individual practice. While collegiate music students are routinely engaged in a variety of courses designed to address development of their musicianship skills, this type of deep immersion may not be available to K-12 school students. Therefore, more responsibility may fall upon the school director to incorporate musicianship training in their ensemble lessons. This being the case, collegiate directors may not see the necessity of engaging in a wide variety of teaching techniques to develop student’s pitch discrimination abilities when dealing with ensembles made up primarily of college music majors. Research question four asked collegiate directors to describe their expectations of an incoming music student’s pitch discrimination abilities. Responses to this question most often cited a desire for students to begin their college experience with a high level of pitch discrimination ability. Students who are able to discern intonation errors and make the requisite adjustments appeared to be desirable as collegiate students. Notably absent from collegiate director responses in regards to expectations were higher-order intonation abilities, e.g., adjusting to various temperaments. As such, it would seem expectations cited by collegiate directors appeared to be similar to the skill set school band directors strive to develop within their students. The final research objective sought to evaluate the implementation of a researcher-

68 designed intonation training program. Three tasks were utilized to determine effectiveness of the program: a paired-comparison task, a tuning task, and a melodic task. Preliminary review of data from the paired-comparison task indicated participants appeared to exhibit quicker response-time on the post-test. However, further analysis found no significant differences between pre- and post-test or treatment condition. Though a trend for decreasing response time was apparent, these data may be attributed to other factors such as maturation or testing effects as no significant differences in the amount of accurate responses between test administrations or conditions were found. When completing the tuning task, participant’s overall mean cent deviation was slightly smaller when asked to tune to an oboe than when tuning to the tuba. It was noted by the researcher during testing that numerous participants selected a lower octave when tuning to the tuba stimulus than the one used with oboe or clarinet stimuli. This octave change may be partially responsible for the greater amount of cent deviation in responses. Although participants may have been slightly less accurate when tuning to the tuba, statistical analyses found no difference in deviation. It would appear participants were able to tune their instrument within a similar range of deviation regardless of stimulus timbre. Participants in both conditions were more accurate when completing tuning procedures in the post-test when compared to the pre-test. As in the paired-comparison task, tuning task results may be attributed to increases in musical skills from daily music practice or task familiarity. Participants were then asked to perform a brief melodic example. Mean cent deviation was lower when performing unison notes in sequence than when performing all other intervals. Additionally, participants were found to perform most closely to equal temperament. While control group participants exhibited lower overall mean cent deviation, improvement between test administrations appeared to be minimal. Experimental participants, though beginning with a higher mean cent deviation (approximately two cents) in the pre-test, decreased mean cent deviation on the post-test. It should be noted the mean cent difference of experimental participants improved approximately two cents. Experimental participants were not found to significantly improve their performance on the post-test. Results from each of the three tasks were reviewed to determine if the program was effective as means for improving pitch discrimination skills of experimental participants. As no significant differences were found between conditions for each task, it appears the program

69 exerted an effect on the participant’s pitch discrimination abilities. Results in the Context of Existing Research As evidenced by the variety of responses received for this study, the act of initial tuning in an ensemble rehearsal is often quite varied. While a substantial portion of school band directors appeared to prefer a bottom-up tuning approach beginning with the tuba as recommended by Lisk (1991; 2007), collegiate directors were approximately evenly split between tuning direction and often began tuning with the oboe. Some findings have shown tuning accuracy may be greater when tuning to an oboe or clarinet (Byo et al., 2010). Similar data, albeit non-significant, were found in the present study as oboe stimuli elicited slightly greater tuning accuracy. As performing in-tune is an ongoing process and not merely a ritual to be performed at the outset of rehearsal (Burch-Press, 2000; McBeth, 1972), ensemble members should possess the requisite skills to discern faulty intonation and the ability to correct issues as they arise, a sentiment exhibited by collegiate directors responding in this study. In the development of pitch discrimination skills to improve intonation performance, existing literature has offered numerous suggestions including beat elimination (Latten, 2003; 2005; Lisk, 1991; 2007; Miles, 1972), interval recognition and reproduction (Goldman, 1961; Jagow, 2007; Lisk, 1991; 2007), tuning tendency charts (Garofalo, 1983; 1996; Jagow, 2012), vocalization (Elliott, 1974; Schlacks, 1981; Smith, 1984), use of electronic devices (McQuerrey, 1957), and software or audio recordings (Colley, 2004; Dalby, 1992). Results of the current study corroborated many of these suggestions as directors indicated the use of a tuner, intonation tendency charts, vocalization, drones, and software as often utilized techniques. It has been found that pitch discrimination abilities increase as musicians continue to receive musical training (Lamont, 1998; Madsen et al., 1969; Yarbrough et al., 1997). Review of participant responses in the current study appeared to show a positive effect from on-going musical training. Participants in both control and experimental conditions appeared to improve their performance on the paired-comparison and melodic tasks and improved on the tuning task. While specific exercises and routine musical training may be useful to improve pitch discrimination, musicians may also find it helpful to understand factors affecting their ability to discriminate pitch. Numerous external factors have been found to affect pitch discrimination. These factors may include issues such as deviation magnitude or direction. Sensitivity to frequency alterations

70 has been found with changes as small as 2 cents (Vos, 1982), 10 cents (Madsen et al., 1969), and 20 cents or higher (Bentley, 1973; Parker, 1983). Reviewing latency and accuracy responses in the current study, participants were found to respond quicker and more accurately with stimuli that were altered more than 20 cents, similar to findings in Bentley (1973) and Parker (1983). When direction of deviation was considered, a substantial body of literature suggested a propensity for performing sharp as well as a tolerance for sharp intonation (Duke et al., 1988; Dunnigan, 1999; Geringer & Sogin, 1988; Geringer & Witt, 1985; Papich & Rainbow, 1974; Sogin, 1989). Although a proclivity for sharp intonation was not found to the same extent in the current study, an interesting interaction was found when comparing latency responses by deviation magnitude and direction. Flat stimuli, similar to prior research (Bentley, 1973; Dunnigan, 1999), were more quickly identified in smaller magnitude conditions, however sharp stimuli were identified more quickly when deviation was larger than 20 cents. Implications Data collected from the descriptive phase is notable for the variety of responses. Although intonation may be often cited as a common ensemble performance concern the seeming lack of agreement among professionals for tuning procedures and methodologies to teach pitch discrimination skills is interesting. When directors were asked to describe their tuning process and intonation teaching techniques some descriptions were highly detailed. However, the majority of responses were more general in nature, i.e., “Warm-up. Tune to device.” This type of response makes it difficult to assess the exact procedures used by directors to tune an ensemble or help students develop skills in pitch discrimination. Additionally, some directors indicated tuning procedures were left out of rehearsal for the sake of time. As performing with good intonation appears to remain an elusive goal (Colnot, 2002), it would seem that increasing focus on tuning and developing intonation skills in an efficient manner may be desirable. Implementing a systematic procedure for teaching/practicing ensemble intonation may result in musicians who possess a higher degree of pitch discrimination ability, and may potentially elicit more in-tune ensemble performance. For institutions of higher education with a music teacher education component, the data provided by this study may be found useful by methods course instructors and ensemble directors as they seek to structure curriculum in such a way as to prepare successful future music teachers. Interestingly, current school director practices and collegiate director expectations of

71 incoming music students appeared to be similar. School directors seemed to focus upon foundational skills in pitch discrimination while collegiate directors appeared to favor students who were able to correctly operate the tuning mechanisms of their instrument, discern discrepancies in pitch and make necessary adjustments. While a small subset of collegiate directors desired students who were knowledgeable about adjusting to different temperaments or performing chords in-tune, these types of responses were not in the majority. These data may be found useful by future collegiate music students who are seeking to be best prepared to enter a music degree program. The experimental phase of this study assessed a proposed systematic intonation instruction model nested within a school ensemble rehearsal period. Review of results indicated the program did not elicit significant improvement in participant intonation abilities. However, it seems possible that given a longer treatment period and/or re-evaluating the program’s instructional content, the program may yield positive results. It is possible too that creating test items with increasing degrees of difficulty may also tease out gains that surfaced in these data as non-significant differences. Elements of the current training program may be of value to both in- service and pre-service teachers in search of examples of best practices for intonation training. In-service directors may find elements of the training program beneficial as supplementary instructional techniques while pre-service teachers may find benefit in the program as a starting point from which to develop their personal curricula. The effectiveness of the training program was assessed utilizing researcher-designed dependent measures. While analysis of results from each task indicated findings similar to those identified by prior research, the validity of the measure as means to assess pitch discrimination skills is unknown. Previous researchers have used a wide variety of assessment tools, including both standardized and individual study-specific measures (cf. Chapter Two) to measure pitch discrimination ability. Continuing to develop reliable and valid means of assessing pitch discrimination may be essential for future research. Further evaluation of the measures utilized in this study and their effectiveness in assessing development of pitch discrimination abilities is recommended. Limitations Though great care was exercised in the design of this study, caution is recommended in the interpretation of results. As relatively few texts, and fewer empirical studies, have addressed

72 the issue of intonation training sequences, further investigation is warranted. The current study utilized a small, non-equivalent sample of participants with varying levels of musical training. Additionally, as identified in Chapter Two, numerous factors including equipment, environmental, acoustical, and musical factors may impact pitch discrimination and performance, increasing challenges in analysis and interpretation. Although the current study utilized a three- part dependent measure with tasks similar to those used in prior studies, the measure’s reliability and validity is currently unknown. In an effort to maintain consistent instruction between experimental sites, the researcher alone implemented the program. However, as the researcher was not the regular ensemble director for these groups, effects stemming from lack of student familiarity with the researcher as teacher may have also occurred. As noted above, sample maturation and task familiarity may have influenced results. Future investigations utilizing similar procedures and a larger, randomized sample is recommended to identify potentially consistent trends. Directions for Future Research Areas of study as broad and multi-faceted as tuning and intonation are likely to exhibit both commonalities and divergent viewpoints. Results of the current study are no exception. A wide variety of responses were received and while some common procedures and techniques were evident, the variety itself is notable. While variety may result from any number of causes it remains challenging to identify the most effective methods for improving intonation. As ensemble intonation has been cited as a substantial concern of directors (Pottle, 1961), developing methodologies to alleviate these issues would seem to be worthy of effort. As researchers, teacher educators, and ensemble directors continue to seek methodologies to improve pitch discrimination abilities and alleviate intonation issues, it may be helpful to continue identifying common trends and techniques as well as evaluating these commonalities to assess their effectiveness. For example, the technique of beat elimination was often cited by both teaching texts and empirical literature as an effective technique to improve intonation. However, in the current study a majority of directors did not indicate beat elimination was an often-utilized technique. The seeming disparity between evidence-based techniques and in- service implementation represents an area for investigation. Continued empirical evaluations of individual techniques, particularly those often recommended in teaching texts, may prove beneficial. Data from such investigations may yield consistently effective techniques in-service

73 directors may select as supplemental to their instruction. Teacher educators may also find the techniques worthy of inclusion within undergraduate curricula. Further inquiry may also investigate potential causes for the noted variety of intonation teaching techniques. As expert directors have been found to be concerned with intonation errors (Goolsby, 1999), it may be of interest to teacher education programs to determine where, and at which point, teachers learn various techniques to improve intonation. Potential sources may include applied music lessons, ensemble rehearsals, methods courses, personal experience, and even the influence of former school band directors. Continuing to identify effective, evidenced-based intonation teaching techniques would appear critical as directors continue to seek ways in which they can improve their ensemble’s intonation. Understanding the process by which educators develop personalized methodologies for teaching intonation skills may yield important information for teacher education programs as they strive to provide salient experiences in the preparation of future music teachers.

74 APPENDIX A IRB APPROVAL FORMS

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76 APPENDIX B SURVEY INVITATION EMAIL

Dear Director,

My name is Ryan Scherber and I am a doctoral candidate in Music Education at The Florida State University. Currently, I am conducting a study evaluating teaching techniques related to the ability of students to discern intonation errors. Should you have a spare moment, your participation and insight would be greatly valued and appreciated. Participation would involve a brief survey that should take no more than 15 minutes to complete. All responses will remain anonymous. Please see the below links should you be willing to participate. Thank you in advance for both your time and consideration! 

Sincerely,

Ryan V. Scherber

Follow this link to the Survey:

77 APPENDIX C QUESTIONNAIRES

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85 APPENDIX D REMINDER EMAIL

Good Afternoon,

This is a reminder message for those individuals who have not yet had a moment to participate in a survey about intonation. Should you have a spare moment, your input would be greatly appreciated! The original email and survey link are below.

Dear Director,

My name is Ryan Scherber and I am a doctoral candidate in Music Education at The Florida State University. Currently, I am conducting a study evaluating teaching techniques related to the ability of students to discern intonation errors. Should you have a spare moment, your participation and insight would be greatly valued and appreciated. Participation would involve a brief survey that should take no more than 15 minutes to complete. All responses will remain anonymous. Please see the below links should you be willing to participate. Thank you in advance for both your time and consideration! 

Sincerely,

Ryan V. Scherber

Follow this link to the Survey:

86 APPENDIX E CONSENT FORMS

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93 APPENDIX F SOFTWARE SCRIPT

94

95 I posttrial pause .. 3000 I sti.mulusframes .. [1 • pair14] ..Jt ri.ab I responseti.me = 3000 I responseinterrupt • irrmediate <:trial pair9> I posttrialpause = 3000 I vali.dresponse - (42, 54) dtri.ab I correctresponse = (54) I stimulusfrarnes • [1 .. pair9] I responseti.me = 3000 I voli.dresponse = (42, 54) I responseinterrupt = i111nediate I correctresponse = (54) I posttrialpause = 3000 I sti.mul usfromes = [1 = pair15] <./t rial> I responseti.me = 3000 I responsei. nterrupt • i.111nedi.ate <:trial pa i r10> I posttrialpause = 3000 I vali.dresponse .. (42, 54) d t ri.ab I correctresponse = (54) I sti.mulusframes = [1 • pair10] I responseti.me • 3000 I vali.dresponse .. (42, 54) I responseinterrupt • i111nediate I correctresponse • (54) I posttrialpause "' 3000 I sti.mulusf rames "' [1 • pair16] <./trial> I responseti.me .. 3000 I responsei.nterrupt = i111nediate <:trial pa i r11> I posttrialpause = 3000 I vahdresponse = (42, 54) I correct response • (54) I sti.mulusframes = [1 = pair11] <:trial pair17> I responsetlme • 3000 I vali.dresponse - (42, 54) I responseinterrupt • i111nediate I correctresponse .. (54) I posttrialpause • 3000 I stimulusf rames • [1 .. pai.r17] <./trial> I responseti.me = 3000 I responseinterrupt = i111nediate <:trial pa i r12> I posttrialpause = 3000 I vali.dresponse - (42, 54) d t ri.ab I correctresponse = (54) I sti.mulusf rames .. [1 • pair12] I responseti.me = 3000 I vali.dresponse = (42, 54) I responseinterrupt = i111nediate I correct response = (54) I posttri alpause = 3000 I sti.mulusframes = [1 = pair18] <./t rial> I responseti.me = 3000 I responseinterrupt • i.rnnedi.ate I posttrialpause "' 3000 I vali.dresponse - (42, 54) dtri.ab I correctresponse = (54) I sti.mulusframes "' [1 • pair13] I responseti.me = 3000 I vali.dresponse = (42 , 54) I responseinterrupt = i111nediate I correctresponse = (54) I posttr1alpause = 3000 I sti.mulusfrarnes = [1 = pair19] I responseti.me = 3000 I responseinterrupt = i111nediate <:trial pa i r14> I posttrialpause = 3000 I vahdresponse = (42, 54) I correct response .. (54)

<:trial pa i r20> I posttrialpause = 3000 I vahdresponse = (42, 54) I correctresponse .. (54) I sti.mulusframes = [1 = pair20] <:trial pa i r26> I responseti.me = 3000 I vali.dresponse - (42, 54) I responseinterrupt .. i111nediate I correctresponse .. (54) I posttri.alpause • 3000 I stimulusfrarnes • [1 .. pai.r26] I responseti.me = 3000 I responseinterrupt = i111nediate <:trial pa i rZ l> I posttrialpause = 3000 I vali.dresponse .. (42, 54) d t ri.ab I correctresponse = (54) I sti.mulusframes • [1 .. pair21] I responseti.me = 3000 I vali.dresponse = (42, 54) I responsei nterrupt = irrmediate I correctresponse = (54) I posttrialpause = 3000 I sti.mulusfrarnes = [1 = pair27] <./t rial> I responseti.me = 3000 I responseinterrupt • i.111nedi.ate I posttrialpause "' 3000 I volidresponse- (42, 54) dtri.ab I correctresponse = (54) I sti.mulusframes • [1 • pair22] I responseti.me = 3000 I vali.dresponse = (42, 54) I responseinterrupt = i111nediate I correct response = (54) I posttrial pause .. 3000 I sti.mulusframes .. [1 • pair28] I responseti.me = 3000 I responseinterrupt = i111nediate <:trial pa i r23> I posttrialpause = 3000 I vali.dresponse = (42, 54) I correct response • (54) I sti.mul usf rarnes = [1 = pair23] Blocks I responseti.me • 3000 I responseinterrupt = i111nediate I posttri.alpause .. 3000 I bgstim = (attributeAleft, attributeBright) I trials = [1=instructi.ons] <:trial pa i r24> I errormessage = false I vali.dresponse = (42, 54) I responsernode = free I correctresponse • (54) I recorddata '"' false I sti.mulusfrarnes "' [1 • pai.r24] db loeb I responseti.me = 3000 I responseinterrupt = i111nediate I posttnal pause = 3000 I trials = [1=p1] <./t rial> I erronnessage = false I responsernode • free <./block> I vali.dresponse .. (42, 54) I correctresponse = (54) I sti.mulusfrarnes = [1 = pair25] I bgstim = (attributeAleft, attributeBright) I responsehme = 3000 I t rials = I responseinterrupt • irrmediate [1=poi r1 ; Z• pairZ ;3=poi r3; 4=pair4 ;5apoi r5; 6 .. pai r6; 7apoi r7 ; 8• pair8 ; g.. poi r9; l0• pair1

96

97 APPENDIX G PERCEPTION TASK INSTRUCTIONS

You will be asked to answer a few brief questions. After the questions, you are going to hear pairs of pitches. In each pair, the first note is in-tune and the second note may or may not be in- tune. Please indicate if the second note is in-tune or out-of-tune as soon as you make your decision.

Use your middle or index fingers on the left AND right SHIFT keys (not the arrow keys) of your keyboard to make your selection. Selecting the left shift key represents In-Tune and the right shift key represents Out-of-Tune. You will see reminders at the top of the screen.

You may respond as soon as you make your decision and you will have 3 seconds after the end of the second pitch to respond. This task will take about 5 minutes to complete.

98 APPENDIX H VERBATIM ANSWERS TO FREE-RESPONSE QUESTIONS Collegiate Directors Question 1: Please briefly describe your tuning process:

1 Each section tunes separately. Flutes tune individually. 2 Advanced ensemble - tune to oboe (A). Least advanced ensemble - tune with electronic pitch (A woodwinds, Bb Brass). 3 Sounding of selected pitch on a rotating basis of the above instruments. Students check initial unison pitch and then 5ths if desired. 4 I ask for an A from the oboes or I give one via a tone generator. I ask the whole ensemble to sing the pitch on "Ah." I then ask the woodwinds to tune to the pitch. I do the same on an F for the brass. 5 Pitch sounded by electronic tuner or designated player - matched by ensemble - possibly in smaller sections if needed. 6 Students play unisons, fifths, fourths. We dont use a tuner we use a human. 7 Oboe A & everyone sings; Oboe A for those that want it to tune to, Tuba Bb & everyone sings; Tuba Bb for everyone building from the lows to the highs. Concert Bb for Brass & all WW play concert F,G,A,Bb creating intervals against it & come all the way down the scale. Then WW and tubas play Bb and the rest of the brass do what the ww's just did. Sometimes we sings that as well. 8 Concert F for WW, then for brass, then concert A for saxes, double bass, then everyone. Students hum before they play. 9 First - a quick semantic point. It is important for THEM to be in tune, always, and that THEY are responsible for creating the states of "in-tune-ness." I simply facilitate the process. They must have the expectation of being in tune, and then listen to create that state. We tune both A and B-flat at the beginning of the rehearsals - unisons, octaves, 5ths and 4ths are the only intervals allowed. In addition to playing, we sing. With the younger groups we SING and play exercises in "Treasury of Scales," with and ear towards understanding the vertical and horizontal structures they are part of. We also do the same with repertoire. 10 Unison Long tones, scale, Lip Benders warm-up book. Vocal tuning techniques (resting pitch, tune against a drone pitch etc) 11 Woodwinds first, then brass. Checking with specific sections or individuals, with the ensemble members participating in determining how (flat/sharp) or if the instrument is in tune. 12 First we warm up with chorales. Then, we tune woodwinds to A, then brass to Bb. I explain to them that this is just a starting point and that good intonation must be worked at all the time and for every note. 13 Tuba begins then Principal players add in from low to high. Once all principals are in section members add one at a time. 14 Match tuba player to electronic pitch. Then have low brass match tuba. Then low reeds the same. Then all others match. We also do F around the room. 15 Tuba sounds an F, brass tune additively from euphonium, through bones, horns, trpts; clarinet sounds lower Bb, just clarinets tune on that octave, then saxes, bass cl, and bsn enter and clarinets check upper octave; oboe sounds A, oboes tune, then flute and pic enter and tune on A. 16 Oboe sounds A, then woodwinds tune beginning with low reeds, then principal players, then others in section. Oboe then sounds B-flat for brass, Principal tuba tunes, then principals on other instruments, then other players. 17 Tuner provides pitch at different octaves. Students match the pitch, initially in their section. But if it sounds squirrley, we have them play individually. We NEVER use tuners visually. 18 It's much more of a long-tone and sound quality blending excersice than an actual tuning process. We build up from the tuba in like-sections, each section holding long after their pitch is settled until the picc has had ample time to settle on their note. Tubas and oboes are the only sections who get tuners. 19 sound the tuning note, listen, play and listen. Maybe repeat, maybe play a chord or two. 20 we tune, but emphasis is placed on tuning not just with the tuning note, but, of course for the entire rehearsal and performance. / 21 b flat for WW then brass, f for brass then ww, a for st. bass. Build chords from tubes and up.

99 22 Sound the reference pitch, sing the pitch together, sound reference pitch: woodwinds tune, brass tune 23 F from the principle tuba...all match. Bb from tuba...all match. Sometimes repeat process with clarient. SOmetimes have saxes tune on A concert (sounded by clarinet) 24 Start with F concert - Clarinet, Tuba, Horn, Euphonium Trombone, Full band / A concert Clarinet, Alto Saxophone, Oboe sometimes ww's then brass or full band / Bb concert Clarinet, Tuba, Trumpet, Trombone, Euphonium full band / / Crush on Bb - Low intruments on Bb concert - Tuba, Bassoon, BCL, Eb contra, Bari sax, tromboen, euphonium tympani the other instruments can select an "a" or "b" and then move to unison 25 oboe plays B-flat, brass tune; oboe plays A, woodwinds tune 26 Clarinet sounds an A for the woodwinds, then a Bb for the brass. Before the brass tune, the principal tuba plays for a few seconds after the clarinet, then the rest of the brass joins in. 27 Lead tuba sounds pitch. Sometimes I check him on a tuner. We all hum to feel it in our heads then sing "oh," and build from the bottom up. Sometimes I do solo, soli where all play, then I cut off band and point to one student or sections. We intentionally bend notes out and in, all play a wron note and come back to tuning pitch. I talk incessantly about tonal blend and challenge students to listen across the ensemble. We work so much on balance as well and generally play a couple of chorales in various keys. 28 WW, brass 29 after warm-ups, the ensemble plays a Bb chord - everyone releases except the tubas - they sustain the pitch and the trombones come on on the 5th - the rest of the ensemble check their pitch - i enourgabe them to play the tuning pitch breifly, coming in and out while comparing to the open 5th of the trombones and tubas. Next the oboe play an "A" - principal clarinet matches and the woodwinds tune again to the concert "A" 30 1. Take a quick reference A and Bb from oboe, (or clarinet if they're having a bad reed day!); A for ww's - ask principle players first then section members fill in one by one; Bb for brass - same matching order. / 2. Play a chorale; typically last chord for balance, then play through. / 3. Check pitches again; add F in tuba if low brass is not close enough / Check pitches between each selection in rehearsal. 31 We read the chorale set for the week. Then, listen to bass voices, tenor voices, combine the two, listen to alto voices, combine with tenor and bass and finally soprano, finishing with the whole. We then select one cadence point and use it to establish a drone. The drone changes daily. One day all drone the bass voice and rise diatonically to the relative corresponding note in the chord with the bass remaining on the drone. The drone pitch can be any one of the notes in the triad selected. 32 Principal tuning in Ed Lisk style. 33 The oboist plays an A tuned to 441 (quietly at first, then making a crescendo and adding a touch of vibrato). The woodwinds tune, and then the situation is repeated for the brass. 34 We start with an A from the oboe, first one for woodwinds, then one for brass. Additional pitches are used to work on intonation tendencies and vary each rehearsal. 35 Oboe intones an A, which all instruments tune to. Then the oboe intones a Bb, which all instruments tune to. The oboe tunes to A=440. My reasoning is that two references is better than one, and A and Bb tend to introduce the ears to two tone centers (and both are standard tuning pitches). 36 First work a scale or two together, then play Bb followed by an A (preferably tuning from the low instruments up). 37 I recommend individual tuners for all and require it for principal clarinet and oboes. Procedure: Principal clarinet plays a concert F for brass only than ww's. only next plays concert Bb for ww's then brass, play concert A for saxophones and then for entire ensembles. I have ensemble players also sing the concert Bb and concert F in unison at early stages of rehearsal preparation. 38 "F" for the Brass, "F" for the woodwinds, "A" for the Saxophones, then the rest of the woodwinds. 39 If intonation is very poor I will tune by sections. Usually I will do high voices, low voices. 40 We play chorales every day to warm up and focus on intonation. After warm up, we tune by section--low brass, high brass, low WW, high WW, then string bass. 41 woodwinds tune to A, brass tune to Bb both sounded by oboe. If woodwinds want to use Bb or vice versa that is fine 42 A first, woodwinds and string bass; then Bb, brass and anyone else who wants it; then F, French Horns and anyone else who wants it 43 Most days, tuba sounds F or Bb (sometimes depending on what comes next). If F is chosen, clarinets go next and other instruments join in. After F or Bb, oboe sounds A for flutes, saxes, other double reeds.

100 44 Oboe gives pitch (with tuner), ensemble hums and internalizes pitch, bass instruments, then tenors, altos, sopranos. Double check with a Bb. 45 We attempt to be as professional as possible so usually an A sounds and players respond. However, if I am teaching about the tuning process I will often ask only principal players to enter and then ask others to join 1 at a time to fit inside the sound of the principal. When the ensemble is large (maybe 30 or more winds) I usually use 2 A's (one for woodwinds, one for brass). 46 The students "warm up" their instruments on their own. Silence, then the oboe sounds each tuning pitch, with the tuba adding the low octave. When that is stable, the rest of the instruments join in. The concert F and concert Bb have everyone join in. The concert A is specifically for Eb saxes, but is also preferred by many woodwinds and the horns. 47 For field practices and rallys, section leaders tune to director's or student director's digital tuner, then the section leaders tune their own sections. In concert rehearsals, all tune to the 1st oboe. 48 Warm up on scales/chords. Once completed, tune to oboe or tuba by groups (WW's and Brass). 49 12 window tuner is available in the room for early arrivers to tune. After some ensemble warm-up time, we tune by having the principal tuba play an F (w/tuner on his/her stand) and we tune the brass group. Then an F from the oboe and tune the woodwinds. Same process with Bb. Then individuals can ask to tune a pitch with the tuner if they want. 50 One B-flat from principal oboe, primarily for brass, followed by one A from principal oboe, primarily for woodwinds. Principal players enter first, and each note lasts about five seconds. The goal is not for everyone to match perfectly, but rather for everyone to have a chance to hear where they are on a reference pitch and make the first of MANY adjustments they will make during the rehearsal or performance. 51 oboe plays each pitch, followed by ensemble 52 I ask the oboe player or the tuba player to use a tune their instrument, using a tuner. I ask them to hold either a Bb (for brass) or A (for woodwinds) to tune each choir separately. 53 Woodwinds tune to A, brass to Bb. Chorale work in small groups and full group. / / / 54 Wind Orchestra: clarinet gives Bb for woodwinds, clarinet gives Bb for brass, and clarinet gives A for anyone (mostly flutes, saxes & double reeds like this one) / Marching Band (offered in case this has any interest): Bb build from tubas up through low brass, saxes and trumpets. Clear the air. Clarinets and horns (marching, not mellophones) tune to F (concert). Clear the air. Flutes & piccolos tune to A. 55 Oboe sounds the A and everyone checks their tuning. We might ask the woodwinds or brass to check again if there are any issues. If we are using piano, the oboe takes an A from the piano before we tune.

Collegiate Directors Question 2: Please describe any intonation/ear training instructional methods, techniques, and/or materials you use in your ensemble rehearsals. For each item, please also indicate how often you use this method. If none, please list n/a.

1 Flutes pass a tuner around 2 Singing - every single day. 3 The primary method I use is to help develop their listening skills, make a decision and implement it. We start with determining their role in the music, then identifying the harmonic structure. In any ensemble, there is a "community of harmony", even if they don't tune at all. Refinement of that harmony, along with recognizing individual role in the harmony is the next step. Then comes tuning to the harmony. Individual issues are much more easily heard and corrected when they begin playing in tune to harmony. This is especially true on arpeggiated melodic passages and intervalic melodic lines. We work on directed listening - what to listen for, who to listen to. After awareness is established, the individuals are in a much better position to adjust intonation. A440 is a fantasy in an ensemble and nothing more than a reference point. If they can't hear, don't know what they're listening for, and then adjust - all the tuning in the world is a complete waste of time. 4 I also like to use a tone generator along with a tuner as opposed to a tuner alone. A tone generator allows the students to actively listen and match. I also divide the ensemble into four groups consisting of some 1st chair players, other 1st chair players w/ 2nd chair players, third chair players and a group of low brass. We then play scale exercises with Some maintaing a concert F while other groups play C,D,E and F in sequence so they can listen for a good fourth, third and minor second interval. 5 n/a

101 6 Students plays fifths, octaves, thirds allowing different instruments to be heard by everyone to learn blend and color. Different instrument will play tuning pitch each class so they learn to play to live sound. Where the pitch is is less important than finding it and matching it perfectly. Live groups don't perform to absolute or perfect a=440 all the time. 7 Nothing other than the above and continually stressing these things 8 Drones 9 I think it is too easy to get bogged down by teachable, repeatable "behaviors." We should abandon in some ways the thinking "if you only do this exercise, all will be well." What this leads to is "mindless repetition." In Music Theory/Aural Skills circles, they have been searching for such behavior now for going on 75+ years. I'm not sure our students listen or comprehend any better - particularly in real-time. So, how do I try to facilitate MINDFUL moments? / / I would contend that any MINDFUL act of music making would include careful listening - before (expecation), during (execution) and after (reflection) performance. We do this when we tune, and we do this in the context of rehearsal. What I should do is more of the reflection portion after rehearsals and performances. 10 Lip Benders / Curnow's choral book (forget the title) / Choral exercises both singing and playing (tuning against resting pitch, etc) 11 The main technique is to stop on chors or unisons and isolating them for the whole ensemble to confront. It is an on-going task. I giv ethem the assignment to also work with a tuning buddy to regularly work on a characteristic tuning tendency chart for their specific instrument. I reinforce to the music education majors which instruments have those tendencyies and which notes they are. / 12 No methods. I just help them understand in context. 13 When teaching M.S. I simply used a pitch generator and had students listen for beats. When the beats were gone they were in tune. 14 Tuning the Band and Raising Pitch Consciousness by Jurrens. I pass this out to students as a reference 15 For chords, I tune unison root, then octaves of that; then add 5th. I then ask players witht the 3rd to insert the third and "tune it" - most of my players come from HS programs with strong performing ensmebles that (somehwat unfortunately) stress ONLY exectution aspects, so they have developed an awareness of what "sounds" in tune when it comes to triads, and they intuitively lower the third to make it work. When that doesn't happen, I use a tuner to check. Once the triad is established, blendedan dtuned, I add other non- chord tones accordingly. I also spend more time on balance and blend as a tuning device that sole reliance on a tuner. 16 Ed Lisk (mentioned above). I use this at the beginning of every rehearsal, for 1/4 of rehearsal (on average). 17 See above. We have used the opening chords in the Fussell book so students can be taught and then hear and adjust pitches depending on where they are in the chord. IE: A Bb isn't always a "zeroed out" Bb. It depends on where it lies in the chord structure. If it's the root of the chord, then yes, is should be "perfectly in tune". But if a Bb is the minor 3rd in a Gmi chord it should be bent up 16 cents to sound correct. If the Bb is the major 3rd in a GbM chord, it should be bent down 14 cents to sound correct. If it's the dominant 7th in a C7 chord it should be bent down 32 cents to sound correct! Once students know the chart and know how to adjust pitches, a director can say: "That's a G minor chord" and students will make necessary adjustments. 18 Treasury of scales. 19 Listen 20 good question. I would suggest playing in small groups, teach them tuning essentials, listen for quality of sound, then, individual pitch tendencies, then duets, trios, etc.. 21 Good warm up procedure and constant listening. 22 Solfege / Clarke study weekly / Remington exercise weekly / Fifths daily 23 I often have the class sing the tuning note. 24 We do a fair amount of singing to supplement tuning work. I also use the Tuning CD (a recording with perfectl tuned 5th) to work on just intonation. I use this strategy ocasionally - once a month or so. Some times I have the brass buzz on thier mouthpieces while the woodwinds play to help keep the pitch focus. I will also take a difficult echnical passage and have the students play with no rhythm to isolate the pitches. I will also slowly play chord structures to work on their hearing as rehaersals are for developing listening skills.

102 25 singing chorales 26 On occasion, I have students play perfect 5ths and octaves against a pedal (always Bb); I do this by having sections jump up to either the P5 or octave against the rest of the band playing the pedal low Bb. They can often hear their individual and section intonation clearer than playing in "unison". 27 I am using Breathing Gym everyday. We use no outside materials as such to teach intonation but personally, I will put up a video of the day of an exemplary performer or ensemble. 28 Depending on economic constraints, inform them of A-V materials on the internet, etc.. 29 Lots of singing. Directed listening (teaching students what to listen for and where to listen in the music) Chorales - / Demonstrations regarding "just" intonation vs. "Equal" which is also a part of "directed listening" teaching them to "hear" and what notes need to be adjusted 30 We use a variety of chord tuning/just intonation exercises (i.e., harmony in Bb), and balance exercises. Nothing published. 31 Chorale based. Daily. The chorale based work translates nicely into the repertoire, what ever it may be. 32 1) Individual intonation survey - partner watches tuner while student plays chromatic scale slowly. Partner marks intonation tendencies for each note (+4, -10, etc). We do this twice every semester. / / 2) Introduction to Just Tuning using Yamaha Harmony keyboard in class. 33 I point out the intonation issue, then I ask people to tune to a certain instrument. 34 We teach music in universities for the eye, whereas music is for the ear. To achieve good intonation, the student must hear the chord tones below, not at the same level and not above. If the student can hear the chord tones beneath him, he will play in-tune because a billion or so years of genetic training by the overtone series will take over. No pedagogic left-brain information helps and will certainly confuse the student. 35 Method books: Right now I am not using any. In years where my ensemble is less-experienced in this area, I use an intonation study on a Bach chorale and a method book for internalizing pitch and understanding tendencies. / / Chorales: We are a Lutheran university and keep church music in our repertoire throughout the year, including hymn settings. This is a great help because they assist students with hearing chords and playing chorale parts with expression, and we do it to prepare for actual performances, not just as rehearsal exercises. 36 -reminders are used whenever needed; ideally, performers work on these issues on a regular basis / / Listening skills / characteristic tone / proper breath support & focus of air toward the front of the mouth & out to the conductor / proper vowel formation/usage (voicing) in the mouth ("ah" with the air focuse forward in the mouth; not a harsh air stream, but focused so that it's not a breathy "ah") / raised soft palate / humming (the buzz should be felt in the lips, not in the back of the throat) / singing (hearing the pitch, then singing on "ah") / hearing the pitch/part & then playing the pitch/part / solfeggio 37 I use the concert F unison going down in half steps and back up to concert F (F, E, F Eb, F D F,Db F,C...to Bb). Then I have brass and ww's alternate going up and down the Bb scale up to F while the opposite group maintains the Bb or F. I mix this up and eventually have the F group go down the scale at the same time the Bb group go up the scale (they arrive on a unison D) and repeat and reverse until the pitch center is established before tuning pricers begin. 38 I have students sing to a pitch (from a tuner) then sing above, below, and then match. / / Process: match the pitch, above, below, match again. 39 Chorales with extended chords. 40 Very often: playing chorales / Often: singing chords, scales, intervals, chorales / Often: When tuning chords, tune perfect intervals first, moving from unisons, to octaves, to fifths, to thirds, to sevenths. / Often: When tuning major chords, lower the major third to achieve accurate Just Intonation. 41 I sometimes have members of the ensemble act as a drone for each other by playing an open fifth while another group plays a scale or passage. 42 We sing in the beginning of rehearsals, including using solfege. We use chorales that list all 4 parts, so they can sing different voicings. 43 n/a 44 n/a 45 I use a chart of just intonation to help students remember how to adjust common chords. The rest is my own personal instruction. Much of this happens at the start of the school year, but I review and remind the ensemble as needed.

103 46 I write a chorale each semester, with roots, 3rds and 5ths marked in each part. We discuss and experience bringing these chord tones into just intonation right after tuning at every rehearsal. 47 We tune chromatic chord progressions fairly often. I tell students to pitch half-step ascending tendency notes ("leading tones") a tad sharper, the half-step descending tendency notes (e.g., a V7) a tad flatter. The students are sometimes amazed how smoothly a knotty progression sounds afterward. 48 Play chords... Root, fifth, third... Etc. relate to the bass parts. 49 We use an "F around the room" technique, using the metronome and tuner and moving from player to player, section to section matching pitch, note starts and stops and tonal energy. We do this at least twice a week, and it really gets the students thinking and listening. 50 We sing and buzz frequently. When a note or chord is out of tune, I will often ask the ensemble to sing their part, then match the pitch they just sang on their instrument. We frequently build chords from the root, especially if the chords are not in root position, to heighten student awareness of their role in the chord, the other players they double, and any inherent over-scoring done by the composer. Both of these things happen on a daily basis, sometimes several times in a rehearsal. I also include in the wind ensemble folders a chart of pitch adjustments necessary for just intonation, and we refer to the chart every few rehearsals. 51 n/a 52 N/A 53 No specific materials/methods, but listening/matching/timbre exercises. 54 Nearly all of our tuning discussion happens in the context of the literature to be performed. / • Chord tuning: octaves, fifths then the thirds and any added tones. They have a handout that shows where each chord tone should sit vis a vis equal temperament. This happens at least twice each rehearsal. / • Difference tones: listening for difference tones to illustrate the aesthetic/physical satisfaction of a well- tuned interval. Most effective with tubas or flutes as the demonstrating section. This happens at least once a rehearsal. / • App called "Tonal Energy": it offers a drone against which we can hear difference tones. Also, it can demonstrate (sound and visual) equal vs. just tuned intervals. I use this at the beginning of each quarter. 55 n/a

Collegiate Directors Question 3: Do you ask your students to work on intonation and/or ear training skills outside of the classroom? If so, what exercises do you ask them to do?

1 no 2 n/a 3 Of course, but without listening skills, they automatically go straight to the tuner. I encourage them to record themselves and to listen back - always very painful for them. They can tell if it's in tune or out of tune, but can they make it better. They MUST learn to become their own teachers in this regard. 4 I like to have students do pitch tendencies worksheets with a partner, occasionally to allow students to see where there issues. 5 Individual practice is the time to check certain pitches with an electronic device for accuracy. Outside of classroom - tuning of scales and intervals. 6 No. 7 Some are music majors and get this in other classes. I stress using your tuner often in practice but not depend on it. This way insectionals as well. I use no books, etc. 8 No exercises, but lots of work in weekly sectional. 9 Yes. Simply because performance is aural expectation manifested physically. If they don't IMAGINE in- tune, how can we ever expect them to play/sing in tune? / / As far as exercises, I give them very little, other than a "Tuning CD" - 12 sets of justly tuned P5s. This particular CD was created, I believe, by Alex Ruthman. I give them very little instruction other than to "play inside" the sonorities and to listen to the results. 10 always - but they often mistake it for matching a pianos pitch (i.e., as in lessons) and focus entirely on equal tempered intonation. drives me crazy. 11 Answered above.

104 12 No. I expect them to do that in their private lessons. 13 Yes, they work on understanding the tendencies on their isntruments. 14 No. Just to use a tuner on daily individual practice time. 15 No (but 75% of my ensemble are non-music majors) 16 Yes. They must do listening/evaluation exercises, as well as individual instrument pitch tendency work sheets. 17 Yes. In their own personal practice sessions, they are asked to use the aural side of tuners and not to use the visual. However, the only time they are allowed to use the visual side of a tuner is early in the year. Students are paired up and are asked to fill out their own "Personal Chart For Playing In Tune". After properly warming up, every student plays their lowest note where they think it is "perfectly in tune" or "zeroed out". Their partner records whether the note is sharp, flat, or perfectly in tune, and by how many cents. The student continues up as high as they feel comfortable. They then have a pretty good idea of where pitches lie on their instrument. Students are asked to memorize this chart and are then able to combine this information with the Just Inonation Chart. 18 I ask them to work in sectionals. All music majors on our campus are required to go through two years of ear-training courses, which I believe ends up being one of the strongest qualities of our graduates. Most of the outside individual work ends up being instrument based. 19 No 20 work with a tuner to learn pitch tendencies on their instrument....that's for starters.. 21 Individual work with tunning deviises 22 N/a. I expect them to practice what has been assigned by the applied faculty 23 I seldom give students outside assignments related to intonation. 24 For my private studio, I use the Tonal energy app for I phone. Plus tuner and Tuning CD work. I also have them buss with me playing on piano. 25 no 26 Although I would expect some of this, I don't formally ask students to work on it unless there is a specific part in the music that needs additional individual time on intonation. 27 I don't spend much time with electronic tuners; however, we do use SmartMusic and encourage students to get it for home use. 28 See above 29 Yes - we direct them to work on matching "tone" in sectionals and to listen and who to listen to 30 I ask them to practice with a tuner always; and occasionally do pitch bending exercises in rehearsals and ask them to apply to their individual study. I am always saying that playing in tune with great tone is the performers primary goal - in any setting. 31 I simply ask them to listen. That is extended into their sectionals as well. Tuning with the eyes does not "fix" intonation issues. 32 I ask them to work with tuner to correct "Individual intonation survey" using air or alternate fingering. I also ask them to find the ability to "move" a note +5 or -5 (at least) with control using a tuner. 33 Yes - no exercises. I ask them to get together and solve the issue. 34 Yes-- if students need to learn the standard pitch tendencies for their instrument, individual practice time with a tuner is highly encouraged. 35 Yes. I regularly tell them to simply turn on the tuner and occasionally stop on a pitch and see where they are. This really helps you to zero in on your misses (and your ear's inaccuracies). We recently installed Wenger rooms, and now they can record themselves in the room and play it back through the room. The room tuner picks up the intonation of the playback, which is a great self-analysis tool. 36 Of course. / / Have the tuner sound a pitch that is the focus of a scale (tonic) or a passage and then play the rest of the scale or passage & tune to that central pitch. Use the ear as much as possible to do this & only use the eyes to check occasionally. It's about creating a stronger ear, so the tuner should be used to make the ear stronger, not as a crutch with the player's brain turned off. 37 Interestingly, I mostly do this with percussion because of timpani pitch. Otherwise, I occasionally ask student to go through their music or chromatic scale and mark pitch tendencies with a tuner. 38 I ask them to work on pitch software in the computer lab. 39 Yes. Play the length of the instruments using a tuner. SING.

105 40 Yes. Sing while practicing their parts. Use a tuner when needed. 41 I ask them to use The Tuning CD to develop the above skills. Use of a tuner is also recommended. 42 no 43 According to the needs of the music at hand, I ask them to check personal tuning tendencies and make notes on their parts. 44 Yes...in sectionals. Sing, sing, sing. 45 Yes - to become familiar with the tendencies of their own instrument and to sing/audiate more so their internal sense of pitch guides the instrument. 46 No 47 n/a 48 Pitch matching at the piano and/or drones. Practice listening and interval control harmonically. 49 Only if a student has problems hearing pitch or is having trouble understanding the tendencies of their instrument. I have had students go into a practice room with a chart and document their tendencies and what they are doing to correct them. 50 I do not, except for isolating specific sections within ensemble pieces where intonation is a specific concern. I expect/hope they work on these skills in their applied study, and I know many of them do. 51 yes - aural skills class 52 Yes, but I do not specify exercises. 53 They work in pairs and check their intonation in a one-octave chromatic scale (that they most frequently play in with the ensemble). 54 Yes. / • Play to a drone (as with the Tonal Energy application). / • Fill out an intonation survey (handout) that records their tendency on each pitch of their instrument. This is not a requirement, but is a great way to encourage targeted pair or group practicing. 55 yes --listed above

Collegiate Directors Question 4: Do you address the concept of different temperaments in your classes? Why or why not?

1 Yes. Someone asked about it. 2 Only in relation to chord quality. We'll discuss "favoring" of pitches towards better resonance. 3 Yes, especially when keyboard percussion and piano/harp are involved. The reasons are obvious; just intonation, equal temperment, stretched tuning, percussion at A442, it can become a "make crazy", but with knowledge of the differences, students can begin to adjust as needed, when needed. 4 Not particularly. 5 They come to me with a very good understanding of this. This is not something we normally have to address on a consistent basis - it may be mentioned sometimes. 6 Yes. To learn the difference between a piano and live instruments. 7 I do not at all and probably should. But takes time. But I feel if zI can do what I have done above that is enough in my situation at a small university but tour and perform a lot. Overall, my ensembles plays very in tune based on what I do and what they get from their private teachers - which they ALL have to take lessons. This DOES help with intonation of course. 8 no - will only confuse the issue 9 Only insofar as "beatless" vs. equal temperament. I want them to understand that tuning is an EAR-based (not EYE-based) activity, and having a tuner on your stand only creates eye based inflexibility ("I'm right, the needle says-so!") I see wind bands using a kind of "sliding just-intonation" in tonal works. The Tuning CD usually takes care of any vagaries. 10 Absolutely. It is essential for them to understand the concepts of different pitch placements with regards to key, harmonic placement/tendencies and modes. It is easily done, without too much time needed, but severely under-taught in the public schools. 11 Yes. I discuss the piano with equal temperment, and that as wind players we can have even more accurate tuning, especially wiht the 3rd of the chord and how in mjor and minor that differs. 12 Yes. I explain how temps affect intonation and why they should be aware of the changes.

106 13 Yes, we adjust all 3rds, 7s and 9s. 14 No 15 In conducting class and methods class we discuss temperments and what players and conductors need to be aware of. 16 Yes--just intonation on all chords (Ed Lisk model once again). Because it is ludicrous not to. 17 YES! (See above). If wind instruments are not using Just intonation, the band just won't sound in tune and a good sound is almost impossible to achieve. I've heard directors say that Just Intonation doesn't fit with the mallet (xylophone, vibes, bells, chimes) or keyboard instruments (piano, harpsichord, harp), so they don't use it. I feel it's more important to have the wind instruments of the BAND sound in tune and then let the mallet and keyboard instruments fall where they may. 18 Yes. The students can tell when a particular set of pitches lines up correctly, creating and isolating moments in which that happens is beneficial. 19 Somewhat 20 nope... 21 No 22 Yes. Tuning of major and minor thirds uses just intonation just like in a Capella choral singing 23 No. I think this too advanced and not very practical. As my teacher often said "Everything sounds good on the piano." 24 I have discussed equal and just intonation frequently. Mostly thuning of 3rd (major and minor) and 7th intervals. The clarity and sonority of the band is enhanced when the 3rds are correct. 25 address it, but most are non-majors, so this is a bit too advanced a topic 26 Yes, when tuning chords, we talk about lowered thirds and raised thirds, depending on major or minor. But that is the extent of it, really. 27 Not really. Let's just listen carefully and match tone and pitch. 28 As time permits. Recommend they access internet re tuning systems and their characteristics. 29 yes - they need to know what the differences are and what the sound like and from that they learn which notes in chords need to be adjusted. 30 Yes - occasionally I've used demonstrations of equal and just intonations on the same chord to help them hear the differences and how then they have to use their ears to relate. 31 We simply stress listening. 32 Yes. Because in order to play in tune one must understand them. 33 Yes - this is important when triads or intervals are being tuned and need to be adjusted, especially when the complication of percussion instruments tuned to 442, or a piano with equal temperament is in the mix 34 we address how to achieve equal temperament when tuning major and minor triads. 35 I occasionally talk about just tuning. I think simply knowing that a major third should be played low, combined with knowing tuning tendencies on an instrument, can help students have confidence that they are in tune, or at least have confidence that if they aren't sure, that their adjustments are probably right based on instrument tendencies and the chord tone tendencies that they are playing. 36 Yes, in order to alert performers to some of the differences and to a beginning (planting a seed) as to the reason(s) for the differences. / / The results can be heard. 37 No. I ask that they use their ears and respond to tension in the sound. I always start by asking if they hear an issue and then praise them for that discovery and then I encourage them to experiment. Its important that they FEEL what playing in tune is like before they can respond in the right direction. Once they FEEL how matching pitch is perceived, it becomes musically painful to them when it is not corrected! 38 not really, no...It's a very involved process and would take too musch rehearsal time. 39 Rarely. Because of time. 40 Yes, especially the differences between ET and Just Intonation. 41 Not really, because my band is mostly non-music majors. A practical approach to playing in tune within an ensemble is most important to me. I only will talk about proper intonation of 3rds and 7ths in context of tuning a chord. 42 Do you mean pure intervals vs. equal temperament? Yes, but I don't talk about the specifics of these two concepts other than discussing which chordal tones are adjusted to allow a chord to be properly tuned. I

107 talk about pure intervals vs. equal temperament in my methods classess with the music ed majors. 43 Yes, indirectly (sometimes, directly). Most often, two things come up: a) in chordally based music, the need to lower 3rds, and b) the need to stretch the flutes' and piccolo's pitch higher (upper octaves should not be "beatless" -- they sound flat because of equal temperament,. 44 Well, if it's warmer or cooler than usual, I point that out. Also, when we are on tour and it's more humid... 45 Yes. We use a just system as much as possible to make chords resonate. However, when equal tempered instruments might dominate the winds (piano or mallet perc) then the winds must match. 46 Only to compare equal and just intonation sounds on major and minor chords, perfect 5ths and 4ths, etc. 47 Briefly, in passing, from time to time. My university students (even those who don't play especially well) understand basic acoustics and tuning principles. 48 Not necessarily enough time spent on that. Limited rehearsal time. 49 I do not do this as the performance levels of the players in my principal ensemble is so disparate, that I believe spending time on those concepts would be unproductive. 50 I frequently address just intonation, especially relating to adjustments of thirds and sevenths. Even when we play with fixed-pitch instruments like piano or mallets, we shoot for chords that resonate and ring based on the overtone series and just intonation. 51 yes 52 No, because I am not as familiar with each of the temperaments, and I am more focused on teaching other skills. 53 On occasion 54 Yes. / 1) Just intonation, paired with the "harmonic series," explains *why* certain notes on the instruments are sharp or flat. Our fight song (for example) features the entire tenor brass section playing G4 in the opening melody; that the trombones were playing it in 2nd position (like they were reasonably taught) while the baritones were playing it "1&2" provided an excellent opportunity to explain the extreme flatness of the 7th partial. / 2) Artistic civility. It's all well and good if you're in perfect alignment with your tuner. But, if the pitch has a chord function that requires moving away from "zero," they you'll make your section sound better if you tune into the chord. 55 not in great detail -- good ears will gravitate toward just intonation in an ensemble of flexible pitch instruments. We sometimes remind players to match mallet percussion or piano/organ if these are part of the ensemble.

Collegiate Directors Question 5: What are your expectations of incoming music students in regards to their ability to correct intonation errors, knowledge of tuning systems, and/or instrument tendencies? i.e., If you had the opportunity to ask high school band directors to prepare their students to play "in-tune" in your ensemble, what would you them to teach their students?

1 There are no expectatioms 2 Know the tendencies of your instrument. Use your ears to make adjustments. 3 Self awareness is the biggest issue. Most do not know if they're out of tune or not unless visually referencing a tuner or being told by the director. Many understand the most basic tendencies of their instruments but have only limited ability to make those changes on their own. They are only vaguely aware of the differences in just intonation and equal temperment and have little, if any ability to hear their role in harmony. If I could encourage them to do only ONE thing, it would be to teach them how to listen - what to listen for, where and why. The mechanics of tuning can only be qpplied if there is the students know how to determine their role in the harmonic structure and to recognize if they match or not. 4 I expect students to be able to set the correct length of their horn during the tuning process. I also expect each player to understand how to manipulate intonation on their instrument during the course of performance. I also feel it is necessary for them to not only tune their instruments, but to be able to hear correct intervals. I believe that intervallic tuning is one key to correct intonation throughout a performance. Students must also have a firm understanding of pitch tendencies on their instrument ( i.e., brass overtones, or clarinet register tendencies. 5 I expect my students to play in tune from the first rehearsal. In high school - better train the hear - don't depend on a tuning device.

108 6 Listen, make your sound disapear. 7 Usuallyt they have very little idea and have done it by the band directors telling him what their pitch is, etc. (some exceptions of course). I assume from the start that they do not know. I am totally for them using their ear and teach them NOT to depend on keys and buttons but to use their ears, always being proactive-- -like singers have to do. I do a lot ofing singing and verticle rehearsing and doing passges slow each note at a time. I also stress knowing your parts well enough that you are freed frpom the bondage of technique so you are freed to listen better and match others. 8 Ability to detect and match pitch/pitch errors. Knowledge of individual intonation tendencies, and ways to adjust. Some knowledge of equal temperament. 9 Not intending any cynicism whatsoever, I don't have any "baseline" expectations. Most students have "ears" to some greater or lesser degree. What I have found in my experience is that students tend to be very literal "digital button-pushers." For example, they see an an F (top line, treble clef) that is forte and staccato, let's say, quarter-note. Most seem satisfied playing what they SEE without any regard to what they HEAR, before, or during, that note. My greatest challenge is leading them toward an understanding that the instrument is nothing more than an amplifier for intention, and that all performance is AURAL EXPECTATION manifested physically. Students nowadays tend to be pretty good readers, however, COMPREHENSION is still oftentimes lost on them (at ALL levels of performance, including professional). 10 What I wish? - That they had a better understanding of basic intonation with regards to wind instrument tuning. / What I expect? - That they can at least discern what good unison intonation sounds and feels like as well as octaves. / / What I would tell HS Directors - tuning to a piano and a tuner is LESS than half the battle. Listening situations, tuning 3rds and sevenths IN DIFFERENT KEYS AND MODES is severely under-utilized and taught. Tuning against an electronic sound source is fine, but have the instruments play more than a unison pitch - play scales against the drone, and chords etc. 11 Although we are highly selective with our incoming student body, I assume that they do not know how to tune well. This is mostly accurate. If intonation is dealt with in their HSs, it is more often than not, that the director does it for them and they really do not know how to discern or make adjustments them selves. 12 Please do NOT overuse electronic devices! This robs the students of their ability o learn to listen and make corrections on their own. (as a side note, also ditch the constant loud obnoxious metronome!) 13 Students should be able to match pitch. 14 I recommend all high school students know tuning tendencies. I recommend directors to use tetra chord tuning for grades to get students familiar with individual tendencies. 15 I expect them to tune with their ears, NOT with their eyes (i.e., I abhore the overly dependent use of individual tuners used during course of rehearsal) - I would tell band directors to ONLY use electronic tuners to check as a reference - teach beatless tuning and adjusting pitch for harmonic construction. What do these kids do with their hallowed tuners attached to their instruments when they have a 3rd of the chord, for example - do they unthinkingly get that note to "0" and believe it is in tune? 16 I follow all of the fundamentals in the Ed Lisk, "Alternative Rehearsal Techniques" book. I find that incoming freshmen have no (or very, very little) concept of individual/ensemble tuning, or instrument tendencies, so I teach them all from scratch. 17 Incoming students rarely have any idea how to play in tune properly. Just Intonation is HUGE at our school. A large oversized chart rests over the directors head and students are expected to memorize the pitch tendencies as quickly as possible. I see literally hundreds of bands a year in workshops and clinics. The most irritating scenario is to see directors hand out tuners to every student and then see them clipped onto the bell of their instrument. Students are then instructed look to see if they are in tune. They are told every note must be perfectly in tune (looking for green, needle straight up, etc). This will NEVER get their ensemble to sound in tune as every note is tuned to "0". 18 Most students can identify IF a pitch is off, but most often cannot discern in which direction. I believe this stems from not being able to discern between individual sound qualities; they can hear clashing, but cannot pick out the two separate pitches. 19 How to listen 20 I have low expectations. "What would you them"? 21 Work to develope the characteristic tone of the instrument -- breath surport,embourshure, ear,etc. The instrument is ment to be played in a certain way. When accomplished, 95plus % of intonation problems are accomplished. The rest is knowing the instrument ,care in tunning and confidence. / / / / / / / / / / / the

109 rest is / / / / / / / / / / 22 My preference would be for students to be familiar with proper tuning of octaves and fifths 23 I give a 30 minute lecture/demonstration on intonation each year. I start with two clarinets and try to match unisons. The clarinets play individually and I ask the class to identify the 2nd clarinet as "higher/lower" compared to the 1st clarinet. I also have the clarinets play together and as the class to identify the "beats." I explain that even though we often tune as a gruop, intonation is NOT a group activity. It is about the tuning source, and the person trying to match the source. 24 Hopefully , the students have an idea about the pitch tendancies for thier instrument. Brass players have some knowledge of the overtone series. Woodwind players hopefully understand the effect of the weather on thier reeds and teh necessity of keeping a roation of good reeds going at all times (just in case). 25 singing, adjusting due to placement within a chord, etc. 26 I expect students to at least know when they are not "in-tune," that they can hear beats in the sound. I would ask high school directors to train students to play with the best fundamental, characteristic sounds possible and learn to adjust an already resonant tone in order to match pitch with their neighbors. I would also ask them to help train students to hear pitch centers and intervallic relationships as best as possible. 27 Again, we stress characteristic tones for each instrument and spend time listening to pro players and as the brass coordinator for my district, I play quite a bit. So if we can exact wonderful tones with balance and blend, and also if we teach students that we as teachers don't tune them that they do and that proper intonation is an ongoing process not to be ignored after we officially "tune" the band, this makes a huge difference. In our program, our middle school and hs bands invariably receive high marks in tone and intonation at festivals so we know that we are on the right track :) 28 Be familiar with tuning process. Have students work in pairs. 29 The priority is not "to play in tune" but rather 1st play in "tone". So our expectations of incoming students has more to do with the quality of their sound. If that is at a high level, much of the intonation issues go away. Playing "in tone" allows students to be better able to hear what they need to hear to match pitch. The priority of HS teachers should be to teach quality individual and ensemble tone. Intil that happens, playing "in tune" will never happen. 30 Have the students know their tendencies on each pitch on their instrument and how to properly adjust. / Starts with great tone production - primary goal! 31 Simple. Listen. It's pretty amazing actually. If students listen, they will hear the issues. The more they listen, the more they hear, which results in more listening. 32 I have no expectations. I teach them regardless of their abilities. Review is always good if they are on top of it. 33 Tone quality is most important. If students think about the beauty of their sound first and foremost, most intonation problems correct themselves. 34 Students should know the intonation tendencies of all pitches in their playable range. In addition, brass players should know the effect of various mutes on pitch and all students should know the effect of the various tessituras on their instrument. / Students should be able to recognize if they are "out of tune" at all times and should be able to discern if they are flat or sharp, and by how much. 35 I would like them to know about all of these, but I cannot realistically expect any incoming students to be able to correct intonation errors, know tuning systems, and/or instrument tendencies when they step foot on campus. Almost all students in my ensemble have at least a minimal music scholarship, and they are expected to pass to the 200 level of private lessons in the first year in order to keep the scholarship. In order to pass from the 100 level, they must play with reasonably good intonation and be able to adjust on the fly. We sometimes discuss just tuning in band rehearsals. 36 Listening skills / characteristic tone / proper breath support & focus of air toward the front of the mouth & out to the conductor / proper vowel formation/usage (voicing) in the mouth ("ah" with the air focuse forward in the mouth; not a harsh air stream, but focused so that it's not a breathy "ah") / raised soft palate / humming (the buzz should be felt in the lips, not in the back of the throat) / singing (hearing the pitch, then singing on "ah") / hearing the pitch/part & then playing the pitch/part / solfeggio / 37 HS students: request they listen and RESPOND to pitch center. Know when something is not centered. Many times this is tone as opposed to matching the pitch. Characteristic tone is a prerequisite to good intonation (I never use the word intonation because it is used improperly. For example is it a noun or a verb? 38 The difference between being "on pitch" vs being out of tune.

110 39 To use their ears, recognize the characteristics of their instrument, weather, listen to the low voice. 40 Focus on listening all the time rather than placing too much emphasis on the ritual of tuning at the beginning of a rehearsal. Tuning needs to be happening constantly. 41 My fundamental expectation would be that each player can play in tune with themselves. I recommend the use of a drone to develop both control of pitch on instrument and ability to play in tune with others and within a key. Knowledge of instrument tendencies and tuning systems would be taught intuitively this way. 42 My expectations are quite low for incoming students. I assume they maybe know what beatless tuning is, but I still explain it and demonstrate fixing it. This occurs more in my lower band than my wind ensemble, but we do it a bit in that group too. / / I would tell HS directors to focus on characteristic tone first, then discuss beatless tuning after that. If all of my students came in with beautiful, characteristic tone, the pitch issue would be much easier to teach. 43 I expect that students can match pitches and can tell when two tones are perfectly in tune. I expect 50-75% of students to be able to tell who is higher when listening to two pitches. (This skill is not always as developed when listening to oneself.) / / I would ask high school directors to refrain from two things, decidedly: visual tuning during rehearsals, and the obsessive, obnoxiously loud use of amplified metronomes. Both of these habits deter the development of ongoing, good intonation skills. 44 Listen, listen, listen. They may not be able to hear whether they are high or low, but they should be able to hear that they don't match. They must then DO SOMETHING...either pull in or out, etc. They will know if they went the wrong way. I also encourage them to listen to the sign waves...faster, slower, etc.) Yes, they should know the individual tendencies of their instrument as well as their own personal tendencies. 45 Basic tone production / Proper balance (SATB) / timber must match / audiating/singing 46 I expect students to know how to adjust their instruments to bring them into pitch. I'd like them to be able to hear the difference tones which we are trying to eliminate, not just follow the electronic tuner. 47 No expectations. For practical teaching, see next response. 48 I'd be more concerned regarding tone quality. Once students can produce a quality tone, it's much easier to match pitch. However, listening is often time overlooked.. 49 My students come in with a wide range of competencies. Some are used to taking responsibility for their pitch, own tuners, know tendencies and how to correct errors. Many others are more accustomed to the director fixing errors. I would prefer them, of course to know their instruments and their intonation tendencies and to be able to correct problems on their own. 50 I expect incoming students to know when they are out of tune and make a conscious effort to adjust to the sounds they hear around them. That should lead them to greater understanding of just intonation, as well as the tendencies on their own instruments, if they don't come in already with advanced knowledge in those areas. In other words, I want them to know if and when it sounds bad, and I want them to feel an obligation to figure out how to make it sound good, especially when a note or area is highlighted as an issue from the podium. I would ask high school band directors to teach students first that intonation is about more than instrument length and that they have the ability and responsibility to make adjustments in real time. Secondly, I would encourage band directors to teach students to be aware of the music happening around them; intentional and constant listening is the first step towards playing in tune. 51 ability to match pitch with one other instrument; ability to listen within the section; ability to listen to another instrument in the ensemble 52 I expect students to be able to critically analyze their tone and be able to determine if they are playing out of tune. I don't expect them to be able to identify if they are flat or sharp, as a beginner. I expect that the students' private instructors teach their intonation tendancies on their respective instruments. 53 Most of my students are not music majors and they come from a variety of backgrounds/schools. / I spend a good deal of time getting them to listen/match pitch and learn their instrument's tendencies. 54 • Tuning is an individual responsibility. / • First-year students should know their instrument is not built in tune. No matter how much they spent. / • There are two tuning systems: 1) equal temperament and 2) what sounds good. / • Know the harmonic series and its associated tendencies for each fingering/position on the brass instruments. 55 1. Intonation tendencies of their unique instrument and how to compensate for them; 2. matching pitch with another instrument (tuning in pairs -- both together and one after the other; vertical and horizontal tuning) by eliminating difference tones; 3. matching pitch in intervals with another instrument (drones can be effective tools for this); 4. matching pitch and adjusting intonation in chords; 5. sightsinging; 6. playing

111 simple tunes by ear in all 12 keys;

School Directors Question 1: Please briefly describe your tuning process:

1 The Tuba plays the pitch in tune, everyone sings the pitch, and then first chair students play the pitch. When they're in tune, we add in the rest slowly. 2 Students are given a reference pitch. Longtones are played while students work to match pitch. We also use a tuning excercise that alternates unison pitches and chords to work on tuning harmonically. 3 Mostly student driven, teaching them how to listen from the beginning. When I do have formal tuning time, it is usually with generated tone. I have them tune on their own then spot check problems. 4 We pedegogically do not believe in "tuners"- we beleive listening to the chord in which your part belongs to and being able to fit within that chord. We teach our students that, depending on which chord tone you are playing, you must alter your pitch to truely be "in tune" with the other members participating in that chord. We use this device called "The Harmony Director," a machine which takes any specific chord, and tempers it to be in tune (flats the 3rd, raises the 5th, etc). 5 We "pass the concert __", we tune as sections, we play longtones 6 Students may use their smartphone/iPod to tune before class. I tune student that did not have a chance to tune. 7 My principal clarinet play sounds a tuning pitch (Bb Concert). All woodwind principal players play the pitch while everyone else sings. The tuning note is repeated and all woodwinds tune. Another pitch is given and brass principals play while the rest sing. Another pitch is given and all brass players tune. Another pitch is given and all principals play while the rest of the ensemble sings the pitch. Everyone tunes when the final pitch is given. 8 School owns a classroom set of tuners and contact mics. / After warm-up, (unison exercises, sustained and technical) we have students play a chord (usually F major) and keep steady needle; then check length of instrument vs. what they usually have. / WW’s sound a concert A, then sound the pitch with eyes closed and open to check tuner when they believe they are in the center of their instrument. We do that several times and adjust length of instrument (within reason – NEVER extreme moves). / Same method with Brass on Bb and F. / Back to F major Chord and do more of the eyes closed to open eyes and look at tuner – Chris Sharp’s Tonality Shifter exercise is good for this. / 9 After playing a chorale, the intermediate band uses a tuner and they are told how many cents they are either sharp or flat. / The advanced has the oboe play an A (woodwinds) they sing, then match their singing voice, brass do this w/ Bb 10 Tubas establish a unified pitch, ensemble hums pitch until they are asked to come in. I add voices to the tubas for tuning from the bottom up. The last instruments to tune are flutes, then trumpets, then piccolo 11 I start with the tuba and work my way through the group in score order backwards. 12 We do a tuning sequence. Then Brass to a Bb. Woodwinds to an A and everyone to an F. 13 Warm up. Tune to device, tune to ensemble. 14 We will play long tones on F / Bb. Then students will check their tuners to make adjustments. We then resound the F / Bb long tones and match. Finally, we tune a Bb Major chord. 15 after a warm-up, we use solfeggio symbols to play some diatonic chords. Then a Concert "F" around the band. 1st players first, then gradually add the rest of the sections. Sections tune up to 1st, 1st tunes down to bass. 16 Tubas give Bb for all of brass. Alto and tenor saxophones play their low G, high G, and high F# with a tuner. First chair clarinet gives A for all clarinets, flutes, piccolo, and bassoon. Clarinets then play their low C, open G, and high C with a tuner. 17 Concert F for clarinets and horns, B-flat for clarinets and brass, A for rest of the woodwinds 18 Listen, hum, sing play. 19 I will tune students to the Piano. Being that my program is only in its second year they are still developing an ear for tuning. 20 After a substantial warm-up routine, I use the Yamaha Harmony Director to sound a concert F for all instruments individually except oboe, flute and saxophones, who tune to concert A. Clarinets and brass then tune to a Bb together.

112 21 Long tone warm-ups to allow students to make their own adjustments. Tune a few section leaders with a tuner. If necessary, go down the line comparing other students to the section leader. 22 Play chorale, paying attention to neighbors, then sing chorale, still listening for neighbors, 23 generally I listen to students individually 24 We have a supply of tuners int the band room and some students have downloaded a tuner app on their phones. During their personal warm-up, they are to spend a little time tuning before class. The first thing we do as an ensemble is to play long tones. While they are playing, I discover which pitches are particularly out of tune, then we spend time tuning on those pitches. 25 I tune the clarinet player. Then I have them play a concert Bb, then add in the ensemble on a Bb. Then I release them all except the clarinetist and have them hum and sing then play again. 26 We take a Bb for the brass (ALL members sing first, then play), and A for woodwinds (ALL members sing first, then play), then a Bb for everyone (all sing then play). We will typically then play a chorale. Play first chord, sing first chord. Play four bars, sing the next chord, or variations thereof. 27 We only have 47 minutes of bell to bell teaching. So for a truncated warm up, which includes tuning, we spend 5 minutes warming up with long tones on the current scale that they are required to test on. We start with the whole notes at 60 bpm, then half notes at 60pm, then quarter notes, then the FBA All-State pattern at 60pm. I then go to the piano (or Tonal Energy app) and sustain Bb's for my principal players of each section to tune to. They are only allowed to play a half note value to tune. Once completed, I continue to have the drone pitch play and start and restart my principal players 4 times to allow them to make adjustments and hear if they got it right. Then I add in the remainder of players to do the same exercise with the principal players. We then sing the fifth above and then play it. I allow horns to adjust but encourage everyone else to make oral adjustments. We then sing the octave and then play it. This whole process takes 10-15minutes. 28 I will either have students do an octave sequence or tuning, or build from the lower voices. Very rarely will I have 1st chair clarinet give a starting pitch and begin to tune. 29 Ask students to listen and try to adjust their tuning individually, sections that are still out of tune I will tune individuals with an electronic tuner using concert F for most instruments, but concert A for saxophones. 30 Begin class with a Bb drone, play tuning sequence, make adjustments, tune saxophones and tubas by device, all others by ear. 31 With younger students we will tune the Tuba section or 1st clarinet. Then each section is slowly added in to match. If one section it particularly out without fixing it, we will go through students a few at a time. With older students the first clarinet will give a tuning note and the band will tune. 32 In my groups, I find I don't need to spend much time on the length of their instruments. They tend to put their slides where they belong and not move too much. However, valve combinations with tendencies have to be readressed constantly. I spend a bit of time on clarinets on both g and c, but have found that a flat chin makes more difference than where their barrel is. We do some mouthpiece work for that. The sections I will adress almost daily are the flute and saxophones. I have a clarinet sound their b and tune the flutes to their a and the saxes to their f#. However, that said I preach listening constantly and that "tuning" is not something you do once a day and expect it to take care of itself. 33 The band has a classroom set of individual tuners that students clip to their instruments. The tuners sit on their stands during the whole class so they can check pitches throughout the pieces we are working on. / We encourage students to have a tuner or tuner app for practice at home. 34 Long tones to start with a harmony director. Tune tubas and other low brass. Tune woodwinds separate of brass. 35 We warm-up first. playing long tones, the a major scale. Then I start tuning. Most of the time my students will adjust as we are warming up. 36 Oboe or Clarinet plays the tuning pitch / Students sing the pitch / Students play that pitch / Students adjust (sometimes correctly, sometimes incorrectly) 37 Students first warm-up, and then tune individually before class starts. We then do long tones as a class and focus on tuning as we play the long tones. Next we tune as sections, listening down. Finally we tune chordally as an ensemble. We have discussed how sound waves clash when things are played out of tune- we call this hearing the "wa-wa's". We have also done tuning charts. 38 We play quite a few unison long tone concert F notes as a warm-up, then listen/play, matching the concert F. At times, I will isolate a pair of instruments and have the class listen as we match the two. During

113 rehearsal if I hear some problem pitches/instruments, I will stop and correct. Often times, we have to discuss pitch tendencies/embouchure/valve combination problems and how to correct them. 39 Varies from day to day, but involves singing and playing both unison pitches and chords. I don't really think of it as "tuning" so much as "ear training". 40 We warm-up for part of the period. I sound Concert F for the Band to match. Concert Eb for the Alto and Bari Sax. Concert Bb for the upper range of the clarinet and t sax. 41 After warm ups, I use electronic device to tune various sections; woodwinds to A, brasses to F and Bb. 42 I have a small band. The trombone is the lowest pitched instrument. Trombone plays bflat concert pitch. We add in instruments one at a time and listen for beats and work on eliminating them. 43 We play various scales and chord exercises, arpeggio exercises / To warm up, followed by tuning 44 Pitch is sounded. Preferably by an instrument. They are asked to sit with good posture because you can't tune a bad tone. They hum it and sing it. They are told if it sounds high it's sharp pull out, etc. If you can't tell but it sounds out of tune-guess. Assume that it's you out of tune. 45 I play an F concert on Tonal Energy (A=442 to match the mallet instruments...piano is also tuned to 442) as we are getting set for the rehearsal. We hum and sing the tuning pitches before making an intial match on the instrument. We then play warm up exercises descending by half steps (brass on mouthpieces) as I play the pitch along on Tonal Energy. The brass are on horns starting on the third exercise and I continue to play Tonal Energy during each exercise. We always end on a Just Intonation major triad. After 15-20 minutes of exercises, they have a last chance check with the tuner and analysis on Tonal Energy. We are good to go at that point. 46 Here is a five minute TonalEnergy Routine that can be used with a middle school band on daily basis. / / • Drone a pitch with the tonal generator through an amplifier. This pitch will continue throughout the entire routine. Using a projector, show the analysis with the blue waveform window and orange plotline. / • Have the ensemble match the pitch. / • Have the ensemble hum and sing their respective pitches. / • Play again to match, and then have the ensemble bend the pitch down and come back up to match. / • Starting with the first clarinet player, each student plays their pitch individual for four counts. There are no rests between players. Students will not only try to match the drone, but they aim for square sounds for a four full beats and a straight orange plot pitch line. Every day, each wind player receives at least four counts of individual feedback. / • After the last student plays, the full band will match the pitch one last time. Then have a short discussion about intonation and sound tendencies that day. / • This routine can be recorded through the app, and exported to the student for an at home written prompt assessment of the ensemble or individual progress. / 47 Sound the pitch with a tone generator and have students tune. Then check individually with a tuner. 48 pitch sounded..listen one at a time...adjust...... recheck 49 All students warm up independently and check their own base tuning before class tuning begins. The woodwinds get an A from the 1st chair clarinet or oboe and tune together. The brass get a Bb and the horns get a F. 50 I suggest that you check my Master's Thesis,"Problems involved in transcribing three Palestrina works for symphonic band and their application to student ear training. by Jesse Pearl, University of Miami, Coral Gables, Florida. January 1965. It was geared to the Junior High School Band. Our tuning bible was the chorale, among other things. 51 An 'F' drone is sounded and the students will match the pitch individually from lowest to highest. They are set up in pairs or 'families'--for ex. Tuba, Euphonium, Trombone 3, Baritone Sax, Bass Clarinet are group 1 (we currently have no bassoon, if we did it would be included in this group). Since our group is smaller we only have 3 groups instead of 4. Once the pitch is matched by each family then they layer it together (group 1+2, etc..). 52 A pitch is sounded usually through the TETuner app on my iPad hooked up to a sound system. Principal players tune then tune their sections. From there we tune to the tuba and proceed to a "around the band" band tuning in which sections are asked to enter at the moment the pitch from the previous section has ceased ensuring they are matching the previous pitch to with the rest of their section. More often than not, I have the ensemble sing a scale with the tonic sounded on the tuba. We then proceed to play chords (I- IV-V-I). 53 Oboe plays concert A, entire class sings pitch on "Ahh" (after note settles,) oboe plays concert A again and wood winds tune (after note settles) the concert A then the 5th and octave above and below as needed, oboe plays a final time, brass tunes in the same manner as the woodwinds

114 54 We warm-up on scales, then play the concert F scale in 3 parts. I ask the students to use that 3 part playing to listen and tune. Then we use a concert F from the tuba to tune by section and/or individually. If the flutes and piccolo are having a hard time, I will ask the bells to play with the tuba to give them 2 reference points. 55 Pass Concert Bb pitch from bass to Baritone to Tenor to Alto to Soprano voices. Use Concert A to tune Woodwinds, clarinets using their F# to check for pad height problems. 56 Pitch from reference pitch; principal players match; sections match principals. Typically WW first, then brass. 57 We follow the pyramid of sound, starting with low voices and then gradually work our way towards higher ending with trumpets. Students follow the Ed Lisk process of listening for "waves" and then adjusting based upon if the waves get faster or slower. 58 Tuba first, I use a tuner. (F and Bb) We tune by ear to the tuba. The low brass are second. I then tune a clarinet to the tuner (F then A, then Bb.) we tune by ear to the clarinet. We play a chorale. If is sounds right we go forward, if not, we fix. 59 There are tuners for student use, Students tune on their own at the beginning of class. Then I will tune them individually then have them listen by section for "waves." 60 Tune from the bottom up using the W. Francis McBeth's pyramid of sound. I use that concept for balance and tuning. 61 After allowing time for individual warmups, I sound the pitch from my tuner app and get the tuba set. We then tune to the tuba and spot check individuals with the strobe. 62 We start by making sure the air is moving properly. Once we feel that the air is moving, we play a concert F in our most comfortable range and teach them to listen and match the octaves. This also requires a level of balance and blend which affects the overall intonation of the ensemble. After our best concert F can be established, we begin working our way down or up while maintaining the same quality of sound. 63 Students play sustained notes (scales, or chorales, etc) and then we start listening for sound beats. We use the Strobo tuner to help "dial" students into the correct pitch. 64 Build on the tubas pitch, adding sections. If section sounds poorly, and they cannot fix it, I work with them individually. NO TUNERS. I want them to listen, not to watch. 65 Students are encouraged to use band provided tuners or tuners on their phones. Using 1a,1b and 1c from the Foundations for Superior Performance book, students are asked to adjust as they warm-up. After additional varied warm-ups the director will tune all individuals to see how close students have gotten. The director will make comments about tuning tendencies and climate to help students understand more about relative pitch. 66 For Flutes, I tune on F, G, A, Bb, Clarinet on F, Saxes G-G-F#, Oboes on A, Bassoon on F. / For Trumpets, I tune on F, G, A, Bb, Horn on C, Trombone, Euphonium, and Tuba on F. 67 My overall goal is to train students what "in tune" sounds like so intonation is addressed in everything played whether it's an exercise, long tone or piece of music being performed. Individual tuning of instruments is realativly often at the beginning of the school year. Brass slides and flute headjoints will remain in generally the same place. Reed instruments are tuned more often. 68 Warm up on Concert F. Remington Studies, Pass F (Flute Bb, Sax F#0 Then Section pitches 69 Warm up using a Remington type warm up each day in different ranges on the instrument, chorale. Once the instruments are warm we tune using their own tuners. F around the room while I am checking with the stroboscope. / Continually checking pitch throughout class time as we rehearse. 70 a few types, tuner in front of class on screen all tune, or clarinet or tuba player gives pitch and everyone else listens. 71 F Around the Room (full band-tuba-full band-low reeds-fb-low brass- etc. in score order 72 I tune each student in band individually using an electronic tuner A 440 73 After initial warm up time including breathing, long tone and flow studies, various technique exercises I sound the pitches and ask them to check their instrument length. When then check for matching by passing the tone around the ensemble. 74 Warm up with long tones, then tune on concert F. I have a tuner and clip for each student. They watch the tuner and make adjustments on their own. 75 We perform a concert F descending scale pattern and get the students working their ears as we progress. We then sing the concert F; brass buzz the F; and then we all play the F with a drone. I then play ( g - g - f# (not concert pitch) pattern for saxes; concert F for horns; concert f - g - a - Bb for other brass; Concert

115 A for string bass, bassoon, flute and oboe; and concert D and Bb for clarinets. Note: we don't tune every section every day like this - we alternate or I listen for a section that is struggling. Tuning is done by matching pitch with the harmony director. After a section(s) are tuned up we then return to concert F. Students, save the horns, are not allowed to adjust the horn when tuning to concert F. 76 I use a harmony director to sustain octave Concert F's then the full ensemble plays an F. Then I hear individual sections as we pass the F around the room. I also sustain concert F and Bb as we do long tone/remmington exercises coming back to each of those pitches. I use concert A for flute oboe and sax. I rarely check my students on a tuner after the first year. I try to develop their ears and I teach them to check their pitches with their personal tuner. 77 We will warm-up with long tones to get our instruments and embouchures warm, then at the END of warm-up, we tune. F Around the Room traditionally. If I hear any glaring tuning issues, we use a Petersen Strobe Tuner to assist us in getting pitches accurately. Time is critical in my class, and I usually only fix the HUGE intonation problems so as to get the most rehearsal time possible. This is different the closer we get to a concert/contest. I put more emphasis on it about two weeks ahead of time. 78 I prioritize characteristic tonal production which develops intonation. You can't tune a bad tone. 79 Concert F Around the room and then tune any individuals that are far off 80 Clarinet and alto sax are tuned daily – all other instruments should be set up appropriately and if using proper air, correct placement of instrument/buzzing the right pitch and marching energy then tuning should be taken care of. It is a constant process it requires the students to listen and adjust. 81 Warm up ensemble / Start tuning lower voices, / Check pitch through sections 82 Long warmup first, either with a tuner individually or match pitch down the section or group match pitch with instrument or tuner 83 Use a Strobe tuner on ipad on tv screen. Students tune on concert F and some move to Bb, ie Tuba. We start with tuba and move up the concert order from low to high. Because time is of the essence so i place a max 6 of minutes for tuning. We move on if someone is fairly close to being in tune. It usually takes about 3 mins. ( i have a smaller ensemble of about 30) 84 warm ups first, then scales with drone, then tune by sounding pitch and asking them to match. check first chairs with tuner, then adding section down the line....tuning individuals when necessary 85 play and match each other 86 Tuba uses a tuner to play a Bb or F. Section leaders in each section tune and after that, the rest of the students tune. If students do not seem to be listening very well I will have the tuba play the pitch, and have everyone else sing the pitch. I will slowly have students change from singing to playing section by section. 87 Students warm up on their own before rehearsal. The first thing we do in the rehearsal is long tones, usually Bb or F, and the students do a "rough tuning" where they get their instrument close. We then move on to technical exercises, scales, chorales as the students adjust tuning throughout. Then we do a final tuning on Bb or F, play a series of chords we refer to as our "Tuning Sequence" which is a Bb concert chord progression, and then begin working our repertoire. The students have a thorough understanding of how important tuning is and their responsibility to keep their instrument in tune. If our tuning starts to suffer, I mention the problem to them and if it is not corrected very quickly, we stop what we're working on and go back to the long tones and "Tuning Sequence." 88 sound tuning pitch separately for three seconds, hum/sing the pitch, play softer than tuning pitch. Match tone, volume, pitch. 89 section to section, clarinets, saxes, flutes & trumpets first 90 Start with a concert F. Hear the pitch. Hum the pitch. cover one ear. Open your mouth and sign the pitch. Play the pitch. After the tone has centered I switch to to Bb while the band stays on F. Make sure they stay centerred- then let them switch to either Bb in their range. Once it's centered the drone changes back to F. They stay centered then switch back to F, and we finish with one more switch to Bb. 91 As a group, then individual groups starting at bottom(bass, tenor, alto, soprano), then back up combining voices alto and soprano together eventually layering ore on down to the bottom. I will go down the line if any section is out of tune. All of this is done while a drone is sounding. 92 I have a young group, so we are still tied to the strobe tuner. After we complete our warm up, during which time, students are to adjust as best they can, we will spot check those areas of concern (flutes, alto saxophones, etc). We have purchased tuners for each student which come with a mic that read the frequency of the vibrations of the instrument and allows the student to instantly adjust their pitch during

116 rehearsal. 93 Match the drone; turn off the drone and stop the dial. 94 After students warm up individually we go through daily drills for tone and technique. / After that we let the students tune individually using their personal tuner with a pic up mic. / They all have their assigned tuning pitches that is specific to their instrument. / Then we play a choral and identify tuning responsibilities within chords. 95 Our top group tunes a great deal more than the second band, When tuning the second band, I have to be very specific and hear each individually with a tuner, I only do that with the second group about once a month and tell each student to push in or out, in our top group they are expected to tune themselves every morning before the start of class, they know how to make adjustments and it is quicker for the whole band to tune. 96 We have 45 minute classes. High School: During contest season every person tunes with an electronic tuner on Monday (we only have 1 tuner per section). On Wednesday we have only the first chair of each section use the electronic tuner and everyone else tune to the first chair. All other days we have the entire band tune each note of whatever scale we're working with that day. For instance we play the first note and then everyone tunes to the band. When it sounds good we move on to the next note. 97 I tune flutes to a natural; clarinets to open g and c above the break; alto sax to f#; valved brass play f-g-a- Bb and hold to Bb to tune; trombones play f-d-Bb and hold the Bb to tune; horns play g-a-b-c and we tune both sides of the horn on C. 98 I teach a remedial band class, so I usually try to get them to match the tuner at first, then go down the line one by one. 99 Warm up, hum-sing-play concert f, F around the room - match pitch 100 High Bb sounded by tuba-brass only, listen and tune then w.w.s only, listen and tune / F sounded by tuba, repeat above. / Students also use 3rd and 5th of chord. 101 Tuning is secondary to quality of sound production. Individual tuning will be used for troubleshooting once students are fully warmed up and if there are still intonation issues. Students may have tuners, but should not stare at them. Tuning will occur on the best note for each individual instrument. We practice good sounds on a Concert F. 102 We play through warm ups as an ensemble first. Then tune, then play a couple more warm up/balance excercises 103 After a group warm-up and chorale, typically I have them play F, G, A, Bb, and I use the F and Bb as reference points. I will also have students play, sing, and then play, to assess their own pitch. Other days, we might tune differently, such as using a blending exercise, where each person must match the pitch of the person next to them. The first person in that section will start, and each successive person is to enter, on the same pitch, at a softer dynamic level, blending with the sound that is already being played. We also work on melodic tuning, with intervals, so an example might be F, E, F, then F, Eb, F, etc., so that students can work on getting the right intervals, which helps with centering their pitch. Other days, we might choose a chord, perhaps at the end of a chorale, or just a Bb major triad, etc., and get students to listen to how they fit in with others. I will also have them switch pitches in the chord, so that they have a chance to play and tune different parts of the chord. 104 Warm Up, Tune individually with an electronic tuner, Build the sound together from the tuba up through the higher instruments, listening to each other. 105 We begin with a warm up activity. Depending on the length of rehearsal, time of year, etc. this may be a simple long tone exercise or it may be scale work or it may be an involved warm up period. Following that I have the principal tuba player check his Bb and when it's in tune everyone hums that pitch. We then will do some quick singing of scale degrees which I show with my hands. Next Principal Players on each instrument check their pitch against the tuba and their sections match the pitch of that principal player. Additionally I have double reeds, flutes and saxophones repeat this process with the principal oboe player giving an A concert and clarinets with the principal clarinet giving an F concert. The tuning process itself takes no more than 2-3 minutes as this all moves very quickly. After that point using tuners is mostly discouraged in ensemble rehearsals as we instead focus on listening to the sound. Students are trained to hear "beats" or "waves" in the sound and adjust until sounds blend together as one. This is not possible without a good deal of work on tone quality as well which is a whole other discussion. 106 F around the room by sections. Concert F is sounding from the Harmony Director. Each group plays whole note beginning with full band, then working up from tubas to flutes. We go around the room twice

117 and end with another full band whole note. Some groups may include two instruments such as trombones and baritones. We go around twice in order to give students a chance to adjust their instruments and recheck the second time. After this process, I will tune a couple of sections who were particularly out of tune if needed. I also ask questions to see if students are listening throughout the process such as asking which section was the most or least in tune. When doing individual sections, pitches other than F are used as appropriate to tuning tendencies of different instruments. 107 Usually in a Chorale, but sometimes Concert F around the band. We have scales of the day and tune those tonic notes too. 108 Concert Master plays pitch for brass (F) Tuba tunes first, then first chair, then the rest of the section. The same process goes for woodwinds except on a concert A. Ensemble will tune to a F chord or Bb chord. Then play a chorale to tune individual chords and sections. 109 There are a few different processes I use to give the students the opportunity to listen differently. Matching flutes, oboes, clarinets, alto & Bari sax to A, match clarinets (again), bassoon, tenor sax and horns to F, then tuning everyone else to Bb. Have principals match on all three pitches, have sections match independently on F, and various combinations. I also never use the word "tune," because I want them listening deeper to color & final texture 110 My strongest player by far is a trombone, so we usually start with a pitch from the tuning CD, or a tuner on the trombone player. Either way, he sounds the initial pitch. We then go section by section, up through the instrumentation blending in to the pitch they hear, first lipping up or down, then adjusting their tuning apparatus so that their embouchure is neutral and they are in tune. 111 We tune tubas to the electronic tuner as a start; turn off the tuner and seek a good unison or octave as we continue through low brass and woodwinds, then tenor brass and woodwinds, then altos, and then soprano brass and woodwinds. 112 tune internals in remington studies, concert F around the room and Bb. Students use self tuners that clip on to instuments 113 Students tune with F around the room. Then individually. 114 Tune from the lowest sounding pitched instrument. Section leaders tune to each other, down towards the lowest pitch. Section members tune in the direction of their section leader, but only to the chair above them (1 <- 2 <- 3 <- 4) 115 Concert F in sections and around the room. Checking individuals if necessary 116 Use droning pitch from electronic device and tune by section from the top down. 117 We tune to the Tonal Energy App, then listen to match within the section. We start from the tubas and work our way up, adding sections to the note as we go. We do not tune every day due to time restraints. 118 We warmup, first by singing a concert f and work to produce a quality vocal sound,then we play warmup exercises in foundations for superior performance concentrating on producing high quality individual and ensemble sounds. We do not use electronic tuners most of the time in class because I want them to learn to hear pitch as opposed to seeing pitch. I encourage the use of tuners at home to learn the pitch problems on their instrument 119 We will initially warm up with long tones, lip flexibility exercises and then scales. The students will play a chorale and then we'll tune. I have the tuba section start. If they sound in tune, then we start turning the rest of the band, by sections. If a section sounds badly out of tune, I have the section tune individually. If we are short on time, I will listen to a few sections only. I always remind students to listen to each other and make adjustments if needed. 120 The student tunes to a tuner, then tunes the woodwinds, then the brass, then all instruments together. 121 Solo clarinet, then principal chairs from bottom up. When pitch is locked invite rest of group to play ascending scale (pitches 5,6,7,8) into a concert Bb. 122 Tuba player tunes to piano in room - he played Bb at a mf dynamic and then upper woodwinds tune (mp) then saxophones then brass. 123 first clarinet gives a concert A for string bass; then concert Bb for the wind instruments in the band starting with tubas, then low brass and woodwinds, followed by trumpets, French horns, alto and tenor saxes, then upper woodwinds. 124 I don't tune the entire band each day. We have a45 minute period so I tune if I hear noticeable intonation issues. Students can hear and usually adjust themselves in the top group. 125 After warm up scales, a note is sounded by either a strong alto sax or a strong tuba player. Woodwinds tune first, then another note for brass. Then we tune a chord (add 3rd and 5th).

118 126 We match pitches with each other and with electornic devices. 127 I spend some time each day tuning every student, from my podium, with a tuner. Less emphasis with the student providing a single pitch. 128 Many of our students have the Tonal Energy Tuner App on their devices. Many of them have a free tuner app. Sound desired pitch or 5ths on TE App, kids sing the desired pitch, then match on their instrument. Trumpet, Horn, Bone, and Euphonium may buzz and match on mouthpiece before playing on horn. I don't believe buzzing on tuba mouthpieces is as effective as the other brass. 129 Tune each section after an initial warm -up to their sections tuning note or group of tuning notes. 130 Tuba finds a Bflat, then brass joins to match pitch. Then tuba sounds Bflat while Bb woodwinds match pitch. Flute tunes to their A, Alto sax to their Fsharp. When needed, director checks intonatioin with tuner at the podium individually (rarely). Then ensemble plays a concert Bflat to check pitch, then a Bb major chord. 131 I will have a harmomy director holding a pitch (usually a concert F) at the beginning of rehearsal. I will do an initial "full band" tuning to see where we are for the day. After that, I will do warm-ups with the harmony director still holding a pitch. It will change between F and Bb depending on the long tone exercise we are doing. After we are warmed up, I will do individual tuning and start working on music. 132 I warm up the band. We play through at least the Bb major scale four times (whole, quarter, eighth, and triplet figures). Some times we use another tonality and we also use a chromatic. I then go through the band, when I'm using a tuner, individually. I have tune two like instruments (clarinets usually), have the band listen to changes in pitch (the vibrations), and then I bring the band in to match the clarinets. Occasionally, I have the band sing a pitch, and work through intonation problems. 133 Varies. Single note sustain, sing, and adjust. Drone pitch electronically and bend pitches up and down to center the pitch with the drone. 134 After warming up, I will sometimes go around the room, sometimes tune sections, sometimes tune individuals. As the rehearsal goes on I tune and stress for the students to listen around them. Sometimes we sing as well. 135 Principal Clarinet has a tuner. She/he adjusts and then sustains pitch until ensemble tunes. I request that students have a tuner, especially since most have smart phones and there are free apps for this. Not all have done this yet. 136 After the warm up, I use the tonal energy app on my iPad. I drone a concert Bb, A, then F and allow the students to match pitch. 137 Warm up minimum of 10m, Sound "F" concert, Do "F" around the room, then go down the row tuning their note of choice from those that I indicate are "good" for their instrument, and they observe my iPad app - Tonal Energy - being projected up onto a very large TV or video projector in the band hall. Then as time permits, use pitch matching games with notes produced from the Harmony Director to train their ears to hear the correct pitches. This all occurs after each student has gone into a practice room in pairs. and filled out a pitch tendancy form for them and their instrument. 138 Lately, we have been using "the tuning cd," and playing it throught the sound system. We use the A#/Bb track which has a drone that includes some of the fifth in it. We go down the line and give each player an opportunity to adjust. 139 Every student plays their tuning note, I check to see where it is on the Node 12 window Chromatic Tuner. 140 Start with tuba and 1st clarinet. Go to principal chairs. Add sections. Students have the responsibility to make necessary adjustments. 141 Unisons, then chords. Then chord inversions. 142 Concert F from oboe or tuba, then have students join in by instrument groups starting with low brass/reeds, then middle voices (horns/saxes), then clarinets, then flutes/oboe/trumpet. 143 First we do an exercise called, Sing,Breath,Play. Then we play the Remington and Long Tone Exercise from Foundations for Superior Performance. Then we would tune. Initially, we use the Tonal Energy Tuner. The visual was displayed on a larger screen for the class to see. We made it a game to see who could get the most "Smiley Faces." After several weeks, we transitioned to the students "self tuning" their primary notes. We also spend a time learning to tune chords using the Yamaha Harmony Director Keyboard to model and match. / / 144 I have numerous tuning processes. One is to start with the electronic pitch, producing by the tuning machine, then have the students tune one section at a time, starting with the low brass, then working our way up through the upper woodwinds. Students are instructed to eliminate the beats in the sound and to

119 tune to others in their section, as well as the pitch being produced. 145 Warm up on long tones following by sounding pitch that is sung to match pitch and them imitated on their instrument. We sing the pitch and tune 3 separate times 146 Concer F, concert A for flutes, oboe and their f# for all saxes, F around the room, 147 After 5 minutes into our warm-up we'll do an F around the band. After this I'll do a random sampling on students that I hear may need a directive to change their tuning slide to help the tuning process. Students have also been asked to go through every note on the instrument on their own to find their pitch tendencies. 148 Have first chair tuba play an in tune f. Have the band match the pitch. I listen then adjust the sections that don't self adjust 149 F Concert 150 Warm up first. Tuba player will play a Bb verifying pitch with a tuner. Each section then tunes starting with brass then woodwinds. I then have the entire ensemble play a Bb then descend chromatically to an A. If necessary, I will check individual students for correct length of the instrument. 151 Match pitch both in singing and instrumental performance. We do this with unisons, octaves, fifths, fourths, thirds, major and minor chords, and chorales. We also expand this to all intervals, including augmented and diminished. 152 Woodwinds tune to an A established by the oboe or lead flute. Everyone listens to the pitch, sings the pitch, then gradually join in with their instrument. Once the woodwinds are in tune, the oboe/flute establishes a Bb for the tuba. Tuba tunes, oboe/flute falls out and the brass tune to the tuba. Same process of listening, singing, then performing. / At the beginning of the year, I tend to do more ear training with drones to help the freshmen get up to speed. When using drones, I have them listen to the pitch and try to hear the overtones. I have them sing and experiment with what in-tune and out of tune sounds like. The overtones help them hear the dramatic change in the sounds waves, and teaches them what to listen for. I have the sing the root, third, and fifth. I have them sing in tune, slightly sharp, and then slowly fall back in tune so they can feel the click and release of tension of a matched pitch. 153 We have our tuba player tune themselves and then we tune to that person. Then (depending on time) I (the music teacher) will spot check small sections or individuals or go down the line and get an entire section in tune. 154 Winds: hum, then sing tuning pitch quietly to themselves while listening to the strobe tone, then briefly playing the tuning pitch with good tone quality and adjusting as necessary, repeating the process until complete. If necessary, using their own tuner is recommended but only after initially using their ears. / Strings: Same process as above, but starting with the A string, then moving down to the D, G, C, and finally up to the E string. 155 1. As a CA public school, students are allowed FAPE, so we are not allowed to "require students to own tuners." / 2. The survey did not initially indicate that the "ensemble" would solely be "band" so, my initial tuning notes are determined by the group/instrumentation. / 3. Usually, I start by giving an initial pitch on the piano, then I have sections/individuals within sections tune; followed by a re-checking on high/low voices (perhaps oboe and tuba), and have sections enter. / 4. This is also a long tone exercise, as we hold a tuning note for as long as needed to get a consistent sound from an ensemble perspective, which means it is also an exercise in balance/blending. / 5. For my orchestra, I usually start with G on the piano, several octaves of G, and then start with sections - violins, violas, cello, bass; repeating on each open string, then on double stops/fifths. 156 I use the Remington tuning exercise of F E F Eb F D etc. 157 Initial tuning - we use Concert F Around the Room. 158 Concert F several times, observe three parts of the note - beginning, middle and release for unwanted execution. Then brass plays concert Bb as WW continue on concert F. Then they switch. Teach students how to center their pitch so they can learn how to tune their own instruments. 159 Let me use clarinets as the example: Individual players play their F concert the Bb concert. I ask them to pull out or push in on the barrel and middle joint. Then I have the section play an F concert. They sustain it and have the band join them. 160 / / / / / I often tune within the playing of music,stopping on particular notes within a assage 161 I warm them up first on a chorale then we tune to the electronic keyboard 162 Clarinet gives a pitch to the tuba. Low brass and then high brass tune. Then low to high woodwinds tune.

120 163 My classes are small - no morethan 9 in the largest group. The kids are sittingi n a semi circle so they can all see me and each other. Currently, they are not sitting in concert formation or order, on purpose. I start with some breathing exercises as my classes are after lunch and during the last two periods of the day. After a few minutes of stretching out I have the kids play a tuning pitch for ten seconds and then I point to one kid who continues to play the pitch whilethe others stop to listen. We are working on using your listening skills to decide if a student's instrument is flat, sharp or right on. My choosing is random so the kids never know if they will beo nthe "hot seat". It have boosted moral and self esteem in our group because they HAVE to listen. If one or two are really, I'll pull out a tuner. for the most part, they know ifthe note is supported, it will more than likely be on pitch. 164 We play a slow scale and some chords as initial warm-ups. During this time, students are encouraged to listen to each other, matching both tone and pitch. I then spot-check sections, having the principal player play the first and fifth scale degrees in the key in which we are warming up. I have also had the tubal player play first and fifth scale degrees and then brought sections in to match. We have also tried either clarinet or oboe playing a single tuning note for the ensemble. 165 Adams Tuner - F sounded. Tubas first, then instruments add in from lowest to highest. If needed, or with my youngest groups, process is repeated for the F. Then, A is sounded. Bari sax first, then instruments add in from lowest to highest. At concerts or competition we tune every student individually with a tuner. 166 Just intonation exercises in all keys. 167 Initial "F" given for woodwinds, then brass, "A" for saxophones and clarinets, then full band, "Bb" given for all instruments 168 I tune the band from the bottom up. I encourage the students to keep blowing warm air into the horns until I get to their section. Low Brass is tuned on F. F Horn on low C and high C to tune both sides of the horn. Saxophones - play low G, high G, and then F#. F# is the tuning note. Trumpets and Flutes are tuned on Bb, but they play F, G, A, Bb in sequence. I have the clarinets tune on their open G, third space C, and sometimes high G. Oboe will tune on A or Bb. 169 I have 7th and 8th grade students who are in their second and third year of playing. We use a chromatic tuner to visually get a reference point, and then we listen for unison within sections. 170 We do not tune as an ensemble. Students are responsible for their own intonation by way of aural skills (solfeggio), and each student owns a tuner and tuner clip 171 Although I do not require students to own tunes (against the law to require students to have to pay for class "materials"), I encourage students with smartphones to download the free appls. I teach HS orchestra and my concertmaster gives the initial "A" for the class and students tune on their own. They also give a D, G, and E and follow the same process. My 1st chair cellist gives a low "C" for the violas and cellos. Younger students may asked me to assist with tuning their instrument. 172 Pitch is given using Dr. Beat. Then students hum the pitch and bend in and out of tune for a minute. Then I slowly add in voices from the bottom up starting with tuba and clarinet. We play Concert Bb major in whole notes and then retune. 173 After a full band warm-up (long tones, scales, flow studies, etc)... / Quick tune: full band concert F, Woodwinds concert F, Brass concert F, full band concert F / If address sections as needed / Individual tune: hear each section then all individuals within each section 1 at a time on their specific tuning notes (varies by instrument) 174 Students warm up prior to the start of class, we play a few remingtons together and go through our normal "daily drill". From there, take a moment to tune ourselves individually (students will partner up) and then we will have each section sustain their tuning note. 175 Students must listen to mcAdams tuner. Woodwinds get a concert A . Then brass get a concert ann. Their objective is to ensure that they are at least within 5 cents flat or sharp of the tuning pitch. Each section the. Is asked to play with the drone turned off and fine tuning is adjusted as needed. Finally tuba begins a concert F and we build that unison note all the way up to piccolo checking for tuning in a blended and balanced ensemble. 176 Using the Harmony Director we play several concert F. We do a breath pulse scale and match pitch by sections. If the section is not matching we use the strobe tuner. Some sections are assigned tuners (Oboes, Trumpets, Piccolo) and check tuning through class 177 After our warm-up exercise and while we are taking roll students use a tuner to tune F and Bb concert on thier instrunents so that they are "in range" of playing in tune. They we start work as an ensemble playing scales in chords and number patterns to develope the ear and continue the tuning. when we are finished with that the tuba sounds an F concert and we move into rehearsal. We address intonation throughought

121 the rehearsal. 178 I have students sing the note but glissing up to the pitch that we are working on. After everyone has sung it then we play it. Then we play an example of that note from one of our selected pieces of music. 179 Students will tune individually after a brief warm up. Then we will pass the concert F around. Not the best tuning note for all instruments, but it does force students to match pitch as well as energy and intensity in the sound. Horn players will play a concert C 180 We usually start on a Concert F as an entire ensemble. The drone tone is provided by our harmony director. We usually follow with singing/playing a F-descending exercise (F - E - F - Eb - F - D....etc) having a section hold a concert F for reference for the entire group. Throughout the rehearsal we address numerous tuning issues and if tuning cannot be fixed by the students listening I resort to tuning the actual instrument using a strobe tuner. I try as much as possibly to train individual students that a tuner or electronic drone tone is not "right". Every student has to engage their listening at every moment. 181 After warm- up band plays a F concert agaisnt the tuner. 182 Playing concert F in sections, either passing around each section or adding a section every 4 counts. If a section is terribly out of tune, we will stop and use a tuner. 183 We tune to the strobe (iStroboSoft app for iPad). Then we tune by listening across the section and across the band. 184 When I have time, I check the advisement of each instrument using a tuning pattern (series of notes). After this we do quite a bit of singing, playing 5ths and 3rds. 185 Turn on electronic device, have students hum the pitch, then enter at mf. Make adjustments if they know how. If additional problems are detected, I have a section play, then ask if any individuals would like to be tuned individually. I tell individuals what adjustments are required. By then, we will play whatever warm up sequence remains. 186 Play note on Piano/Xylo/Marimba, have students sing the pitch, play the pitch, adjust the pitch. Listen again, sing again, play again, adjust again. Then spot check with TOnal Energy Tuner App. 187 Sound F on electronic device, all players sing F, then match pitch on their instrument. Process repeats on Bb and A. / / Alternately, use Tuba as sound pitch; same process 188 We take an A from the piano. All string players also have a snark that I provide. 189 Brass then ywoodwinds with source pitch sounding 190 I tune the section leaders to the electronic tuner and then have them tune the rest of their section 191 Usually play a drone for the pitch and have the tuba match it. Then have all the first chairs match the tuba and drone and finally have everyone match pitch. 192 I take the pitch from mallets, then have Oboe and Tubas give pitch. Then build up from lower voices, to flutes 193 We do a lot of pitch matching via singing, buzzing, playing. We do lots of section matching- i.e., 1 player plays, others match within sections. We also do this across instrument families. 194 i am actually a private clarinet instructor - i have students either match me to a concert A (middle of staff, below staff) and then a concert D (first line of staff). we'll either use a tuner or my pitch. when playing with me, I can tell immediately if their voicing and embouchure are in the correct place, so I tend to use my instrument as the basis for our work. 195 The tuba plays the concert pitch and the other players listen down to that pitch. 196 Section leaders tune themselves after warm-up, then tune their sections. Then we tune again from the clarinet pitch, and check random students with 'F around the room'. 197 Concert F around the room, ask students to start matching pitches. If pitches are way off, then I tune individually 198 1. Students get three minutes to play before group activities will begin. During the three minutes brass will play first on the mouthpiece and woodwinds will start slow long tones/scales / 2. Evercises will vary daily. Generally play slow scale often split into A/ B Part. A Will often move up the scale whiles B's will sustain the stationary Concert F. This will often be followed by sounding a F around the room in this order to match tonal color and energy, pitch centering, note centering, ect. The order of entrance will be Tubas, Euphoniums, Trombones, Trumpets, Saxopohones, Bass Clarinets, Bassoons, Oboes, Clarinets, E b Clarinet, Flutes, Piccolo, then full band. / 3. Next we hum and sing the first five notes of the F Major Scales. This will then be followed by A/B Splits on the instrument. The B's will stay on a stationary middle concert F while the B's move from tonic - dominant degree of the scale. (concert C) Next we will then start everyone on Stationary Concert for four counts, A's will then move up to the fifth for four

122 counts, then all sustain middle F for four counts. All of these exercises are frequently performed with a harmony master. 199 After the initial note is sounded ( Concert Bb), I have all of the student hum the pitch to warm-up their ears. I then have both the 1st chair clarinet & tuba adjust to each other adn then add inthe band. The studnets then hum ther Bb again. On cue, I have them lower the pitch to a Concert "A". The CLarint & Tuba join in and then the rest of the ensmeble is added in. / / For Orchestra, I have the piano sound a Concert "A", then ConcertMaste/Mistress tunes thier individual instrument. The violin then give the orchestra a cue to tune Concert "A". We then add in the Concert "D", "G" on cue. For Violas and Cellos, I have everyone play the Concert "G" and move them to the Concter "C". We all go back to a Cocet "A" and then the Violins and Basses move to their Concert "E" to somplete tuning the open strings. 200 The tuba plays an F concert. We all hum and fill on to the sound from the bottom of the ensemble upwards, making sure we create a composite, centered, warm in tone, F concert. I always emphasize the need to blend and not superimpose the individual tone upon the lower pitch partners. 201 We do a lot of ear training and place a high importance on singing. 202 Warm up using long tune and lip slur combinations. Last warm-up is 4 count chromatic decent returning to Concert F between pitches. Start tuning upper woodwinds down 203 Start concert F on McAdams and I have kids play a Concert F full band. Then I pick out the section with the worst intonation, tune them using a tuner, have them play a concert F as a section, then I have the band tune with them. 204 Block concert F. F around the room, listening for intonation problems. have the students correct the intonation problems I heard. 205 We warm up as a group. I'll give them a minute to tune to their particular notes on their tuners. 206 Students go through pitch bending and matching exercises at the conclusion of the warm-up procedure and utilize the Harmony Director. This is a process that continues throughout the rehearsal process. 207 Initial warm up and air moving exercises, then matching of pitch by pattern and buzzing. We then work on technique and articulations, followed by chorales. We then tune from the bottom up, followed by more chorale work. 208 Yamaha Harmony Director holds out a Bb M chord with the pitch adjusted to "just." Oboe then plays, tuba adds in, principal players add in, working to create the most resonant and cenetered tone, then one section member at a time adds and matches the TONE of the principal. Clarinet start on open G, then C, then the other C, adjusting barel, center join, then finally bell. 209 Violin gives concert A, then I go by row from front to back. They then move up to B flat with violins tuning open D and G strings. Finally they move to C for cellos and violas 210 We tune primarily by ear because I want to develop their sensitivity to pitch. Good ensemble intonation comes from every student's ability to match what they are hearing around them, in my view. 211 Oboe uses tuner to establish pitch on a Bb. Section leaders tune to oboe. Each section listens in the direction toward their section leader and tunes the unison. Each member also listens down to tune the octave. Alto saxes then tune a concert F after getting close on the Bb. Students stop playing as soon as they are in tune. 212 Tune clarinets...all others tune to first chair clarinet, OR tune by section to F, A, Bb, etc. 213 Lacking an oboe, our lead clarinet sounds an A while looking at a tuner. The tuba tunes to him and then the woodwinds tune to the A. We follow the same procedure on Bb for the brass. We may also tune to the tonic of the first piece we are about to rehearse. 214 We do F around the room starting with Tubas, then i reverse and start with the Flutes. Then I do woodwinds only and then brass. 215 We do multiple processes. One is tune to a tuner each section throughout the week. We also do a concert F around the room and match not only tuning but attack and intensity along with tone etc. 216 Warm-up on Bb concert scale, technique drills, chorale, then electronic tuner. 217 Students warm-up prior to rehearsal and tune on their individual devices. I will do tonal exercises as an ensemble warm-up and spot check sections and individuals. 218 I play a note. Students play it back. I play it. Students play it back. 4 times each note 219 principal clarinet plays concert f, other clarinets play concert f, full band plays concert f, repeat entire process 220 Kids use electronic tuners to start, then after we have played scales and a chorale, pitch is blown by oboe on F, band sings F, pitch is blown, band plays. Same for Bb, then A.

123 221 Bb for brass, then A for woodwinds and String Bass. Tenor Saxes tune the fifth for their F#. 222 after a warm up period, students are asked to sond their individual tuning notes as well as any "problem" notes of which we are aware. If I feel we are having a particularly bad day centering the pitch, i will have all students sing their tuning notes and chords of the warm up chorale and then double check. 223 I have them listen and match, while balancing and blending within the overall ensemble sound. 224 match pitch by ear. adjust using the corners,role headjoint or move chin in and out until the waves disappear and move your tuning slide, head joint, mouthpiece accordingly. students have been instructed as to push in or pull out. 225 Brass and Clarinet Family match pitch to Concert Bb played on tuba (who has tuned to a tuner). Then Saxophones and Flutes match pitch to Concert A played on a Baritone Saxophone (also has tuned to a tuner.) Students listen to pitch and adjust instruments as needed. During the rest of class, I will spot check tuning as needed. 226 Student plays, next one plays to match (usually in same section) and keep on adding. / Sometimes f around the room in sections. 227 After a warmup process we will get a pitch from either keyboard, instrument, etc. and play "f around the room" to check sections, then we dial in the pitch individually as needed. We also sing pitches to help internalize. 228 Tune Tuba to F concert tune low end high end mid sections 229 We have 11 tuners with mics, those are passed to different students each day to tune as we play our scales in whole notes. Each student tunes their horn on every note in 3 different scales Bb, Eb, and F concerts. After that in our music selections I will have the band hold a note and have all but one section drop out. "Hanging the saxes out." 230 Tubas tune with clip-on strobe tuners. 1st Trombone adds in listening to tubas, then 1st Trumpet and 1st Horn add in listening to 1st Trombone. These three sit in a triangle with Trombone and Trumpet in the 4th row on either side of 1st Horn which is in the 3rd row. After any given 1st part has tuned to perfection, the other players add in down the line in their sections, one person at a time, always listening to the one before them. After 1st Trumpet is in tune, the outside edges of all the upper woodwind sections add in. Low reeds and Euphonium add in listening to tuba after the Trumpet/Trombone/Horn trio is established. The goal is to listen to only one person to tune. 231 Sometimes we use electronic tuner, sometimes we take a pitch from the keyboard, or the tuba, or the principal clarinet. Everyone hums, then we tune one row at a time. 232 Unison, octave, triad. Sing , buzz MP , play 233 The Tubas tune with an electronic tuner and match pitch. Slowly we add all the instruments from low to high (tubas, euphoniums, bari sax, bassoon, bass clarinet, trombone, tenor sax, french horn, alto sax, trumpets, clarinets, oboe, flutes). Students are asked to match pitch - if they sound off, they need to adjust their instrument length until satisfied then stop playing. 234 Concert F around the room by section starting with the tubas and progressing to the flutes, then a Remington warmup before we to ensemble tuning so their instruments are warm and reeds are ready to tune. 235 All players on Concert F, then each student gets a whole note up through the band on their instrument's best tuning note, then all a concert F again. 236 after warming up, we have a student give an A from the clarinet or oboe (checked on the strobo tuner) and then a tuba gives a Bb for the brass. Additionally, we do ensemble expanding interval exercises, tuning to a fixed Bb provided by low brass, low reeds. Sometimes we spot check "problematic" pitches at the beginning of the rehearsal as well. 237 I have a steel drum ensemble and we actually can't tune - the ensemble, itself, gets tuned once a year or individual pans, as needed. The ensemble is tuned to A 442. I have singers in the ensemble and they practice and sing with a tuner app that they own or I own. This helps tremendously as they can see and then hear where they naturally fall and raise or lower their pitches. 238 We use the tonal energy app quite a bit to show not only the correct pitch but the shape of their tone. 239 Play concert F around the band with 6 different sections. Then tune the worst sections to the best with McAdams tuner/metronome. 240 Harmony director on F. Students sing intervals by 1/2 step up to a 5th returning to F each time. We will sing then play or brass buzz winds sing them play. 241 We use individual clip on tuners while we warm up with long tones

124 242 I have several different routines for tuning. 1. Sound F on a tuner. Students hum pitch, then sing on "Oh" or "ah", then play pitch on instruments. 2. Sound F on tuner. Students check one at a time trying to match machine pitch. 3. Get tuba in tune with tuner then turn it off. Using tuba as foundation, then add more lows, then mids, then highs. Alto sax and flutes use A. 4. Have principal brass players play F and adjust to one another until it's pure, then add more section players one at a time until all are sounding. DItto with woodwinds. 243 Each player plays their tuning sequence then is told up or down and process is repeated until everyone is tuned. 244 Students sing "F" concert and then we hear the digital device play the pitch for us and then we match. After that, we copy and echo several individuals. Move to Bb flow studies - stopping and matching on each note. Then Chromatic scale from Bb to Bb in whole notes matching a leader or a digital device. 245 I play a drone on Concert F and have students match the pitch and adjust. From there I move from low voices to the high voice sustaining and matching pitches. 246 Turn on electronic pitch, have students hum the pitch--reminding them to open their teeth and engage their stomach muscles--,have students open mouths and sing on 'ah', then I have the woodwinds tune, lastly the brass. Then, we spot check around the room and as the student is playing, I have the others hold up 1 finger for sharp, 2 for flat, and a fist for 'good'. We sometimes pass the note around the room section to section. 247 Concert F around the room, then assess which sections are having difficulties that day, then tune that section. I do not tune every student every day but try to tune every student at least 2-3 times per week 248 After warm-ups, we tune each instrument on a series of notes based on their instruement. We also use tuning chorales and F, Bb, A concert to listen and tune. This is JHS 249 F around the room -reverse score order / recheck and tune individuals/sections as needed with the strobe tuner 250 Winds tune first, then brass, then strings. I make the students listen to the note first, then play, and the must make an adjustment. After doing that twice I will quickly go around with the electronic tuner to double check them. 251 They tune themselves after a few minutes of warming up. Then we play a scaler tuning exercise (different key each day), splitting the band A's & B's and go through the scale with 1 group on tonic while the other moves through the scale holding each note until we eliminate waves. 252 Throughout the warm-ups I stop and address any specific sections that are completely off-pitch. At the beginning of the year, I tune every individual on either their tuning note or a Concert F, going around the room 4 counts each. As the year progresses, I tune by section, starting with the lowest voice, only checking individuals if it is out of tune. Towards the end of the year, I only check clarinet and saxophone, occasionally flute, unless I hear a significant problem. However, we still as a band match to a concert F given either by the tuba or a drone. / 253 I have studednts play a long tone exercise with a keyboard, switching between singing and playing. Then I Flay F concert around the room listening for sections that sound out of tune. I then have students play a concert F individually with a tuner and fix the length of the instrumnet. Then asses the band again witha concert F around the room. 254 I train students at the beginning of the year how I expect them to tune. I teach middle school, so I just tell them to listen and get rid of the waves. If they have to try hard or change their sound to play in tune, they need to adjust their slide. For the most part, I do not actually have to adjust slides during class, but I do during sectionals. Developing the listening skills is more beneficial and saves a lot of time in the full band setting especially since I have 100 students in my band. 255 F around the room by section, if section is not together then down the row. some students have tuners on stand 256 I have the lowest instruments play a note and hold it and have the higher instruments tune down to it. I want them to not hear any "waves" indicating different frequencies. 257 Warm the instruments up, find an instrument that is in tune, sound the pitch, everyone sings the pitch and then we all adjust our individual horns and use "straight line" tuning 258 Tuba plays the pitch, we add in low to high. Depending on time, we will focus on individuals vs sections. 259 We provide tuners/clips to every student. We warm-up on an concert f remington. We then do a concert f around the room followed by a tuning sequence that is unique to every section based on the pitfalls of their instrument. This whole sequence takes about 5 minutes and our tuning has drastically improved in all of our ensembles.

125 260 Provide sounding pitches either from an electronic device (Tonal Energy app on iPad) or from first chair clarinet or tuba. Bb - First chair brass player in each section matchings given pitch then the section will play to match first chair player. Student may or may not play into the pitch. Concert F for French Horn. Concert A for woodwinds. Same process. Then if students are still unsure, the will raise their hands and we will do spot checks. sometimes with the aid of a tuner. 261 Tubas play a concert Bb, everyone enters hearing the tuba but over imposing the sound. After everyone has played the Bb, the oboe sounds and A. 262 We begin with the low woodwinds (in my case I only have bass clarinets) playing a concert F for 4 counts then the low brass play it back on their mouthpieces. From there we add in the alto voice instruments (sax and horn) then the clarinets and trumpets. Finally, we put the oboes and flute in on top of that. We then have the brass on the instrument and go back and forth woodwinds to brass on cocnert F. Finally, the whole ensemble plays conert F for 4 counts at a time. Throughout this entire process we are evaluating tuning and having students adjust by ear as best they can. If we hear a section is way out, we will take time to iniviually tun the students. 263 I don't tune every instrument everyday. I work to have students match pitch and tonal energy of their neighbor as well as the total ensemble. When there are problems, I may use a strobe or have students make the adjusment based on what we (the student and I hear.) That could be air, reed or embochure related. As a result, there are very few major pitch concerns in my ensembles. In our basic skills drill with long tones and scales, we focus on keeping our sound the same, staying in tone, and trying to hear all of the colors in the ensemble. 264 At the beginning of the year, I tune the ensemble while making a lesson on "how to tune" of it. I teach them to tune by ear and with a tuner, depending on the scenario. By the end of the year, I have the students tune themselves. I double check individuals at the middle school, and at every level's performances. 265 Listen to reference pitch, hum then sing pitch on "ah" syllable. then tune using remington unison warm up. (starting on unison f-moving down to e, then back up, down to eb, then back to f through Bb concert. 266 We start from the bottom on concert f with the tuba and build up adding in sections one at a time. We then play a choral together to allow the students to listen and make adjustments based on that. 267 Warm up on long tones and intervals to get good, fast, supported air flowing in horn. Quick tune down row on tuning notes for each instrument most days. Concert day I have students play about 1 measure with articulated notes to their tuning note to be sure that they are tuning like they play. 268 Tuba establishes pitch, Class sing, sections play, Adjust aurally. Tuba Plays Band Plays. After that all tuning is in relationship to tonal center of music. 269 In Band, two students take electronic tuners around the room to check tuning individually. After that we play a chorale for students to check their tuning. 270 Long tones -f chromatic descending, followed by matching of f and b flat concert within and between sections, followed by matching of pitch on B flat major chords within and between sections 271 I actually don't spend much time tuning unless they sound out of tune. "Tuning the instrument" and "playing in tune" aren't the same thing. One doesn't necessarily lead to the other. Of course, starting out with the instrument in tune is important, but I see a some directors spending a lot of time tuning, and the their ensembles don't play any better in tune. 272 Have tubas play concert F, then band match. If time allows, or as we get closer to contest, check each studnet with a strobe tunner, preferable projected on the screen for them to see. Then have them match Fs and Bb's accross the band. 273 I teach kids to use this process: / 1. Play! Make sure that you play with a good, steady, tone. You cannot tune without a good, steady, tone. / / 2. Listen and Compare! This is the BIG ONE! To tune is to listen. But listen for what? Knowing what to listen for is the key to success. Compare your sound to the correct sound and ask these questions: / A. Is it the same or different? If it is the same, then you are in tune. / B. If it is different, decide if it is higher (sharp) or lower (flat). / C. Are there any “beatsâ€฀? Remember, the faster the beats the farther out of tune, the slower the beats the closer to in tune. / D. If you are not sure if it is sharp or flat, guess and go to #3 / / 3. Adjust! Make the necessary adjustment to correct the pitch. If you are not sure, experiment and ask yourself, “is it better or worseâ€฀? If it is better, you did the right thing. If it is worse, then do the opposite. “Trial and errorâ€฀ beats “out of tuneâ€฀ every time. / / 4. Repeat! Keep repeating the process until you are in tune! / / I have a variety of graphics and processes to expand on this.

126 School Directors Question 2: Please describe any intonation/ear training instructional methods, techniques, and/or materials you use in your ensemble rehearsals. For each item, please also indicate how often you use this method. If none, please list n/a.

1 I play a pitch and rhythm and students play it back (call/response)--every day 2 We use students as reference pitch as well as a drone. Students are taught about what they hear when it is out of tune and how to adjust. 3 Mostly we teach them to listen. It begins with having them match unisons with a neighbor. Then octaves, then open intervals (4ths and 5ths) then Major thirds and minor thirds. We focus on listening everyday. We sing often which also enforces listening. 4 Use of the harmony director- after a series of long tone warm ups, we play "Harmony in Bb", have the students sing, then buzz and sing, then play the chords on top of the droned chords through the harmony director. 5 I use the tuning exercises in Foundations for Superior Performance, almost every day. 6 Long tones daily, singing once a week. 7 Intonation charts were used towards the beginning of the year for students to learn the tendencies of their instruments. The exercise I explained previously is used every time we rehearse. I address a new section every day to tune individually and have the students explain to me how they are adjusting their instruments so they play in tune. 8 School owns a classroom set of tuners and contact mics. / After warm-up, (unison exercises, sustained and technical) we have students play a chord (usually F major) and keep steady needle; then check length of instrument vs. what they usually have. / WW’s sound a concert A, then sound the pitch with eyes closed and open to check tuner when they believe they are in the center of their instrument. We do that several times and adjust length of instrument (within reason – NEVER extreme moves). / Same method with Brass on Bb and F. / Back to F major Chord and do more of the eyes closed to open eyes and look at tuner – Chris Sharp’s Tonality Shifter exercise is good for this. / 9 Tuner 10 When we play scales, we alternate playing and singing pitches. This is done with both unison scales and scales in 3-part harmony. 11 None 12 We use foundations of excellence and Essential musicianship for band like they are the bible. We don't move on from an exercise until it is executed properly. We work on balance, blend, intonation, tuning, sonority, aritculations and everything in warm up. We also use Bb harmony as a chorale which we incorporate singing. 13 Self-written warm up that including tuning exercises. I do tuning by voice, SATB, and tuning starting with one player per instrument, adding one at a time. When sections have trouble, I tune one player at a time. In the literature, when we have tuning issues we discuss instrument tendencies and how to correct them. / / 14 Just stuff I have made up / acquired over the years. Nothing in writing per se. 15 Audacity - 1-2 times per week. / Drone sound - 1-2 times per week. / Various warmup sets - Daily 16 We use tuners and listening during chords and specific intonation issues that happen in the literature we are working on. Students are asked if they hear a problem first, then asked to adjust one way or another, even if they dont' know which way to go. If they adjust and it gets worse, they know they did the wrong thing. Eventually, the student begins to relate being flat to pushing in and being sharp to pulling out. 17 I have been doing more starting this semester (we will see how it goes). Singing with a drone, scales and music selections (almost every day). Sometimes I play something, they echo it. I want to get some easy choral sight reading and hand that out, but I have not done that yet. 18 Match pitch visually with a tuner. Match pitch aurally with a tone generator. Match pitch with one other person in your section. Match pitch with another instrument. Match pitch with an ensemble. 19 I have them match pitch with the piano and each other. I try to use this every class. 20 Lots of singing, pitch tendency charts, function chorales, tuning by small sections, singing original choral music for corresponding band transcriptions 21 Long tones- Daily / Singing- weekly / Treasury of Scales- daily / Demonstrating in/out of tune and

127 compensation methods- Occassionally 22 I alternate between warming my students up with chorales and scales; one or the other daily. 23 we sing, sing and play, imitation- I play notes or note pattern they imitate by first singing than playing 24 Mostly we just use the tuners. Sometimes I have them play a pitch in pairs and we discuss as a class how to fix the intonation. My students are very young and still learning to do this. 25 I have them sing alot and I also have them listen to two pitches out of tune to each other and have them tell me when they are in tune. 26 Singing chorales at full voice EVERYDAY. Check every few measures with playing. Sing the tonic, third, fifth, and match pitch. Buzz all pitches with brass, sing with woodwinds and then check on the horn. SING EVERYDAY. 27 -Tonal Energy projected on the screen. I use this method on occasion. I would rather them not stare at the screen to see they're in tune. / -Tonal Energy playing pitches at different intervals or playing a chord that they struggle with in the piece. I use this method often. / - Singing with piano. We sing, using solfege, intervals. Used weekly. / - Singing chorales than playing them, then repeat. Used weekly. / - Using tuning charts. I have them pair up in the beginning of the year to learn their instruments tuning tendencies. This is a full day of just working on learning their instrument. / 28 I currently use scales for intonation exercises. I also use Sound Innovation Book 3: Ensemble Development for this purpose. There are specific things in the book that apply to this. I do this everyday. 29 I ask students to listen and match intonation in their sections, and then throughout the band. I do this through concert F pitches, Remington exercises, f descending, etc. I do this at every rehearsal. 30 Tuner is projected on screen, we spot tune where necessary. 31 Modeling is used daily. Stronger students will be selected to play and match in order for other students to hear what a good tone and intonation sound like. Then students will be required to match, first trying to adjust with their embouchure and then possibly adjusting with their instrument. 32 Other than playing their instrument and insisting that they match pitches, i use no additional methods. 33 Individual tuners: / Play a note and hold it steady regardless of pitch. This is repeated more often with younger students. / Try to play the note and get as much green as possible holding the pitch steady. / Play a note and make it go flat. / Play a note and make it go sharp. / Play a note and go for all green, straight up needle. / Raise hands at each step to see who's successful, who is close, and who is struggling to give help. 34 We practice listening and hearing high and low as a class. Spend more time on this at the beginning of the year. 35 I use several methods, a drone sound, having students sing their note, (scale). Warm -up and tuning excercises from "Warm-ups for Young Bands", and Chorales. I use some type of tuning exercise everyday. 36 We do a lot of singing and playing what they are singing. / / For example, I'll sing a pattern and then they'll echo it back to me. Then, they'll try to duplicate it on their instrument. 37 -Tonal Energy Tuner / -Tuning Charts / -Chords and their function (raising the 5th, lowering the 3rd) / - Individual tuners or phone apps for tuners 38 All of my students use SmartMusic to do their playing assessments (average of two per week) which forces them to play in tune. Also, the beginners start with mouthpiece work before playing their full instrument. During that time, I make sure the woodwind players are playing with correct embouchures by using an electronic tuner to match pitch on mouthpiece/mouthpiece + barrel/ mouthpiece + neck/ flute head joint (open and closed) / / we also do extensive use of unison scales and etudes, which helps them match pitch with each other. 39 Use Harmony Director keyboard to help them hear the difference between equal temperament and just intonation. We generally start on a unison F, moving down and up successively larger intervals. We do this both playing and singing...I use p. 4 in Foundations for Superior Performance. We also use the Harmony in B-flat progression, working on both singing and playing. We start with a unison B-flat, then go up to the fifth, then back down to the third (all together), then repeat with everyone holding when they get to their starting pitch (so the full chord is sounding)...both singing and playing. 40 Yamaha Keyboard and matching daily in all classes on different levels of complexity 41 Unison exercises daily strengthen intonation training. Also 4-part chorale/hymns daily. 42 None

128 43 I use an app called tonal energy tuner in class almost daily. I project / It up on the screen and use its tuning and drone pitch features to help / Tune the individual instruments and out of tune chords that we encounter / In the literature we are working on. It is a great program... Costs 4.95 on / Itunes. 44 See above 45 Band Boot Camp - Tom Bough, every day / Carolina Crown warm-ups, everyday / 46 TonalEnergy...daily 47 Tone generator used for pitch matching--weekly / Lesson on intonation demonstrating by me playing and by student demonstrating--twice a year / Use of a hand held tuner to check pitch--daily / Interval lid intonation demonstration and checking--weekly 48 none 49 First week of school we do an in tune/out of tune demonstration illustrating the sound waves and how to adjust their instrument. We also have section leaders practice with them in sectionals the first two weeks of school. After about a month, they are ready to tune in full ensemble without assistance. 50 The bell rings, the students play the chordal studies in the Fussel Book. Scales and exercises from this outstanding method were then applied. The rehearsal began with sight reading, and continued with works we were trying to perfect. 51 We use the droning technique that was mentioned but we expand on the initial pitch matching. We also have the students match a Bb concert and play the following note pattern: 1 P4 P5 8 P5 P4 1. Each student wil practice getting rid of the 'waves.' 52 Occasionally, I use another app entitled inTune. They are to listen to the two pitches and give me a thumbs up or thumbs down; sharp of flat respectively. This begins to have them focus on very small details of intonation. 53 Tell group to randomly choose the root, 3rd or 5th of a specific chord then have them play/tune/balance based on importance of note. Then choose another note in the same chord, play/tune/balance, etc. I do this 3 times for a given chord so that all students will have played the root, 3rd and 5th and have experience adjusting and tuning that part of the chord. I do this at least once a week / Pyramid of sound: choose note/chord in a piece to be tuned/balance. Build from lower register instruments up, emphasizing more bass, less higher pitched instruments. Once they are balanced I hold my hands out in front of me like I'm holding the top and bottom of a pyramid, then, as I turn the pyramid upside down, the students adjust their volume so that higher instruments are louder and lower instruments are softer (hearing in imbalance.) I turn the pyramid back to "normal" balance. I should do this more, only every few weeks as of now 54 Each student plays the entire period with a tuner at least once per week. We play scales and go back to correct if we are not matching pitch well. We also play chord type tuning exercises. Some of them have the different parts of the chord entering and changing over time. We use "Foundations for Superior Performance" by Williams and King, and "Great Warm-ups for Advancing Bands" by Pearson. We also play chorales for blend and tuning: "Bach and Before" by Newell, as well as those in "Foundations". 55 Daily melodic singing, Solfeggio numbers. 56 No specific materials 57 Ed Lisk method. Assuming everyone is playing with a good sound and the band is playing with a balanced sound, the students listen to see if they match (ie no waves) 58 Chorales daily, I also have two students play the same note, very short, one right after the other. - this is called beep-bop in our band room. students decide who is higher or lower. we also tune chords - lower the third and slightly raise the fith for major chords. ( our saying is that the "major third sits low in the saddle and the fifth rides high."" 59 Tuner - daily / Draw waves on the board explaining what a sharp/flat pitch will sound like (younger students) / Dr. Beat for given pitch / Students will also take turns giving the pitches for the timpani. This forces the percussionists to listen and the rest of the group to understand how the timpani should sound when in tune. 60 I use notes in the music that is being rehearsed. Work on notes that sound band. 61 I use Tonal Energy to set a reference point and then the keyboard or a tone generator to get them to listen to the intervals. 62 In addition to my previous answer, we use the tonal energy app along with an electronic keyboard to produce pitches for the students. We spend a lot of time matching. 63 We use the Breathing Gym for air flow quality and to aid in tone production. Daily for the first 12 weeks,

129 then as needed to maintain. / We use Foundations for Superior Performance. We concentrate on the "remington" exercises long tones and work to build quality sound that can be tuned. 64 Literature. That's it 65 After relative pitch center is stabilized, students are asked how they perceive their own pitch in relation. Students will then adjust their pitch ascertaining if they effected the pitch in a positive way. Director continues to make comments and provide additional feedback to help students make a more educated adjustment. 66 Tuner: Have the students play their tuning note and I tell them if they are in tune, flat, or sharp and what to do to fix it. / / Listening: Play and listen to the people next to them. If they cannot hear themselves, then they are in tune. 67 Unison Note Around the Band: by individual and/or by section--ask random students questions about what they year. Which section matched the best? What was the section that was noticeably higher (or lower) compared to the groups before them? What section/individual performed with the best tone (and, therefore, usually pitch center) This exercise is also used overlapping player to player or section to section. / / Interval Exercise: Assign alternating "A" or "B" designation to each individual student. Either in pairs, by section or by full band have one group sustain a tonic while the other group slowly plays up the tonic scale holding each interval. (group "A" sustains Concert F while Group "B" plays F-G-A, F-G- A-Bb, F-G-A-Bb-C, etc). The goal is to train their ears what it sounds like when the interval is "correct" or "incorrect". Basic understanding of interval tendencies are taught (Major 3rd must be flattened to "resonate" with the tonic, 5th must be slightly stretched, etc as well as the role of balance in tuning). After intervals of M3, P4 and P5 are consistently achieved and identified as sounding "correct" we'll continue with M6, M7 and Octave. / / All the listening skills taught above are applied to everything we perform. 68 12 window tuner, Ipad with tonal Energy app. ,Teach students to listen for waves and how to discern who is highest. Almost daily 69 See question above 70 none - my own 71 Matching with electronically generated pitches and learning to match each other. Understanding the "no waves in the sound" concept; I play a lot with beginners as well so they get used to matching me with tone quality & tuning then older kids learn more about pitch tendencies for their instrument and tuning intervals such as open fifths, thirds, etc. 72 Treasury of Scales and Major/Minor Scales 73 Harmony Director, Tonal Energy app on iPad, iStroboSoft, Essential Musicianship, tuning exercises from Basic Training DVD (Brain Music) 74 At the beginning of each year I do a short demonstration in class as a reminder. One student holds a concert F while I play a concert F on the same instrument. I play the note very obviously out of tune. I hold it for a while so they can listen for the waves in the room and tell me if I am higher or lower in pitch than the student playing. Then we do it again while I start out of tune and slowly move my tuning slide around until I make the waves go away. They raise their hand when they think I'm in tune. / / During the year, they have tuners that we use every day. Most of the time they remember when to pull out or push in but I do have to remind them maybe once every two weeks because some forget. / / I do some ear training in my 6th grade beginner classes by clapping a rhythm that's one or two measures long and they have to tell me what kind of notes I used and the counts. 75 We use a three note chorale (IV - V - I) in various keys. We match pitch with the harmony director (adjusting the 3rd and 5th of the chords). Students sing, buzz, and play. We do portions of this exercise daily. / Another technique is matching pitch on scales or remington patters as we perform them. Some times this is done in a call-response pattern with the harmony director. Other times it is just the band matching each other. 76 1. Harmony Director - sustain pitches - students match - everyday / 2. Personal tuners - about half bring them to class everyday and keep them on their stands 77 We will hum/sing pitches. / / Mouthpiece buzzing to match tones produced by woodwinds. 78 Lots of long tones. Utilization of Peterson strobe tuner. 79 We start matching pitches in beginning band. We begin by using tonal energy for the visual. Once students are established enough we find the best tone in the class and match one by one. Students are asked is that too high or low? What do you do to bring the pitch up/down? If the instrument needs to be adjusted what do you do?

130 80 Each rehearsal is started with long tones using the fundamentals of techniques book. Woodwinds play, brass buzz and match pitch on their mouthpieces. 81 Tuning - Foundation for Superior Performance - Williams/King book / Daily different sections everyday 82 singing: scales, scale chorales, play/sing chords, sing band parts - almost every day / pitch dictation: once a week / rhythm dictation: once a week 83 I do not use any particular method and/or book. We usually address intonation problems as they happen and we talk about needing to constantly adjust for intonation as part of the natural process of playing our instruments. We work a little on recognizing intonation problems by recording and isolating problem areas. 84 scales with drone--often / f around the room--occasionally / 85 Tonal Energy iPad app on a projector/stereo system 86 I do not have any. 87 Foundations for Superior Performance - Every Day / We also use a series of exercises, chorales, lip slurs, chromatic scales, etc., that I have written for my groups over the years. / / We also use the Tonal Energy app for iPad at least 3 or 4 times a week. / / We also record rehearsal daily and listen to ourselves in rehearsal. 88 Bach and Before for Band, Bach and Before for Strings. We play daily chorales, stopping occasionally to listen to certain chords. 89 "Sizzling" the note to center pitch. Start first chair & go through section. whole band is center pitch is finale takes less than 5 minutes 90 Long tones for warm-up, without good tone you cannot tune. / Bach or other chorales daily! 91 Tonal energy and matching pitch the specific instrument on the app, Attaching songs to intervals like we learned in college. Lots of singing with drones and hearing overtones in singing. Identifying parts of chords and teaching students how to adjust pitch. 92 Play the interval - sing the interval (daily) / Utilize tuners (daily) 93 We do an interval exercise EVERYDAY in class. 94 When we are working daily drills we using a combination of listening to a harmony director to match pitch along with the aid of a personal tuner to see how they can manipulate a pitch and how much. When rehearsing our performance literature we will do the same. As far as frequency, we use these methods when we need to concentrate on a particular section of the piece. On average, 3-4 days out of the week. 95 Warmups, chorals, First Band Clinic and Developing Band Clinic, Foundations book, and lines from essential elements. One of these is used daily but multiple are used often. 96 Electronic tuner 2x week 97 We do "F" around the room where everyone plays concert f for four beats, then the flutes play f for four beats as a section by them selves; then everyone plays f again and then the clarintets play it for four beats by them selves as a section, and so on until every section in the band has played the f alone as a section. / / From time to time, we sing pitches and then play them. / / Often when we are tuning, I will isolate the problem notes and players, have them sound the pitches and ask the band, "Is that in tune or not?" Their ability to hear intonation is pretty developed. / / I also often will have two instruments who are playing unisonal pitches sound their notes, listen for the "wa-wa's" and explain that the faster the reverberation, the further out of tune is the note; the slower the reverberation, the closer to in tune until it sounds like one person playing. 98 I use both a chromatic strobe tuner and the pitch that sounds on the metronome to teach them to match pitch. / / The chromatic tuner I usually only use once or twice a week. the electronic pitch almost daily. 99 Air flow study - Cichowitz like - 3-5 times per week / Foundation for Superior Performance - daily 100 Interval practice 1-2, 1-3, 1-4...through Bb scale. Daily basis. 101 See the last fill in the blank. 102 Tuners, chorales, long tones, scales in chords, buzzing passages for brass daily 103 See previous answer. Intonation/ear training methods, techniques - various exercises, starting with creating a great tone quality on the instrument [daily], intervals [daily], scales with pedal [once per week], scales in canon [3-4 x per week], scale patterns (1, 1-2-1, 1-2-3-2-1, 1-2-3-4-3-2-1, etc.) [1-2 x per week], increasing intervals (F, E, F, then F, Eb, F, then F, D, F, etc. also ascending, F, F#, F, then F, G, F, etc.) [3-4 x per week], build a major triad, starting with root, then adding 5th, then adding 3rd [1-2 x per

131 month], play-sing-play, play-buzz-play, sing-buzz-sing [2-3 x per month], 66 Festive Chorales (typically chosen for the key of the music we are about to play, after the warm-up and tuning process) [3-4 x per week]. 104 Using the app "In Tune" we practice hearing whether a pitch is higher or lower. Class discussion and instruction focus on the variables that can alter pitch of the instruments - temperature, reed strength, air support, embouchure, length of the instrument, etc. First focus is playing with a good tone - this usually fixes 75% of the tuning issues. Then we work on good warm up techniques to ensure that the entire instrument is at the correct temperature. Finally, I introduce actually tuning the instrument. 105 Too many to mention. Almost everything you do should involve some level of ear training. Listening is at the core of good musicianship. Some of the highlights include: / / - Singing (daily) / - Tone Matching Exercises where students close their eyes and listen to a small group of players (2-5) and then are asked to raise their hand when something changes. Sometimes this means having them change pitch, volume, timbre or simply stop playing all together. These exercises are spontaneous and I make them up on the fly but the point is to get students listening deeply to the sounds they are making and working hard to blend their sounds together. (daily) / - Play Simple Songs by Ear (1-2 times per week) / - Simple melodic dictation by ear (1-2 times per week) / 106 I use a harmony director. I described our process in the previous question.. We discuss waves and demonstrate what they are and how to adjust instrument and mouth to eliminate them. In beginning band, we spend time matching pitch to the harmony director and to another person. 107 For beginners, listening to each other, especially out of tune and then in tune. They love the tuners on phones and will use them because they are entranced. I do use a tuner for basic pitches and then instruct on pitch issues on specific notes and instruments. 108 I use chorales everyday. / I also use the process of determining if a pitch is higher or lower than the reference pitch played and going back and forth between the pitches. When the students are able to get that basic concept, I have them listen to waves and look to the strobe tuner to get a more accurate check to their ears. 109 Digimet for pitches, Harmony Director for intervallic relationships in just intonation, and drones played over the stereo system. All of these get used at least twice a week 110 Students play and sing intervals. We focus on audiation, going back and forth between the instrument and voice. 111 Sing - play - sing - play every line in the beginner book. / Start all matching with two players, and when they sound as one, try a different pair. 112 listening and matching pitch 113 We use the Harmony Director. Students will play F concert tuning note for eight counts and rest for four. The process is continued until students match pitch as close as possible. Warm up exercises are continued, then students play F around the room and it move from section to section. Students then tune individually. 114 Intonation is taught from day one. It is always inforced; at the beginning and throughout the rehearsal. Ear training is being developed, but mostly taught in our AP Music Theory course. 115 Singing scale degrees 116 We can't afford instructional method books. We use drones against static pitches and play slow major scales against them so they learn to hear the beading. 117 In the all classes, we use Tonal Energy to visualize our tuning. I have begun to introduce tuning by ear by asking students to guess and have an opinion on whether a sound is higher or lower. I teach the beginners a couple of ways to know which way to alter their instrument based on tuning. Pencil Sharpener: If your pencil is FLAT you PUSH IT IN to the pencil sharpener, and when it gets SHARP, you PULL it OUT. Size: If you're FLAT you're fat, make it smaller. If you're SHARP, you're small, make it larger. I also tell them that if they hear that they are out of tune, move in one direction. If it gets worse, move it the other way. 118 I use foundations for superior performance every day 119 I use the Foundations for Superior Performance book daily, although not the same exercise daily. Long tones, scales, lip flexibilty warm ups and chorales daily. F around the room about 3 times per week. 120 We start the year with multiple tuners, then gradually switch to ear training. We discuss the audible waves and how to discern sharp and flat. 121 Singing to match pitch (once a week as necessary). / Sing intervals and chords (once a week as necessary) / Pitch bending in and out of tune on the instrument (almost everyday)

132 122 I spend 10 minutes at the end of every rehearsal and work on ear training. I have taught my students solfege so we work on singing melodies back as well as using major and minor solfege. We also play rounds once every couple weeks and I will stop randomly and have them check to make sure the harmony/chords are correct. 123 Always sing and play a triad and then have members change effortlessly to another note in the triad. Do a descending Bb triad down by half steps, back up to the original triad (i.e., first down a half step, then down a whole step, then down a whole and half step, etc.) 124 Tonal energy tuner app with Apple TV and projector. 125 We warm up before tuning. With all students, tuners are used to get "close" to being in tune. I don't like using the tuners too much, but would rather have the students use their ears to get in tune. We daily talk about listening better so we can play in tune. We often demonstrate with pairs of students and ask students to give feedback on what they are hearing. 126 We don't use a method book for tuning. Tuning is somethng that takes places throughout all studies. 127 Chorales and a constant reminder of correct tone production and its influence on intonation. 128 Singing, buzzing, playing. Sound the same. I use the tone generator to play 5ths in order to give brass players an aural target to help bring the 5th and 6th partials in tune. 129 Tuner - once a week 130 Basic chorlaes, checking for chordal tuning and knowledge of student placement in the chord (root/3rd/5th, etc.) 2-3 times per week. We also use one of our concert pieces as a chorale for blend and intonation. 131 Harmony Director - used to hold a drone pitch (every day) / Box tuner - tune individuals (every day) / / Some students have a tuner on their phone and we occasionally ask them to use that. 132 Once my band is reasonably in tune, after we have gone through a tuning and are warm, we play chorales and similar music to hear how our chords line up. I attempt to do this every day. I have used Five Minutes A Day numbers 1 and 3 for many years. I also use theTreasury of Scales (like number 19 in Eb), and this year I found 5 Progressive Chorales. We tune and use chorales daily. 133 Scales and Intervals. / Intonationa Builders by Gilroy-Play/Sing/Play / Singing 134 I use the Basic Training for Band everyday. This has many interval and chord intonation studies. I also use Foundations for Superior Performance. Using the chorales and tuning studies within the method book. I also have a warm up book written by our JR. High director that we use for long tone and chorale work. I use them everyday. 135 I start with good tone. Our theme is good tone before good pitch. When I get that I move on. / I teach intervals to them. / I explain the acostics of how sound works with explanation on what 'out of tune' is. / I do ear training. Scales, intervals etc. I play 'wrong notes' and have them identify which scale step is off. / I teach how to adjust for tuning on their instruments. / I use a pair to demonstrate pitch and/or adjustments. I then pair them up to practice doing that. / I start with unison and then expand to intervals. / This all takes months if not years to do. More time if I am teaching pre-high school years. 136 I utilize singing to promote pitch matching and audition. I use a vocal cd called vocal connections that uses solfege and sings in triads. Then I use a program similar to the harmony director and have the students sing do and then find mi and sol relative to do. We do this 3 times a week. / / I will have students sing descending Remington's and switch between singing and playing. I do this 2-3 times a week. / / I have the students listen to a drone and match pitch for tuning. I do this everyday. 137 We use a lot of "tech" in the classroom to assist in ear training. The students will utilize observe my iPad app - Tonal Energy - being projected up onto a very large TV or video projector in the band hall. Then as time permits, use pitch matching games with notes produced from the Yamaha Keyboard Harmony Director to train their ears to hear the correct pitches. This all occurs after each student has gone into a practice room in pairs. and filled out a pitch tendancy form for them and their instrument. 138 --drone tuning: daily / --handout on chord tuning: once a year / --singing: occasionally / 139 Concert F Around the Room. Used every day. Set metronome to quarter note = 80. Full Band plays concert F for 4 counts, then Tubas, then Euphoniums, etc. Flutes are the last wind group to play then Percussion roll on a concert F for 4 counts, full band plays concert F for 4 counts, rests for 4 counts, plays again for 4 counts. Emphasis on matching and listening within sections and across to ensemble. 140 Just teach them to listen. If they can't hear sharp or flat, move slide until it gets better. 141 No methods or books. All by ear.

133 142 APS Trainer (iOS app) - 2 minutes a day. 143 Tonal Energy Tuner, January through early February. / Yamaha Harmony Director. Daily / Student owned tuners. Daily / / We talk about getting rid of turbulence. / 144 Long Tones a variety of exercises- Daily. / Chorales- 42 Chorales for Band / Tuning octave, fifths, and triads around the circle of fifths (as suggested in Alternative Rehearsal Techniques) 145 I almost never use a method book. We do a lot of singing, rhythm exercises, scale work, arpeggios, articulation study, and long tone work. 146 None 147 We use a long tone warm up daily, scales, chorales etc. so they know these by memory and can focus on their breathing, pitch and tuning. 148 Just did 149 Daily Spider. F, F#, F, E, F stop then F, G, F, Eb, F expanding by 1/2 steps from F 150 Frequent discussion on blend and balance. Interval playing/recognition. 151 Matching pitch as outlined above. Unisons, octaves, fifths, fourths and thirds daily. 152 Woodwinds tune to an A established by the oboe or lead flute. Everyone listens to the pitch, sings the pitch, then gradually join in with their instrument. Once the woodwinds are in tune, the oboe/flute establishes a Bb for the tuba. Tuba tunes, oboe/flute falls out and the brass tune to the tuba. Same process of listening, singing, then performing. / At the beginning of the year, I tend to do more ear training with drones to help the freshmen get up to speed. When using drones, I have them listen to the pitch and try to hear the overtones. I have them sing and experiment with what in-tune and out of tune sounds like. The overtones help them hear the dramatic change in the sounds waves, and teaches them what to listen for. I have the sing the root, third, and fifth. I have them sing in tune, slightly sharp, and then slowly fall back in tune so they can feel the click and release of tension of a matched pitch. 153 We sing and we buzz tuning notes and what we are going to play. We use tonal energy (app) on our apple tv to see how we are doing (but we don't use this all the time). We have written our own warm ups of long tunes, lip slurs, and scale pattersn 154 We use Bach chorales, singing and playing each part in unison and then adding voices as each line becomes easy to play in tune. We also do ear training-singing and recognizing melodic intervals and a few harmonic intervals such as 5ths, 4ths, 2nds, and 3rds. / We attempt to cover a little of this each day, sometimes dedicating more time to one area than others depending on what we are rehearsing that day. 155 For beginners, I use simple aural examples, usually on the piano, to identify "obvious" pitch discrepancy, such as G and G#. I modify the method mentioned in the previous question, whereby, I play on the piano and ask an individual student to play. At this point, we ask students to listen more carefully for pitch discrepancy. We do only a little of this at a time with the beginners because of the time-factor. We do very little of this at the beginning of the school year, introduce it a little at a time during the second quarter, and we increase the frequency of this for the remainder of the year. / / For the non-beginners, we do the previous method almost every day, depending upon the other school-events/factors that may impede the time we have together in the class. 156 Remington F Concert exercise-Daily 157 Daily, then less as we approach a performance. Students hum, then sing Concert F. 158 Tone, Tone, Tone - most important. Proper embouchure set-up. Proper posture. Every day this is done to develop a proper habit which would contribute to good intonation. Proper embouchures and set-up will fix balance and blending problems as their tone becomes mature where the instrument resonates at its natural frequencies. 159 "Listen to your neighbor. Can you hear them? Now, listen to the person next to your neighbor. Can you hear them?" 160 We use scale exercises in rhythms, chords, etc. And as I stated earlier I will have students play as passage reaching a note and stop to listen nd adjut. 161 I tune each section seperately then as a band. I also have an old fashioned tuner that I have them tune to but I prefer to have them use their ear rather than visual tuners. 162 During our daily warm-up, I have modified it so that some people drone while others do the warm up. The people who are playing the drone, are practicing long tones while the people playing the warm-up exercise are making sure they are playing in tune. / More recently, I have added some singing elements in band. Once they have gotten more comfortable with singing, it has actually been helpful in correcting

134 intonation. 163 Breifly explainedi nthe previous question. We play long tones using concert scales Bb, Eb, F and Ab. I've been working on memorizing these scales iwth my high school crew for a semester. We use this technique almost every day. 164 I do not use a published method. I often sing tuning pitches and short phrases for the band to echo back. Throughout rehearsals, we are constantly stressing matching pitch and also tone. I work with first, second, and third year players who attend public middle school and do not take lessons. I have found that helping them develop their tone quality usually carries over into improved intonation. 165 Handouts I make myself (happy to send you a copy - my "anonymous email" I use for junk mail is ******@gmail.com) - used every time we tune for the first few weeks. / Tuning exercises in Foundations for a Superior Performance in Band - in Winter/Spring months for Winter Concert and Festival Competition. / Many other techniques during class. 166 1) Electronic tuner; 2)Students create intonation tendency charts for their particular instrument and we go over how to fix the problems; 3) Just intonation charts and corresponding listening exercises; 4) Drones 167 Foundations for Superior Performance, every day 168 Concert F around the band and the tuning cycle discussed earlier. Every day with high school band. 169 We use a tuner to visually see where the pitch is. 170 1. Solfeggio (two days per week) / 2. Pitch tendencies on instrument (daily) / 3. Interval training--both playing and ear training (three days per week) 171 For the better part of the fall semester I used the Robert Frost "String Techniques" method book. I like it because it provides scales, arpeggios, chorales, and short etudes in all keys for the students to work through. I am able to work on ear training, technique, and expression playing with this method book. I keep a class set handy and the books are passed out and collected at each lesson they are used. 172 Singing. We sing and hum a lot. We tune chords Root Fifth then third. W 173 I first address tuning in beginning band with the use of a tuner (strobe, needle, Tonal Harmony). I let the students see what the tuner displays and teach them how to adjust accordingly. This is done a few times throughout the first semester, then daily as the first concert approaches. / In the second semester, I begin ear training having 2-3 individuals (same instrument) play the same pitch. The students not playing should be able to hear the "beats" in the sound. I then have them play 1 at a time and have the students identify the highest and lowest and have them adjust. The small group plays again and we repeat the process until they are in tune. I then select a separate group for the process so those that just played can concentrate on listening. I don't do this too often because of the amount of time it takes to go through the entire class. / / With non beginners, I use both a tuner, and either a student drone or electronic drone. I incorporate different instruments and different octaves to develop their listening skills. 174 Drones are an intricate part. We use tone generators and tuners daily. We also take time to teach the students how to tune their instruments so that they can make adjustments before we start class and while they are in rehearsal. We have students match pitch through humming and singing also. 175 Singing in cLass for every birthday. Students are expected to audiate the pitches and can only sing selected parts of the song. Students sing parts in concert band music. Students understand the difference between major and minor chords when asked to listen to a piano. The things all happen frequently- 4 times a week. 176 tuning chords in ensemble pieces 177 We spend three weeks on each key signature. The first week is spent learning the scale and patterns. The second week building chords in instrument groups, and the third doing various forms of call and response. 178 Glissing by singing the pitch. / Playing a note and having students copy it. (making it fun) / 179 F around the room -- 3-5 times a week / Tune -- daily / Tuning chords and run a chorale -- (more so in the spring semester) 3-5 times a week (Foundations for Superior Performance) / Also, have used the Harmony Director to help initiate a tuning sequece 180 Interval training, F descending and ascending, chorales, scales played at slow tempos with staggered groups 181 Hal Leonard intermidiate Book, 182 TE Tuner - only when a section is severely out of tune. 183 We play chords and unison tuning notes. We do not have any materials to use for this purpose.

135 184 We use a concert F and a modified Remington exercise daily. Some of this is sung, buzzed or played. 185 none 186 We listen to "air waves" that match or don't match. We learn to ask "Same or Different" and then try to adjust for improvement. / I use Tonal Energy App and electronic tuners once in a while with the beginners and daily with middle school (3rd year players). / / Middle school students do a Tuning Project - in groups they play through their fingering chart and have a partner mark pitch tendencies on their chart. (3 long tones played per pitch, not looking at tuner - partner marks chart) 187 Harmony Director - most days / McAdams Tone/Metronome - when necessary / Triad Tuning - IV-V-I arranged in parts; different keys each day 188 Every class, before rehearsing, we take a Bb for the winds and an A for the strings. Players also tuned with electronic tuners or snarks. I've purchased about a dozen of them for the band room. We have rehearsal every other day for 75 minutes. 189 Fussell method daily, major scales all, 2 minor scales, rotating through cycle of fifths; and an interval study, 190 In second year band we tune (most days) using a tuner. In third year band we tune section leaders and then have them tune their section. At some point in time we have the band listen as individuals tune to their section leaders and they make notes as to who they think was out of tune and whether they think they were sharp or flat. We begin to stop in the music more frequently and listen to individual notes within sections for intonation. Buzzing the correct pitches in the mouthpiece also helps with the intonation. In high school band everybody tunes to the electronic tuning pitch. 191 Only use a drone and chorales regualarly 192 Singing, Playing Chorales, and warming up on Symphonic Chords daily 193 We don't have formal written down methods, we want our students to use their ears. 194 Daily - see previous comment. We use scales, technical exercises in harmony, chorales, duets, octave- based pieces, ensemble and solo work to address pitch and proper air/embouchure/tongue position/voicing. / 195 We simply teach the students to listen across the ensemble to one another. On rare occasions we use a digital tuner. 196 Each student has an iPad with a tuning app which they are allowed to use all period. We also stop occasionally to check pitches in passages of the work we are rehearsing, and discuss hearing waves and techniques for improving pitch centers/intonation. 197 I have students listen to certain key notes in our music, have the students play those notes multiple times, then have the students sing or hum the pitch. 198 Same as the previous approach. 199 I start with pitch matchign and singing at the beginning of the school year. From time to time, I add in other sight singing exercises. I use the tuning method daily for 3-4 minutes. / / Fot the more advance classes, I add in more scale based sinning - both major and minor for an additional 3-5 minutes. 200 Lots of singing and humming parts during class and in weekly sectionals. 201 We start everyday every class with singing. The note may change depending on the instrument (beginner classes). We use a harmony director and tuned percussion. We discuss intervals at the basic level and get more advanced as the students are more experienced. 202 students will listen for differences in pitch once a good tone has been developed 203 Foundations for Superior Performance Band Method Book- Every Day 204 Singing, everyday. 205 We use a Harmony Dorector. We'll play a couple of scales of long tones playing the fundamental on the HD. We remind them on the differences between equal tempeant and just intonation. Then, we'll play Remington using the HD and just intonation. We will then play a Bb Major scale in four groups in a cannon reminding them what part of the chord they are so they can adjust appropriately. 206 Slurs/Long Tones- Daily / Harmony Director- Daily / Concert F around the room-Once a week / Custom Warm-Up Exercises 207 I work with the Fussell method book exclusively. I think it offers the most benefit contained in one method of all the other available books. I do use a book of Bach chorales for tone production. I use this method book every day.

136 208 Lots of singing. Harmony director is used often to tune maj and min chords. daily. 209 Lots and lots of chorals. The breathing gym exercises really help too. 210 We focus on two seperate skill sets: / 1. Hearing what "in tune" sounds like (matching pitch, making the beats disappear, etc). For this I broadcast a pitch in the room and have the band play with it. We focus on the perceived difference in pitch as we stop playing and try to determine if we were flat, sharp, or in tune. This works when tuning to the same pitch or finding correct adjustments of harmonic functions as well. / I also encourage students to do this exercise at home. / / 2. Using a tuner to see what your ears are not hearing. We play a game called "Stop the Needle". The act of making the needle stop is a visual cue that should help students to identify whether their air speed or embouchure are changing. It doesn't take more than a few days of practice for students to begin centering the needle which in turn opens their sound. 211 In our daily warm up, we use the Basic Training for Concert Band and Harmony Training for the Ensemble methods that are published by Bravo music. We also use the Basics, Basic, Basics exercises by Key Poulan. We also include chorales in our warm up. All of these emphasize intonation along with tone, balance and blend. / / We also do ear training/interval recognition exercises. 212 no specific method. Teach them to hear beats...trial and error. Most students will play pretty close to being in tune IF they play with a good sound. No way to correct intonation if a student plays with a bad sound!! 213 We use Robert Smith's Symphonic Band Clinic. As suggested we plan #I.A., then have the woodwinds play with the brass on mouthpieces, then have the whole band sing. At the end of the warm up section of the lesson we play a chorale and gradually integrate singing parts. We also use Foundations for Superior Performance by Richard Williams and Jeff King playing and singing the various Chorales and Tuning Exercises. 214 We just learn to listen to each other. I will tune a few with the tuner then we use our ears after that. 215 We use the blue foundations for superior performance as well as chorales daily for intonation and ear training. Sometimes we spend more time sometimes it is very quick but we always play a choral and most days just go through the rows concert f with no breaks in the sound. 216 Singing and piano for note comparison. Teacher modeling. Student examination. 217 We use the Foundations for Superior Performance by Richard Williams and Jeff King (Kjos Music) for tone and scale exercise warm-ups - every day. 218 No method no technique just play by example. 219 general instruction - ie hear this example of a student who is sharp? how can she fix it? don't be afraid to change your pitch. 220 electronic tuners pre rehearsal, singing and pitch match after playing. 221 Solfege hand signs with alternating intervals, cluster chord to unison, lip bends out and then back in, and most importantly - tone quality excersizes... play in tone, play in tune! 222 vocalizing chords or chorales & tuning notes, tuning studies from Foundations for a Superior performance, matching pitches between instruments 223 The biggest aide in teaching has been the Harmony Director. We use it to understand tuning tendencies within different key signatures in just tuning. I would say that we refer to the HD at least 15 minutes out of each 53 minute rehearsal. 224 Match Bb or F concert daily after to warm-up routine. Followed by playing Bb concert triad. Start with the root and 5th. Then add the 3rd and have different students daily play the 3rd while taking notice that slight adjustments need to made on an ongoing basis. 225 I teach students for grade 6 through grade 12. In grade 6, we work on playing to a drone and eliminating beats in our sound as a homogeneous class. After we learn to do this, we simply refine it as they get older. 226 listen for waves in sound, open mouth wider, drop jaw, move mouthpiece in or out. sometimes use strobe, use smart music tuner from screen for visual to get note in tune. 227 We use individual tuners (Korg, smartphone tuners, etc.) and I have a strobotuner as well. 228 We play scales, sing scales, sing triads, sight sing. daily 229 see previous answer 230 In our youngest ensemble we will listen to a pitch producing device for the first few months to establish the pitch, let it really soak into our heads, then begin to play the pitch individually in short spurts with a relaxed, consistent embouchure to check if it is the same. We listen for the point right when the

137 instrument sounds and compare it to the sound in our head, adding in from the lowest voices as previously mentioned (but with the pitch producing device standing in for the tubas). If it is not we adjust. After that, we pass several clip on strobe tuners around the ensemble, making sure to check with our eyes closed first then opening after the relaxed, consistent embouchure has been established so that our brain does not subconsciously adjust automatically. After things are perfect, we will re-do the process, building up from the tubas, using the same relaxed consistent embouchure. This way we learn what perfection sounds like and what the goal is. We do this daily in the youngest ensemble for the first couple months. We proceed on through the scales, adding one new note at a time to our list in a Note Adjustments document that details all the adjustments for each student and their instrument. / / We also examine the bad notes on each of their instruments, working first from the 7 notes of the Concert Bb scale and learning to "place" our pitches, not just "play" them. As we document each pitch against a strobe tuner after having tuned to perfection, we note which pitches are in tune, slightly out of tune (and which way), or very out of tune, and draw an arrow or a double arrow on any note in the scale that needs adjustment and which direction it needs to go to get to equal temperament. We do this most days in the first few months in our youngest ensemble (we have a full time percussion instructor that allows us to break up winds and percussion a lot in the early days of school). / / 231 Chorales Everyday / Drones, 3-4 times a week / APS Ear Trainer 1 or 2 times per week 232 Scale and interval studies. Long tone pitch matching exercises 233 When I first introduce intonation/ ear training to my 6th graders we talk about instrument length and how it relates to pitch. Then I will intentionally pull a flute head joint far out and push another far in. When I ask the two flutes to play together I ask the class to listen and try to hear the beats in the dissonance (wah wah wah). I tell them their goal is to get rid of the beats so it sounds like only one instrument is playing and that is when they know it is in tune. There are several long tone exercises in their Essential Elements "warm up" exercises that we use to carefully listen for intonation. We warm up every day. 234 Passing F around the room by section, sometimes individually, playing scales in harmony (3 groups, each one on 1, 3, 5, of the chord and moving up diatonically), basic chorales, brass/woodwind groups. F around is used almost every day, chorales very often, other methods less often 235 Matching a drone during tuning 236 sing the pitch - every day / sing intervals - every day / match pitch with another (make the vibrations stop) - every day 237 I work one on one with the singers and I have them sing into the tuner app to identify or register their natural voice - or rather, we get a baseline on their natural pitch. I being with a simple C major ascending and descending scale and then progress to intervals. No singer is perfect and each person sings each pitch differently. Once they are aware of where they naturally fall, they then practice to correct these and to actually hear where the correct pitch lies 238 We sing quite a bit in all out beginning classes and carry that over all the way through high school. 239 Have a student or section match pitches with the McAdams tuner and listen for waves to get rid of and to sound like one instrument. Then incorporate tuning with concert F around the band daily. 240 Singing daily / Tuners weekly / Pitch matching using the harmony director daily 241 We tune to our long tone exercises, the Reynolds exercise, on Bb and F concert. By playing each descending interval the students are instructed to adjust their pitch to tune the intervals. We use this method each day. I also use the tonal energy tuner on my iPhone or iPad. I an splash the image to my LCD tv with Apple TV or document camera when we tune individually in class. Ths gives the opportunity for all students to directly see the tuner feedback as a class. 242 We do a lot of listening games/challenges. F around the room. Three different pairs compete on a tuning note to see who gets the most votes. Try to create overtones by locking in on octaves. We look visually at a strobe tuner to watch individual players work a note in tune. 243 Do you hear waves? Get rid of them. 244 Pitch matching (drone) / Pitch bending exercises / Singing / Matching / Watching tuners 245 I do not use an instructional method. I have kids match pitches produced by me or match each other. 246 Other than tuning and having the students 'listen for the waves' and eliminate them, I use a tuning chord (F Maj). 247 tuner, having student match tone 248 Chorales / Unison playing / Freeze the needle / Player 1 plays, player 2 plays, player 1 plays, player 3

138 plays / 2 student play with one pulled way out - the other student maintains their pitch and we listen to the beats. As the flat player pushes in we listen to see when and how the beats disappear. / These techniques are used throughout the year in full band and section lessons at least once per week. 249 Foundations for Superior Performance / F around the room-by sections / unison remington exercises / chorale for tone/balance/tuning 250 Ear training, intervals, qualities, listening for beats. Daily practice. 251 Singing, Tonal energy tuner & Harmony Director everyday 252 I do not have materials or a technique that I use. Our essential ear training at this level focuses around finding waves in the sound. I use this whenever there is an issue in the ensemble rehearsal. 253 none. Students are asked to sing their parts an a daily basis. 254 I have students play melodies and daily drills against a drone of the tonic note or the tonic and the fifth. I tell them to rid their sound of waves and they are in tune. The further into the year we get, the less I have to remind them and the clearer the ensemble becomes. I will often have students split and play multiple daily drills at the same time still getting rid of waves (EX. Remington exercise down and up at the same time). Tuning chords we don't hear all the time like m and M seconds without waves means they can usually tune other less dissonant chords much better. 255 remington scale progression. concert b flat scale in half notes staggered start. section by section with tuner then person by person down section 256 I have students learn major scales and chromatic scales and we do interval exercises daily. 257 Listen to your section leader, try to hear any "waves" make them slow down and stop. 258 Scales - daily / Scale according to the director designed scale degree - daily / Scales in 3rd- weekly / Long longs - daily 259 We use a warm-up called TONE BUILDERS by James Curnow everyday. 260 We sing, but not very consistently. We all listen to others tuning an formulate opinions before I confirm whether someone is sharp or flat. 261 We spend a lot of time tuning 5ths at cadence points. I also work diligently at blending melodic doublings. Very little time is spent on the first tuning pitch. We are constantly working on intonation and blend throughout the rehearsal. 262 I use mostly ear training. We don't normally have tuners out in a rehearsal. We use a strobe tuner in sectionals to tune the instruments, but in reharsals we teach students from day one to use their ears and adjust. Sometimes we will play two mechanical sounds that are purposly out of tune so that the students can hear what they are listening for with the waves in their sound. 263 I answered that in the previous question. 264 On any given day I use positive and negative examples, ask the class if they think a sample is flat or sharp, and tune to a electronic drone. I often use a tuner from a phone app or small tuning device, but not every day. Some of my students tune before rehearsal with a tuner every day. I would like to use a harmonium to tune chords, and have at a past job, but I do not have one at this job. 265 We sing constantly, working to match instrumental pitch with vocal. focus on listening all the time and the concept that your instrument will never play "in tune", you play your instrument "in tune" Again this is a constant focus. 266 To introduce tuning we use a game we call tuning golf. We first demonstrate what bad tuning is by having a student pullout their mouthpiece or tuning slide a far ways and play with somebody else. We then have them adjust until all of the waves disappear. Then we play a game with tonal energy on our ipad where we set up our board like a golf score card and play a scale note by note as whole notes. They have four counts to try and get the smiley face on the app to get a hole in one. If they dont they get whatever score that they were around in cents of being out of tune. Lowest score wins. 267 Lesson on using a tuner. / Lesson on the physics of sound - instrument length relates to tuning. / Lesson on sound waves - helping the children know when two sounds are out of tune verses in tune. / Lesson on proper breath support with demonstrations to show how air speed affects sound. 268 3 tuners. All play A440, slowly make one sharp, and one flat, take them each to 20cents out of tune, bring them back in. Have students raise hand when all 3 tuners are on A440 again. Suprising results. / / Drone tuning throughout a scale routine. 269 I don't have specific materials but we play "F" around the band as one exercise where everyone plays "F concert" for four counts individually and they hand off the note to the next person. We listen for good

139 tone, matching pitch, matching tone quality, good attack and release. 270 I use Tuning the Symphonic Band by Wendall Evanson daily to warmup and make students aware of the importance of matching pitch within and between sections. 271 For concert band, as a technical warmup, we use a method book. At the beginning of most rehearsals, we pick a key and play the major scale and arpeggio, then it's relative minor, and a few other exercises in that key. Every once in a while, we'll do rhythm exercises out of the same book. 272 No methods - just talk to the band about matching pitch. 273 In addition the process above, I use a sequence of notes to match: key of Bb: scale steps 1, 5, 8, 7 (7 for flutes & saxes). Then 8, 5, 9, 7, 8. Then 5, 6, 7, 8

School Directors Question 3: Do you ask your students to work on intonation and/or ear training skills outside of the classroom? If so, what exercises do you ask them to do?

1 No 2 Yes. Students are instructed to practice long tones with a tuner to learn the tendencies of their instrument. 3 Yes, mainly to discover pitch tendencies and to practice playing long tones. We encourage them to play a 16 beat long tone starting piano going to fortissimo and back without letting the pitch change. 4 No we do not 5 Yes. I have them create a chart of all of their notes on the chromatic scale, so they know which notes tend to be flat or sharp. I address tons of embouchure issues for them to fix. 6 That would be nice. 7 Yes, intonation charts with pairs and sectionals focusing on intonation within the group. 8 Take a tuner home and do what we do in class 9 Yes. Practice w/ tuner, targeting certain notes in either a scale or section of the piece we're working on. 10 The music majors are taking/have taken aural theory. 11 No 12 Yes we do. We do ear training in class. Play an F. Ok now buzz it. now sing it. Same with a Bb then ok now sing an F. And so on. 13 Just using a tuner during practice. Most of them don't do it. 14 Work with the tuner to make sure the "needle" doesn't move. 15 Play with a tuner ALWAYS. Posture and Breathing is the focus of every practice session. 16 Yes. We do intonation charts at the beginning of the year, but often have pass-offs in which the students have to play along with a tuner and/or metronome for passages that they are having trouble with. This is especially helpful for orchestra students. 17 Listening to famous artists on their instruments and write a paper about it. 18 Yes. They use tuners for intonation and Youtube for listening to quality ensembles. 19 I ask them to purchase a tuner and use it whenever they play. 20 Pitch tendency charts - document pitch tendency of each note on their instrument. They work in partners for this 21 Listen to quality models to develop characteristic tone. Sing their parts. Work with a tuner to learn pitch tendencies. 22 I ask my Jazz band students to transcribe any pop song they like. 23 yes using personal tuners 24 Yes. I ask them to use their tuner app at home to find a happy medium since every note is different. 25 I ask them to practice together and listen for the waves to go away. 26 No. 27 I ask the students to repeat the methods we use in class when they are individuals playing at home or with an accompanist. 28 Yes. I try to make sure every student can get some sort of tuner and understands how to read it.

140 29 Yes, I ask them to use a tuner at home if they have one. (Especially important in oboe , bassoon, and French horn.) I ask them to play our warm-up materials and their band music and make sure that every note is in tune. I also ask students to play long tone scales to make sure that they are tuning all ranges of the instrument. 30 Download a tuner app and work with it on long tones. 31 They are supposed to. They are asked to play long tones with a tuner in order check their own instruments intonation and make sure they are keeping a steady tone. 32 For specific problems I have tuners to check out to them. But it is usually an embouchure issue more than anything. 33 Once a year, the students will have a worksheet to do with a partner. They will play each pitch the full range of their instrument and have the other record if they are sharp or flat. Then the playing student writes down what they have to do to get the note in tune. 34 Show them how to use a tuner. Have them do tuning tendency charts for homework. 35 Yes. I ask them to listen to good recordings of their instrument. Imitate , or rather try and duplicate that sound. Play scales , arpeggios and intervals. 36 I do, but I doubt that any of them really work on it. / / 37 Yes, I always stress that they must first warm up before tuning. This will give a more accurate reading for how in-tune or out-of-tune you are. Students are then instructed to tune to there most "open" note on the instrument. They are also encouraged to practice as a group. 38 As part of their weekly assessments - if they aren't playing in tune, they have to keep practicing. 39 I encourage them to work out tunes they like on their instrument, and to sing as much as possible also. 40 Work with a tuner to identify the tuning tendencies of their instrument. 41 use a tuner at home to check certain tendencies 42 No 43 I ask them often to experiment with their instrument to find pitch / Discrepancy 44 yes, this is encouraged. 45 Yes. Students are to know the pitch tendencies of each note on their horn, the effect of muting on pitch, and the effects of crescendo and decrescendo on pitch. They also study just intonation and how notes need to be played depending upon their role in a chord to acheive just intonation. Tonal Energy is a great tool for this. 46 I asked for them to practice with a tuner. 47 I ask them to use a tuner to check pitch when practicing passages in the music. For orchestra, I ask them to practice scales with a tuner. 48 no 49 Not really, but I should. 50 My thesis has a chapter wherin one of my students used the strobe to tune every note onhis tenor sax . He was successful. 51 Yes, they are instructed to pattern droning individually at home with free softwares or drone to each other. 52 I have asked students to individually play their instrument and find the tendencies of their instrument. 53 Nothing specific at the moment. Trying to get them to do more in a classroom setting to help set a point of reference for pitches and not feel singled out or exposed 54 No, but I do make tuners available for check-out, and may speak to individual students who are having difficulty. 55 No 56 Determine pitch tendencies on their instrument for each note, both with static volume and cresc/decresc 57 No 58 I tell students to use the tuner apps available when they are alone, just leave it on their stand while they play at home. 59 Yes, I recommend that they buy tuners and practice with the tuner on their stand at home to learn pitch tendencies. 60 I will ask my top band students to purchase a tuner or borrow one of mine. They are required to go home

141 and make a complete list of the pitch tendencies of their own instruments....what notes tend to be in tune, sharp or flat. I spend time with each student at lunch or whenever I get a chance and go through the list and talk about how to adjust for the tendencies of their own instrument. Once that is done ear training by just listening and balancing starts. I'm a firm believe that if the students can match tone quality and volume (dynamics) that it is easier to hear intonation. 61 We do some one on one work with the tuner during activity period matching pitch and tuning intervals. 62 We ask them to practice our exercises and literature and check notes on a tuner or with the app 63 Currently no. 64 They learn by tuning chords and unisons in the music. 65 Yes, work with tuners and tuning tendency sheets. 66 Outside of the classroom, I ask my students to tune themselves, but inside the classroom, I have my kids to listen to each other as they play. I often say that if they cannot hear themselves, then most likely they are in tune. 67 Interval exercise in pairs. / / Intonation charts. 68 No t required but yes. We'll work on tuning characteristics in sectionals and individually. We use Tonal Energy App. 69 Use their tuners. Brass encouraged to warm up on flow studies while checking their tuner. Some Smart Music exercises at times 70 I used to with a tuner, but $$ is tight now so kids can't always purchase them. 71 no, other than playing along with Smart Music on practice lines and pieces 72 Yes, but nothing other then use tuner/keyboard to tune to 73 No 74 No 75 Yes, we ask them to take tuners home and work their passages (especially brass 6th harmonics and all trombone passages) and find get them in tune with the tuner. Then when we perform them in band we will isolate chords and adjust tuning as needed. 76 Not really - just ask them to check their fundamental pitch on their tuner 77 No. 78 I show them how but do not give specific assignments. 79 Yes. They check out tuners and fill out a chart. 80 We've recently started partner tuning. Students practiced playing scales together in whole notes ttrying to achieve internation within the four beats on each note. 81 Small Group choral setting 82 yes, (record themselves) for accuracy of pitch, tuning, articulation, sing part 83 Yes. I ask them to use a tuner if they have one and to create intonation maps. 84 not really. i encourage them to buy metronomes/tuners. tuner is always on beginning of class for individuals 85 get a tuner and practice with it 86 Yes, I ask them to use a tuner at home while they play but thats it. 87 Not really, other than to tell them to never play out of tune. They tune their instrument before they ever start practicing at home. If they always hear their instrument played in tune, it becomes very easy to hear when it, or someone else, is not in tune. 88 Not really. 89 no 90 Long tones 91 Yes. I encourage music theory apps and to practice their parts over drones. 92 Each student must fill out a pitch tendency chart (on their own time), which lists notes for the entire range of the instrument and they must write if their pitch registers sharp/flat/in tune for each. They then must write how problems can be corrected for each. 93 I ask them to learn the tuning tendencies on their instruments using a tuner.

142 94 Yes, we ask them work on the "bad notes" on their specific instruments in addition to a specific part in the music that demands specific tuning issues, ie: unison solo lines, specific chord structures. They are instructed to use there tuner to figure out how much that have to bend the pitch and remember what if feels like embouchure wise to create muscle memory. / 95 We recently have had students download the app for intonation and a few actually use it and help with pitches, only our top group is expected to be tuned before class, our second band is still working on developing a fundamental sound that is priority before tuning. 96 No 97 I do not have any specific assignments for ear training or intonation study outside of the classroom. However; the students know that the expectation regarding intonation when we rehearse and perform. 98 Yes, I ask them to download apps (such as Musician's Kit) on their phones and to practice with them running. 99 no 100 No 101 Sometimes, but case by case. 102 long tones w/tuner or tonal energy (plays pitches along with students) 103 Yes, I recently recommended an App I'd found, which plays 2 pitches, and the goal is to identify whether the 2nd pitch is flat, sharp, or in tune. Also, I recommend they sit with a tuner and a partner and play each pitch on their instrument, so that they can learn what their intonation tendencies are for their particular instrument. I tell them to use the tuner not just for the visual, but for the pitch creation. Then they should play against the pitch from the tuner, and work on tuning, by listening. 104 No. But many of them have downloaded the "In Tune" app to practice outside of class. 105 We talk a lot about how to practice and as it relates to intonation we ask students to do a few things. First we want them to know their instrument very well. We like for them to sit down with a really good tuner and go through every note on their instrument to learn the pitch tendencies. That way they can learn to anticipate and compensate for out of tune playing before it happens. We encourage playing with drones on etudes. We encourage in sectional time students to play through tricky intonation spots slowly with big ears. We reference "chorale style" often wherein students take a part that may be technically demanding or simply out of tune and play it very slowly at a relatively medium-soft dynamic level with legato articulations for the purpose of listening to and making the best possible sound. 106 Not really, although some have tuners and work with them. 107 Ask them to do long tones with a tuner. Tune each note of specific passages that are exposed 108 Yes. They are to practice a chromatic exercise starting from their lowest note crescendoing for 8 counts, moving to the next pitch up, and decrescendoing with 8 counts. This is in front of the tuner and for their whole range of the instrument. 109 Listen and match! Know your instruments pitch tendencies 110 no. This question did just give me the idea to ask them to sing along with their favorite songs when they're alone. 111 Partner with another student who plays the same instrument that you do. Work to refine unison pitches until the two instruments sound as one. / Use this to play through a selection that we are currently rehearsing until you match each other's sounds throughout the piece. 112 no 113 Yes, they do a tuning chart where they play each note and see how much out of tune it is and then eventually make the corrections to play that note in tune. 114 No. 115 No 116 You can always ask. I ask them to find a buddy and practice the same thing we do in class. One student plays a droning note the other plays slow major scales against it. 117 Not with my middle school band. I have suggested things to High School students that I assist with. I ask the brass players to practice lipping their notes down by half step (playing Remington with correct fingerings, then repeat that interval while lipping the note on open fingering). 118 Yes-using a tuner 119 If they own a tuner I have them work on learning the tendancies of each note of fheir instruments. I tell

143 them to practice bend the pitch with their embouchure. 120 Not formally 121 Only thing they can do is listen to examples of professional soloists on their instrument to hear tone quality models. Also singing and buzzing their music helps refine ear training. 122 I do. I ask them to play a measure and then sing it back. I don't want playing an instrument to simply be pressing down keys. I want them to internalize the melody and know how it is supposed to sound so they know when they are not pitchy. 123 Consider practicing with the use of a tuner. 124 Yes- use their tuners or cell phone apps 125 I ask them to use a tuner to find tendencies on each note of their instrument. They are asked to know which notes are typically sharp or flat for their instrument. 126 Yes by using tuners and match pitches to others. 127 Play with exceptional tone quality. 128 Yes, we have tuners in the rehearsal halls and they know how to use them. 129 No 130 no 131 Use tuners at home 132 I guess I do. My students are currently studying their major scales. These are assement items for their grade in class. All twelve scales are to be learned. I believe familiarity with tonalities helps develop listening skills and this helps play in tune. Scales are to be learned to memory outside of class time. It dawned on me this year that most of my students have access to tuning apps on their cell phones. We encourage use of these tuners to check intonation when not in class. 133 Long tones with a tuner or drone / Sing 134 We fill out an intonation chart for their instrument. This gives them an idea of their natural tendencies and the tendencies of their instrument. 135 I do. I ask them to work with a tuner to see what their instrument tendencies are. I ask them to listen to professional recordings to set the sound of 'in tune' with them. 136 Yes. I ask students to work with a tuner when they practice at home. 137 Yes. I ask my student to fill out an intonation tendancy chart for themselves outside of class. We ask the students to do this for both their concert and marching instruments. 138 I occasionally ask them to play their whole range and use their tuner to check where they are throughout their range. 139 Yes. I ask them to check themself with a tuner. Specifically on long tone exercises, exposed sections in band music, and when bad notes are played on their instrument. 140 Sure when they do play alongs 141 Occasionally I ask students to go to practice rooms during rehearsal to check certain notes with a tuner, so they know where they "live" on their horns. They need to know their instruments' tendencies in order to make better vertical adjustments. 142 They should always be aware of it, but no particular exercise. APS Trainer iOS app is useful! 143 Yes. We ask them to practice play certain passages, slowly with a tuner. Then, after they know what the passage sounds like, we ask them to sing it into a tuner. Try to get the needle on zero. 144 Daily long tone practice with a tuning machine 145 Yes.....work with a tuner to not only play in tune, but find the trouble notes on their instrument. 146 None 147 They are suppose to use an electronic tuner to find out what their pitch tendencies are. They also have smart music available to play into or with a professional tonality. This program has a play back so they can listen back and do their own critical analysis of what they need to fix either intonation, or pitches. 148 No 149 No 150 I encourage students to practice long tones From pp to ff with a tuner on assigned scales or chromatically. 151 Yes. Work with either their tuner or mine to learn the tendencies of their instrument.

144 152 Yes. I tell them to always practice with a tuner and metronome. I live in a low socioeconomic area and cannot require them to have their own. Enough students have smartphones and I have them download free versions. I also email my drones to them so they can practice ear-training of their own. 153 No 154 No 155 Nowadays, I make recommendations for mobile apps that have tuning devices, including MusiciansKit and nTrack Tuner. There are others that students and other teachers use, as well. 156 No 157 Not much. 158 Not so much unless they own their own tuner (lots of economically disadvantaged students on our campus.) For those who do, we encourage exactly the same as when in class. 159 No 160 / / / / / / / / / / probably not. 161 Good question, more recently I have them playing along with Smart Music at home and use the keyboard on SM to tune first. I have them play back their recording and listen to their intonation and assess it in playback. 162 I ask them to play long tones with a tuner so they can develop more consistency in their playing. I have also asked them to research the pitch tendencies of their particular instrument. 163 No. Unless they havea private lesson with me or someone else. My kids are invloved with everything after school. however, I do insist that they listen to atleast 1 classical piece each evening. 164 I ask my students to always listen to their tone when they practice. I occasionally have students borrow a tuner and practice scales while watching the tuner. 165 Not often with middle school. 166 The best exercise for intonation....LONG TONES...center the note with stability using a tuner. Can't tune a bad tone!!! 167 No, however if a student is having chronic pitch problems, I ask them to work with a tuner individually 168 No 169 no 170 Yes. All of the above that is done in the classroom, along with playing each pitch in a tuner, and determining the pitch tendency of each note. 171 I ask them to practice with a tuner. Often, students do not realize that they are out of tune and a tuner is a great way to check their center of pitch. 172 weekly. 173 I do not but I should. 174 I have my students complete tuning charts every semester. I also have shown them some fun apps that work on distinguishing pitch. 175 Jazz students must transcribe other solos fr recordings using audacity as a tool. All students are required to record themselfs as a self assessment to their practice. 176 no 177 Yes, play along with their favorite music and recordings of others who play their instrument. 178 I ask them to copy recordings or to use a tuner. 179 Yes -- / Use a tuner at home to figure out the tendency of each note on that student's specific instrument 180 I ask them to understand the pitch tendencies for their individual instrument. 181 no 182 We teach them in class to listen to each other and adjust, and we simply expect them to do the same if they are practicing with a group. 183 No. 184 No. 185 no. 186 Ask yes, but they don't spend much time on it. 187 Matching pitch with others playing in their section. / When practicing, stop on a note and check

145 intonation with a tuner --- its how you approach the note 188 I asked them to play long tones with the assistance of an electronic tuner. 189 No 190 No 191 ask them to practice with a tuner 192 Yes, I ask them to use a tuner to know their pitch tendencies 193 Yes, we teach them how to use their tuners, fill out intonation charts and also use drones. 194 Yes, ask them to work passages or entire pieces with a tuner on in part to determine best use of air, embouchure and voicing - also alternate fingerings as needed. 195 No 196 Yes, I ask them to use their tuner or tuner app nightly as they practice, and pay attention to the tuning tendencies of each pitch. 197 no 198 They are aksed to work on exercise outside of class. We will ask them to go through the instrument to work on finding the tendencies on their instrument at the beginning of the year. They are to create a chart showing the findings. / / A large portion of our band is also enrolled in AP music theory classes so the ear training there is very useful. 199 Most of my students use a tuning application on their "smart" phones. I have them work to match pitch and tune chords as needed during sectionals. 200 Yes, we offer AP music theory, music theory, and music fundamentals at our high school. I have about 20% of my ensembles enrolled in one of these classes. 201 Yes, my students are expected to work in sections and tone groups to work on matching outside of the normal rehearsal. Students also have access to electronic tuners for this if needed. 202 no 203 No. 204 No. 205 Yes. We ask them to do a pitch tendency chart using equal temperament so they can know by how much they have to adjust for just intonation. 206 Yes, small groups, improvisation 207 I ask the brass to buzz popular songs, mostly for their enjoyment but to also get them to listen to the pitches they are attempting to match in order to buzz the songs. 208 No, they should. 209 Memorize what notes they play out of tune by checking it with a tuner. 210 Yes, they practice with a tuner at home as described above. 211 Students are required to create a chart of intonation tendencies for their instrument to indicate the inherently out of tune notes on their horn. On this chart the must label how many cents the notes are either flat or sharp. I also ask them to always work with a tuner in their practice sessions. 212 no 213 no 214 When practicing with each other learn to match oitc and if by themselves use a tune and see which notes they have a tendency to be sharp or flat on 215 I just ask them to play their horns. If they do that then we are golden. Most of them don't. Several play constantly. 216 No. 217 Yes. As a 6th grader, they must first 'match' another person in their section, by making the 'waves' stop. Then, they must 'match' an instrument from another section. We then expand it to sections in junior high. All high school students are required to play their scales with their tuning devices. 218 I don't call it intonation but it is chromatic work based on improving intonation. 219 no 220 Yes. We play the online tuning game that keeps halving the pitch (you pick higher or lower). Tunemetrix I think.

146 221 Yes, solfege exercises with friends and parents and tuner work on each partial. 222 yes through smartmusic 223 No, I don't, but I find that requiring them to participate in chamber ensemble competition raises their pitch awareness during class. 224 Students are asked to play along with a recording of the "Remington exercise" and match pitch. The second track is a series of notes that are slightly out of tune annd they must match as they play along. 225 Work with tuning apps on their phones to try to match drone pitches and play "in tune" with the tuner. 226 sometimes. use tuner at home, or get it off computer, phone app. match pitch and listen to tone quality. 227 Yes. Check pitch with individual tuners. 228 no 229 no 230 Not really. 231 no 232 I teach listening skills when ever they attempt to make music 233 Yes, I ask them to circle a passage that is need of attention and have them check their intonation tendencies with a tuner. They are instructed to write an up arrow or a down arrow above the notes indicating they need to either drop or raise that pitch. 234 Yes, but I don't have a specific exercise or tool they should use except a tuner. 235 no 236 yes, we ask them to use a tuner (smart-phone app, or our band program owns 12) and find the pitch tendencies for their instrument. 237 Yes - they practice singing intervals and pitches into the tuner app if they are the singer for the ensemble. 238 Work with their tonal energy app if they have it. If not, find something comparable online. 239 No. Students hardly ever take instruments home for practice. 240 Yes. Use their tuners to develop an understanding of their individual instruments pitch tendencies beyond what we're teaching in class. 241 Yes. Many of the students have tuning apps on their iPads or smartphones. I will give them instructions to check tuning on sections of music at home to determine he pitch tendencies. 242 I don't require anyhting outside of the classroom but I suggest they work on pitch tendencies and show then how to chart the information. / 243 No 244 Yes, performing with SMART MUSIC at home really helps them to learn how to hear various intervals / Also - producing a good sound on their instrument is a HUGE FACTOR in playing in tune. / Students watch tuner and try to match - however not all notes are set with tuner - the ear is the best device. / 245 Yes. I have them work with a tuner while practicing. I also have them sing and match pitch. 246 No. I would like or them to, but I am just beginning to build up the program. 247 Chromatic exercise slowly quarter= 60 with the small korg tuner. This helps students to know the tendancies of their instrument and their individual tuning tendancies. 248 Mainly to use a tuner at home and learn to "freeze the needle" and learn pitch tendencies. / Also try to play along with recoring of our pieces and try to tune to them. / Use of Smart Music 249 Yes-tuning charts to check for their individual tuning tendencies and how adjustments that need to made with the embouchure or through alternate fingerings/finger shading 250 Not much. 251 I have them make recordings and fill out tuning tendency charts. 252 I ask my individual section to check their tuning notes with a tuner and if there is a specific problem pitch within the ensemble I ask them to mark it and practice with a tuner. 253 no 254 As beginners I challenge them to sing along with what they hear on the radio or whatever they are listening to and see if they can match the artists. 255 use tuner to check where they are playing their notes 256 Yes, I ask students to work with a tuner after they are warmed up so that they can make small

147 adjustments and know when to make those adjustments during ensemble playing. 257 Use the tuners at home to determine the tendencies of their particular instrument and then experiment with muts and different reeds to check out the differences. 258 Scale and long tone practice 259 No, that would never happen. We have very few students who take their instruments home. All teaching must be done in class. 260 Yes, I ask them to play with a drone and to close their eyes, play a note so that it resonates their instrument the most, then open their eyes and check against the tuner. 261 No. I ask them to play long tones and develop a characteristic tone. Once a year we do an intonation drill with a partner. 262 We don't ask them to do too much ear training outside of class, but we do ask them to use a tuner at home and note their tuning tendencies. 263 I ask them to consider the things we do daily when practicing. This seems to work. 264 I have them learn their intervals and basic chord qualities. 7th/8th learn p5, p4, and p8. 9th-12th learn m2 through M7 and major, minor, and diminished chords. Jazz band learns a few 7th chords, variable on talent level of that year. We work in the classroom, and I recommend musictheory.net for students who can't or won't study with a piano. I also will have the students learn tunes for each interval. I am relaxed on interval training with my band members, but aggressive with my prospective timpani players. We also use the interval training exercises from Foundations for Superior Performance. 265 I ask them to play with a tuner and focus on learning the intonation tendencies for their instrument, and how to adjust each pitch for intonation. 266 We usually pick a few advanced students and start encouraging them to do this especially if they are interested in going into music. We ask them to do long tones with different dynamics in front of the tuner and give them a list of great players to listen to. 267 Yes. Practice using their tuner. Stop on long/held notes in music to check pitch. 268 No 269 I encourage them to use a tuner and check their individual note tendencies - especially in the extreme ranges, like upper flute. 270 I encourage students to own or check out a tuner and become familiar with tuning tendencies. I also introduce them to ear training sites online, and encourage them to check these out. We emphasize the importance of matching others and adjusting and "compromising" constatntly while playing, but even more importantly that they cannot tune a bad sound, so good tone quality is essential. 271 No. 272 encourage them to downlaod a tuner on their phones and practice checking pitches at home. 273 Practice what we do in the classroom I have them work on long tones with a tuner to develope a steady pitch/

School Directors Question 4: Do you address the concept of different temperaments in your classes? Why or why not?

1 No 2 Yes. Students need to know how to adjust to get the correct sound on chords and not just use a tuner. 3 Yes, especially playing examples of each and getting them to know what they are listening for. 4 Yes- chord intonation is tempered differently than if a performer has a solo part. 5 I have, but I havne't used that terminology. I"m a middle school band, so I only talk about it once we get to the upper level bands and jazz band. 6 No. 7 Yes, in order to tune chords within the ensemble. I do not go very far into depth with this, as tuning in itself is a new concept for my ensemble (just took over the program), but I have touched on it a bit during warm-ups and lyrical sections of music. 8 not often. Because we are in a small school situation - there are multiple levels of players from Beginners to All-Staters in the same ensemble. 9 We use equal temperament

148 10 No. 11 I focus on just intonation. With middle school students this concept is hard enough to master and adding equal-temperament is harder for them to understand. 12 No. My main goal is to get them to listen and use their ear. 13 Yes. I use the harmony director and a youtube video on JustTonic to display these concepts. In our warmup we concentrate on lowering major thirds. 14 Yes, to make sure they understand how to tune chords. 15 Not really. Too much info to grasp in a short rehearsal time. The ear is the guide, we don't use tuners in an ensemble setting. 16 Occasionally. I don't go extremely deep into conversation on this, but if the discussion in class develops, I will run with it. 17 Not really. I mention that you can make chords sound better than a piano, but I don't go into further detail because I do not think I can explain it in a way that they will understand fully. 18 I address it, but at the middle school level, they have trouble implementing it. 19 Not yet.....They are only in their second year so we are slowly getting to that. 20 Yes - I use the harmony director to demonstrate the difference. They can instantly hear the difference 21 Yes. It sounds out of tune if we don't. 22 No. I am focusing on fundamental sound with my weaker students and am afraid of opening that can of worms with my stronger students. 23 No, too complicated for middle schoolers 24 No. I don't completely understand it and wouldn't feel comfortable trying to teach it. 25 I have addressed it but most of my students look dazed and confused so I break it down to an extremely simple explanation. 26 No - We do talk about difference tones and how they are acheived. Good sound, in tune, creates greater sounds. Students can naturally feel when things are easier to play because of intonation if you address it vocally everyday. 27 Yes. It is important to try to get an understanding for the students to know what the difference based on the fact that a piano cannot tune to each note but we (the players) can. 28 I talk to the older students about just temperament as we tune major or minor chords. I feel like they can understand it, if they know how to read their tuners. 29 No. I teach middle school students mostly, so I feel that at this point in their musical education it is enough to have them playing in tune with themselves before trying to adjust minute degrees for equal temperament. I think that most of my students are not ready for this level of education at this time. 30 no - too advanced for middle school 31 Somewhat. We talk about how notes need to be played in the chord for them to be in tune (3rds, 7ths, etc.) If it is not addressed students will never be aware of why something sounds out of tune even though a unison note may sound in tune. 32 I do in music theory classes and briefly in band. 33 Occasionally. Time. Young students. 34 Yes. Have a harmony director and it can show it to them. Some get it, others are clueless. 35 Don't really understand the question. 36 We discuss the concepts of lowering the 3rd in a major chord, etc. None of the students would know the name for that system. 37 Yes, I address it because being in tune with yourself, does not mean that you will be in tune with your ensemble. It is important to train the ear to recognize these discrepancies in pitch, but also how to fix them based off of where you are playing in the chord. 38 No. There aren't enough hours in a middle school day, nor minutes in a middle school rehearsal. 39 I do explain the difference...but we pretty much go for just intonation all the time. Equal temperament has a reason for existing, and wind band is NOT it. Winds can actually play in tune. 40 I introduce it in the advanced band when they are ready to understand and hear it. 41 no 42 No

149 43 I do using tonal energy tuner, which has several different tuning / "Systems" available. I do this to develop their ear so they can discriminate / Between chords that are in tune.. 44 When we have time. 45 Yes. With tools available today, why wouldn't you. There was an enormous improvement in our intonation once we started to use Tonal Energy as a tool for learning Just Intonation. We are really trying to train their ears to hear proper intonation at all times, regardless of whether there is a tuner in front of them. The pure intervals project with so much more clarity and warmth. 46 Yes, always. Neglecting to tune to just pitch only trains the students to hear equal as "in tune." 47 No; this is a concept that would be better discussed with older students. 48 intonation 49 We do not when teaching tuning at the beginning of class. When working on literature and chorals in warm up, we discuss the tendencies on their instruments and how the 1, 3, and 5 function within a chord and how they have to adjust to be in tune with the rest of the class. We also have students put arrows or 3's on notes that they are the 3rd of the chord to adjust. 50 No, Equal temperament was a given. 51 Yes. The students practice just intonation with the drone. I show them from the beginning how an electronic instrument (synth) playing a chord is different than wind instruments playing together. 52 Yes! I find it a good practice for students to focus on sounds that are desirable like Just intonation. 53 I'm currently building all of the music programs at my school (band, choir, keyboard, guitar, orchestra) so we are still working on the basic concept idea of intonation. With this specific group I think throwing phrases like "just intonation" and "equal temperament" at them at this stage would be too overwhelming 54 We have discussed it, but in band intonation is the main issue. 55 We discuss the difference, and how a piano uses a different tuning system than a band, just intonation. 56 Yes, in terms of sustained chords 57 No. Because of the overtone series we end up doing just intonation. Eliminating the waves doesn't give you an option. 58 We call tuning an agreement between instruments. If on the same note, the beats should disappear. if playing a major chord one has to identify their note as a root third or fifth. I mention equal temperament and I show them how a piano is tuned. 59 I do not as I teach middle school and am still working on basic tuning techniques. 60 Just intonation. I don't have a lot of rehearsal time to get too creative. 61 No. I teach in a rural school and it's just a little bit beyond them. 62 Yes especially in regards to chordal tuning. We start with the tuning of major chords and teach them how to adjust the third and fifth so they begin to hear the difference. By teaching the concept, we hope they will apply it elsewhere. This must be reinforced daily. 63 We do not. It is a time issue. We just try to get quality sounds that are in tune. If they understand how to play in tune, they can do either system. 64 No. It is a middle school class. 65 Yes, because these are very young players the director provides the information on how to adjust in the early process. 66 I do not because I feel my students would not grasp the concept of equal temperament. I only address just intonation because I do not want them to tune every note the same. 67 Yes. Just temperment is the only way to play "in-tune" with others (and yourself). We address how a tuner only addresses equal temperament and is just a starting point for playing "in-tune". In order to to play with others you must be able to recognize what intervals "sound" like when they are correct. If their ears are properly trained then most will adjust pitch on their own. 68 Yes, Help with Chord Sounding 69 intonation in class. Students are a little young and are just beginning to grasp pitch issues 70 I've mentioned it, but I never get into it too much. 71 With the older students, yes 72 No too much for high school in my opinion 73 Yes after they have mastered matching unisons. I only use just intonation vertically. I sound the root in

150 equal temperament, then the 5th then the 3rd. We do this because the sound is smoother, richer and fuller. 74 No, I'm at a middle school. 75 Yes we do. In order to really get the resonance and colour of tone that I want we must use just intonation. When students are practicing solo material or at home I ask them to tune up with a tuner, unless we have marked a particular chord with for just intonation purposes. 76 No. I teach JH and have for 22 years. Some can understand, but most of the time it confuses them. I use the just intonation setting on the harmony director when I tune a chord by ear - so they are hearing it but I gave up trying to explain any of that to them. / / / / / 77 No. I teach the second band at a 7th/8th campus. I feel this is too cerebral a topic to introduce to them at this age. 78 no 79 We do not really go into that. We talk about being in tune with the tuner does not necessarily mean that you are in tune. As the students progress we discuss altering pitches per the chord. 80 Not in those terms. 81 Yes. / Tuning the instrument is not the same as balancing the ensemble 82 yes, everyday for resonance of chords and understanding of balance esp. when dealing with percusssion 83 I do not because this may be a little complex and time consuming for the level i teach. 84 no. i try not to tune to machine much, but rely on ears. try to strengthen ears. 85 yes 86 Nope - we are just working on matching pitch. We have not focused or talked about 3rds and 5ths. 87 Yes. All of our students have a clip-on-tuner they use throughout rehearsals. If they simply tune to the needle in the center then the overall ensemble sound will not be in tune. We use the Tonal Energy App to play a chord and switch between Just and Equal temperament so they can hear the difference. 88 A little. We are aware that the third of the chord needs to be lower. 89 no, I do not spend time with adjustments. they are taught that in 6th grade band. Each teacher teaches the concept beginning 3rd six weeks. 90 No, middle school- let them do it instinctively. The theroy would only confuse them. 91 Yes. Daily. I teach both and have taught my kids to adapt to both and they can identify when they need to switch. 92 No. 93 Absolutely! Using the Harmony Director, I demonstrate the difference between a chord that is close and a chord that is locked in. They understand their roles and functions within a chord structure. 94 Yes. We feel it's important to make our chords sound as in tunes as possible. 95 we do not discuss this often, sometimes we talk with our gifted and talented kids about it, because they understand physics, but many of kids are just making a fundamental tone, let alone basic tuning ability. 96 No. Time 97 No. I have heard of it and know of directors who do work with it. An honest answer is that I rely on my ear (and a tuner) to tell me what sounds good. 98 No. In remedial class, they're still struggling with basic concepts, and I feel this would just confuse them. 99 no / It's important to know what sound needs to raised or lowered to be "in tune" - but we just tell them 100 No 101 Depending on the age/development level of the student. Mainly with creating resonance in a complex chord. 102 no 103 I describe equal temperament in relation to the piano. I have started to, address just intonation with my ensembles. I saw a demo with a Yamaha Harmony keyboard, but I don't have one of those. In terms of just intonation, I find I have to ensure that students actually know what chord tone they are playing, in order to know that they need to lower the third, for example. We are in the process of describing and identifying chord tones, so just intonation is just a little out of reach, at this time. (Sorry, couldn't resist.) 104 No. My students are not developed enough to really understand the concept. 105 Yes but that intellectual knowledge is not tremendously useful in the midst of playing a piece. We do at

151 some point in the year go in depth to the overtone series and how important that is and how equal temperament is different than that and why. However in the context of playing a piece we focus instead on listening deeply. Intellectual knowledge is not tremendously useful in that context. 106 No. I think it's a little complex for middle schoolers. 107 Currently no, students are not ready for that. 108 no. 109 As stated above, yes. They need to know how to Hume vertically and horizontally, and know when it's appropriate to favor one over the other 110 Yes, at a basic level. On some chords, especially more complex chords we will play the pitches in harmonic order, not necessarily score order, modifying third partials especially. Example: C major chord. We'd have all C's play as a group, regardless of octave. Then add the G's, which would be 2 cents sharp of the piano. Then, when that is solid, we'd add the E's. They know it's going to be lower, but the focus is on the quality of the chord, not necessarily the lowness. 111 Middle School - no; other issues crowd it out. / / High School - yes. We explain the just chromatics and tell the history of the even-tempered instruments, and why in comparison with wind and voice the piano oftens sounds less than 'in tune' / / College - Put into practice in the private studio 112 I do and I demonstrate it on the yamaha harmony director. I will use just intonation with my slow pieces or some chords especially the last chord of a march or faster piece. 113 Both, when we tune, we tune to equal. When we are playing music, students tune chords in their music with just intonation. 114 We do. We always use just intonation, but explain there are times we have to tune to fixed-pitched instruments. We talk about the natural overtone series and its importance to intonation. We use raised/lowered thirds accordingly. 115 No, we just want them to play in tune, but don't take the time to explain why. 116 It comes out that I'm teaching just intonation since I'm using major scales as the basis. After we have established how to get a characteristic sound and blending with your neighbor I basically teach the students to listen for beads and eliminate them. 117 No, we have not reached that level of intonation maturity. 118 Yes-chords verses unison playing 119 No, due to lack of time. 120 Just intonation officially, however I alude to equal-temperament from time to time. 121 Talk about the concept as it relates to music history and J.S. Bach. The scientific application I explain as a concept when it comes to tuning the 3rd in a chord. (Perfect A=440 pitch is actually wrong sometimes) 122 No I do not. I teach 5th-8th grade and I only see each group once a week for an hour, so I have chosen to not go into too much detail with intonation. 123 Yes....pitch is relative, not perfect...so tuning while playing is a process of understanding where each note fits in the harmony. 124 No 125 No. I teach middle school. This may be a bit more complex than I want to get into with them. 126 yes, students need to hear the difference and be able to adjust pitches to accomodate each system. 127 no. but do discuss the concept of raising or lowering certain pitches to help with intonation. 128 No, it's too complicated for our junior high band students. We do tell them what will make a given chord sound better, warmer, consonant. We don't get into the physics of it all. 129 Intonation 130 yes, important to know about chordal tuning and "beatless" tuning, etc. 131 The harmony is a great tool for that, but we are not at that level...yet. 132 Again, I guess I do address equal-temperament during class. We are supposed to sound like all of the other instruments within our sections. I believe my students must master this concept to gain intonation. The instrument that does not sound like others within a section can give the impression of being out of tune. 133 Yes. Ensemble intonation is always relative to the interval being played. 134 Yes, I like to have the 3rds in tune.

152 135 Time is limited in public schools as it seems we are always preparing for the next performance. I focus on intonation along with the myriad of other important concepts with them as I can. Other topics, breathing (if applicable), phrasing, dynamics, expression, and on and on we go... 136 No. Not beyond a brief introduction. It doesn't seem to be an important enough topic to cover in band. 137 No. I do not becuase I do not understand it well enough to be able to discuss the differences with my students. The button is on the Yamaha Harmony Director and I have been briefly shown how and when to use it but I really do not understand how it applies to the band setting. We teach the "adjustments" of various intervals - like the loweering of a third in a major chord, but not much more than that. 138 Yes. Because the chords don't ring unless they play just intonation. 139 Yes, on chords at the end of phrases/cadence points and on slower selections. Not very in depth, mainly the importance of lowering the 3rd of the chord when necessary. 140 No. I shoot for no waves. I don't try to jumble their minds in my big band (150 players) with stuff that they don't need. In my music elements we can talk about equal versus just. 141 Yes. Because Just intonation is the law of the land in ensembles. Lowered thirds are essential 142 Yes. Students should be aware of what part they are playing, whether it is the root, third, or fifth in a major triad, and listen and adjust accordingly. 143 Yes. We are trying to get the students to play the chords in tune. No turbulence. / / 144 No. I just have never done so; no reason. 145 Yes, I feel that the students need to understand that each note on their instrument is unique and requires manipulation through embouchure to correct intonation issues. 146 Yes. We use the harmony director, balance chords, pitch tendencies and do a lot of singing. 147 Our students only meet 1 hour every other day, so it really hasn't been addressed through this concept. 148 No 149 No 150 No. Not sure why, I probably should. 151 No. Time constraints of available rehearsal time. 152 Yes. I only bring up equal-temperament during rehearsals so they have the opportunity to make adjustments then and there. They may understand the concept already but having to experience it and hear it from their specific spot, with that specific instrumentation of the ensemble, in combination to the specific acoustic of the room always dictate the temperament. 153 I do introduce it and try to keep it really simple. I break apart chords that need the most work and assist students in listening and adjusting. 154 Yes I do address it, because the wind and string players need to realize that getting a nice, rich, resonant chord to be produced by the ensemble will require adjustments to be made, and that tuning each chordal pitch with a tuner will not give the desired result. 155 With the middle school students, I do not -- most likely because I have developed my own "routine" for getting through the quick class period. 156 Yes. We use Just intonation and I use the Tonal Energy App to help them understand the difference between Just and Equal temperament tuning. 157 NO. 158 No, - Our students are junior high and for us here in Texas its all about getting the instrument on the face and get that embouchure developed ASAP. Anything else is a distraction and thus keeps the student from maximizing their daily efforts. Currently, we do not have a music theory class yet available to band/orchestra/choir students. If we did, this would be the time in which to teach this understanding. 159 No because I instruct a second band at the middle school. This would confuse them. 160 Intonation. Few of my students study privately or practice. / / music is not considered important at this school as it is not a tested area. 161 Just intonation since it my experiance that is what I grew accustomed to because I thought that equal- temperment is more applicable to strings. 162 I do not because I feel we are not at the level that we could play in tune well enough to distinguish the difference between the two. Also...in band you are either in tune or not in tune. 163 We do discuss equal-temperment while tuning. It's become intergrated otthe point, the kids don't realize we're practicing it.

153 164 No. My students are very young. I consider this more of an advanced high school or college topic. 165 Not with middle school. 166 Yes. Equal temperament has ruined harmony. LOTS OF JUST INTONATION DRILLS!!! 167 No 168 No. Small school situation and time devotion. 169 no, my focus is on getting the students reasonably in tune, and then working for the enjoyment of playing through technique development and playing songs. 170 Just intonation 171 Perhaps if we used fixed pitched instruments, like piano, vibes, xylo, or marimba, but we don't, so I do not! 172 Yes. We do not tune to the piano and if we are playing chorales I ask the mallet players not to play the 3rd of the chord. I address this because we use beatless tuning in my ensembles. To hear a chord with a properly placed third is really just magical and it adds so much. 173 I do not refer to them in those terms with my age group. When discussing long tones/chords, I make them aware of which part they are playing and what to do to help the intonation if they are the 3rd of the chord. I also try to make them aware of the pitch tendencies of their instruments and how they might need to adjust for that as well. 174 yes we do. The students are capable of understanding the concept. We just need to plan rehearsals and sectionals efficiently so that we can help the students to identify what parts of the chords they are. 175 No. Students are still ew to the tuning experienced. 176 Yes but have not explored the relationship as much as I would like 177 Yes, along with using an ossiliscope so that students can learn what pitch looks like and how waves need to match. When we are playing they need to be able to adjust the pitch beyond equal temperament the way vocalists would. 178 Intonation, because when adjusting needs to happen the student will not adjust to what they are hearing. 179 I don't necessarily address the concept. I do work on both depending on the time of the year. I don't go too in depth because of the attention span of a middle schooler. 180 Yes. Playing in equal-temperament is a great start, but for higher-level issues we talk about just intonation and how that applies to tuning chords. 181 In texas we really don't address it much with students but the director takes care of it. 182 No. Teaching junior high band, I would rather them just learn how to listen and adjust. 183 We do not, primarily because I don't understand it. 184 Yes. We use it in our daily instruction and preparation of music. 185 no. My band is not precise enough for those concepts to make a difference yet. 186 No yet - students haven't developed consistent pitch habits yet. I feel it would confuse them. 187 Yes. The Harmony Director is a fantastic tool to demonstrate this concept. We use unison exercises to play along with the Harmony Director in Equal and Just intonation. Then the same concept with 3rds and 5ths. 188 No. Most of the students in my ensembles would not appreciate the difference I do not have the skill level. 189 Equal temperment, because that was the philosopy i was trained with from high school through undergraduate. 190 No 191 No. they seem disinterested in the topic 192 no, just intonation 193 Yes. We do more just intonation concepts with advanced bands. Younger bands we work more on balancing harmonies vs pitch adjustment (this is a Japanese concept). 194 Not with these words, but we do use both concepts in lessons...not a bad idea to add the theoretical language/basis! 195 Just intonation. They are not advanced enough to understand the concept of equal-temperament. 196 Just intonation--for me it is much easier to make them understand "If you hear waves, consider yourself to be the one that is causing them and adjust your pitch until the waves stop."

154 197 I always address issues about tuning and balancing between every section 198 Just 199 I am concentrating on equal-temperament as our ensmebles are blended with a piano most of the time. 200 We explain the difference and focus upon just intonation, as this is the most accurate method of tuning for wind instruments. In jazz band, we use the piano as a reference, but still focus upon the string bass, bass trombone, and baritone sax to solve intonation issues. 201 For my advanced band, yes. We use the harmony director to demonstrate the differences. Some students grasp the concenpt, for others it remains a mystery. 202 just temperment-- equal temperament Confuses kids 203 No. My band is not at that level quite yet. 204 Yes. So that we can more easily tune chords. 205 Yes! It's important for them to know the difference. 206 Yes, I believe it is important for students to understand that tuning is relative to the people around them and to train their ears to hear the result of matching and non matching pitches and intervals. 207 Yes, I think it is important for them to know the difference and how those differences factor into both intonation and tonal production. 208 YES!!! Becuase equal temperament is not in tune when playing chords. Mostly at musical cadences and phrase endings, not ALL of the time. 209 Somewhat - it goes over their head somewhat though. 210 We talk about the concept of equal temperament vs. just intonation and accompany that with a brief discussion of the physics of sound waves and how they interact. Mostly I just want them to understand that two notes played perfectly in tune will not necessarily be in tune with each other. We also talk about some of the more important intervals (3rds, both major and minor). Through repetition, they just memorize the correct adjustments and then we can talk about key points in pieces that we are working on (cadences, sustain harmony, etc). I'll give the band the tonic note (in concert pitch) and help them to determine where their note lies within the chord and help them to find the center of the pitch as a group. 211 Yes. We focus on this issue only in regard to the tuning of major and minor chords where the third must be adjusted to play the chords in tune. 212 Yes...We use a Yamaha Harmony Director. Just intonation is more "clean." 213 probably not but I may discuss it if a piece warrants it. 214 Not really 215 I haven't this year basically because I have forgotten to address it in that way. We fix tuning by ear and blend and match with no waves on held notes. I do tell them they have to adjust to get rid of waves constantly through playing even if you tuned before we started. 216 No. Middle school students lose interest. Attention span is short on some subjects. 217 Intonation only with most students - most of my students are not voluntarily higher level thinkers.... 218 I work on them without conversationor name but by playing with piano or instruments. 219 no, working on more fundamental needs 220 All the time. The piano and Bach's well tempered clavier lied to us. We lock 5ths, the bring the 3rd in. 221 Just - equal temperament is not correct. 3rds must go down and 5ths up (in major) 222 no. I emphasize listening skills and matching pitch. We do discuss "pure" tuning and the adjustments necessary to get a well tempered sound. 223 I do address it, so that they will understand why I tell them that the individual tuning device isn't always right even if the needle is saying you are perfectly in tune. After using the HD for a few years, their ears can tell the difference between the two. 224 They are told that our current system is a comprimise and that in order to play a in tune that constant adjustments need to be made using their ear as a guide. Yes we do by use of the Harmony Director or using the app Tonal Energy. To illustrate this change visually I use the program Visual Analyzer (Real Time Analyzer) and project it so that students can see the 3rd of a chord moving slightly up and down. I have the students sight lead their hearing by asking them if they can see the note moving up and down on the screen and proceed in telling then "Now can you hear the movement you see by using your ears." I then go on to change the temperment and now its in tune and all pitches are visually still. I ask them if

155 they can hear that the waves have disappeared. 225 Yes. In order for them to eliminate the beats, they must understand that while enharmonic notes are fingered the same, they are not QUITE the same and the difference must be compensated. 226 No. Already have enough to do in middle school. 227 Yes. We talk about tuning major/minor chord and how to adjust the 3rd depending on chord quality. Vs. tuning with a piano 228 no, not useful at 6-8 grade level 229 I do not feel comfortable yet addressing that. My first year as HS band director 230 Absolutely. Once we have the ability to "place" pitches in equal temperament, then we work the adjustment of the thirds in major and minor chords through interval and chord tuning exercises, leading up to chorale playing daily. I was not able to get the results of beautiful chords with my younger or middle ensembles without more detailed work on the basic techniques of playing in tune. 231 yes, because it is important in tuning the band. 232 Characteristic tone quality and centered pitch is taught from the beginning. Intonation is a byproduct of these skills 233 In general no - my students are too young to address the concept of equal-temperament (6th - 8th graders). 234 Although we own and use a Harmony Director, I have not used equal/just intonation with my band since it's the 3rd band and many of those students are not ready to think about that concept. I do work with them on basic tuning tendencies of chords (lower the 3rd, hold up the 5th). 235 Yes, but not as often as I'd like. 236 a little bit, some students can actually hear that the pitch is better (say, in a major chord) if they are a hair flat. They have asked why this is so, we explain the best we can without getting too complicated. 237 Yes- so they understand that academic vocabulary and how ensembles might have their own 'pitch'. 238 Not in the younger classes. As they mature yes. The younger children are bombarded with so much info we delay that morsel until later. 239 Not at this time. Trying to figure a way to introduce it to the students. 240 Equal. I've never really thought about why. 241 Yes very briefly. I teach middle school rachelwashere too much information could be confusing. We briefly talk about how the 3rd is to be played flat to compensate for equal temperament. 242 I don't use those words but we do adjust the third of the chord down to make it sound better. 243 No, they do not need to know that. They just need to know what sounds good and how to make it sound good. 244 yes, we do both. 245 No. I'm working with middle school students and a non-varsity high school band. I'm lucky if they get matching pitches down. 246 We discuss this with our tuning chord. I have not gone in to great detail regarding the differences, but they are starting to understand the importance of listening and eliminating the waves. 247 No, I teach middle school level students. I feel this is above their ability level 248 Not really, it's JHS. We talk a little about tuning triad chords and the typical tendecies of the root, 3rd and 5th, etc. 249 Yes-particularly when we are comparing th ewind instruments tuning to fixed instruments such as concert bells, marimba, picano, etc 250 I don't, but only because my students are not generally at a skill level that it would make a difference. I would discuss it if I were working with high-level high schoolers or college students, of course. 251 ABSOLUTELY. Can't sound good with out understanding it. 252 I do not. I teach the second band at the middle school. It takes a while to get past the note/rhythm stage. Once I get them playing together I then spend a lot of time on balance. We never advance far from simple "am I matching pitch" 253 No. We listen to get rid of the "beats." Fixes the problem with out making the student have to think too much about chord structure. / / 254 Yes. It is much easier to do that once than to argue with the students that tell you, "well the tuner says...". 255 try to match tone quality and volumn so all sound the same

156 256 Not really, there just isn't enough time in the class to explain. 257 Yep, We do it because the students are interested in the subject of intonation. 258 I do not. In the classroom I feel like it is enough work to get then to play in tune with good tone. Maybe once I become a more / Experienced teacher. I do in private lessons. 259 No. I feel as if it would be a waste of our time. I think I would lose my class with a lesson on equal- temperament. 260 In my younger classes, no. They are not ready yet. In my top ensembles we are just now at that point and are starting to tune based on function if their note in a chord. 261 Yes! equal temerament is not in tune. We always try to temper 3rds and sevenths after the 5th is locked. 262 No we do not, because we teach at the junior high level, and choose not focus on a more advanced concpt like that. The top group has been told to adjust the 3rd and 5th a few times, but they do not know why. That I believe is covered a bit more in depth in the high school program. 263 I seldom adress that. We do interval drills on a daily basis. Our goal is to make the interval sound correct. Therefore, just and equal- temperament both come into play. Students understand seem to naturally understand that without all of the techincal jargon. / 264 Absolutely. The addition and subtraction of pianos, marimbas, xylophones, vibraphones, guitars, and synthesizers mess with the intonation context, and so I instruct my students about equal-temperament, just intonation, and whatever mix is prevalent in the music they are working on. 265 I only wrk just intonation-percussion pitch will be close enough if they play int tune with each other as wind players. 266 We do not usually address this with our students even though we should. It confuses them greatly and just not how we choose to spend the short amount of time we have with them. 267 No. I would love to get to the details but this is middle school and I am frequently fighting correct notes/rhythms and a host of technique issues that must be addressed first. 268 Yes. just intonation is not enough 269 It's middle school, we try to get close. 270 Our more advanced students are aware of equal-temperament and just intonation, but we don't address it in detail in classes. The students understand that chords also must be adjusted, matched, and "compromised" in order to create in tune sounds. 271 I have not. Although I find it interesting and have talked about it with colleagues, I think it would not be a particularly efficient use of rehearsal time. It would take a while to explain, I'm not sure how many of them would understand, and it wouldn't help them play any better. I don't think professional musicians think about it when they play, yet they play in tune. 272 No. I don't deem it relavent to the level I teach. 273 I teach middle school so all we get into is adjusting chords or intonation - such as lowering the 3rd.

School Directors Question 5: When should intonation/ear training instruction for students begin? Please briefly describe when and why.

1 In Beginning Band. The earlier they begin to use their ears, the better. 2 From the very beginning. Students should not be enabled into thinking that it okay to make bad sounds. Teaching them to match pitch from the beginning creates sensitive listeners. 3 From day one, trying to match the sound of their neighbor. Teach kids to listen and you won't have to mention intonation too much in the long run. 4 The first time they participate in band is when intonation/ear training should be addressed. I also teach orchestra- my orchestra students start ear training from day one, and it helps them tremendously. Singing is key, and singing your part in band should being from day one in beginning band. 5 DAY 1!! Intonation is a SYMPTOM of a bigger problem, like embouchure or breath support. 6 Beginning band 7 As soon as they begin playing! Students should always be taught to listen for this so that by the time they are ready for more advanced literature, they have these basic skills. When I was in middle school and I learned my first note, I also learned how to tune that first note. It should be like that everywhere.

157 8 Beginners - using the method described before - but a concentration on making the tuner needle steady vs. making it "in tune" 9 As soon as they begin as beginners. The association is with the correct Embouchure as well ear training 10 Elementary school - listening and responding to pitch are fundamental skills that should grow and develop constantly throughout music experiences at schools. 11 I strat at the lat nine weeks of the year with 6th graders (beginning band). This allows the notes that the students use to be well under their fingers and they do not have to worry about correct fingeriings. This allows these students to focus on learning a new concept. / For the 7th and 8th graders I focus on intonation closer to concerts. For concert MPA is is focused on right away. 12 middle school. 13 First day of playing. It can begin with "listen and match your neighbor." 14 After the initial warmup. 15 Posture and Breathing from day 1. Matching pitch from day 1. "In Tune" terms should come after technique is comfortable and consistent. 16 I believe this should happen in the very early stages of playing (within one year). All-too often, students get to the high school level and have not even used a tuner before, much less know how to adjust their instrument. 17 ASAP. Play echo should happen as soon as they learn 2 notes to help them understand that you need to be able to read and hear music. Specifically intonation regarding tuning 5ths and 3rds of chords...whenever they are mature enough. Ideally 8th grade. 18 Day one of beginning band. Proper intonation starts with proper tone production. You can not properly tune a bad sound. 19 As soon as possible...You don't want them to remember hearing pitches out of tune. 20 I used to teach elementary band and firmly believe it starts from day one. It's amazing how innately people understand when something is out of tune. The rest is just helping them understand how to make their sounds match up 21 Birth? Elementary school at least. Certainly in the first year of instrumental playing. Students can understand concepts of matching/not matching very young. Developing aural sensitivity as well as tonal sense can start before instruments become involved. Students can sing in tune very early, even before they can play in tune and they must understand that it should be a major goal on the instrument as soon as possible. 22 Instrument fitting- match pitch on a mouthpiece. 23 once a good solid sound is established somewhere in the middle of the first year playing. 24 From the first few months of playing. If the students know you think it is important, it will become important to them. 25 I think it needs to start when they are begginners. I think ear training should start then. However they should not apply tuning to their instruments until they can produce a good tone on their instruments. If they can't produce a good tone they won't ever be in tune. 26 6th grade. They need it from the beginning. If students learn to play things out of tune, they don't realize the importance. Play, sing, buzz, play. All the time. 27 It should be started, sparingly, as soon as possible. If it is expected at a younger age, the student is accustom to listening and the importance of playing in tune. 28 I tend to believe that the sooner the better for intonation will help your sonority as a band. I start it up in the later part of the beginning band year. 29 Immediately. Once students can make a sound on an instrument, they should immediately be working towards a characteristic tone quality. If students are playing with the correct embouchure and set-up they should be playing in tune more or less. 30 Beginning Band! They need to hear it correctly from the beginning! 31 Immediately. Once students start playing an instrument, they should be working on keeping a steady tone and trying to match others around them. If they don't start this way, you are telling them it is not important. Students need to start developing their ear from the very beginning. 32 As soon as possible. I have been lucky to have feeder programs that are methodical in teaching the basics and teach ear training on the instrument from the beginning. Too many beginning groups are more focused on how far they can make it through the book.

158 33 Beginning band, matching sounds. Clarinets on barrel & mouthpiece to get to an F# for correct embouchure. 34 As beginners. Need to know if they are matching pitch correctly and forming the right embouchure. 35 When they begin playing. Stressing to them the importance of getting a good, open and round sound. 36 I believe that singing should be in every band classroom so that students can recognize pitch. 37 From the beginning- students who have a better ear from the beginning are better musicians in the long run. 38 From the very beginning. Before reading music, they can be listening to match pitch, identify melodic direction, intonation, call/response exercises. Music is an AURAL art and they must be taught to use their ears in a new way. 39 In terms of formal music instruction, it's the first thing...good elementary programs infuse it into their curriculum at all levels. In band, it's part of learning embouchure and tone production in the beginning stages. Ear training is the most important technical skill we address. 40 The first day of beginning band. I mouthpiece test by matching pitch with the keyboard. I teaches them what to listen for. 41 Beginners should understand the concept of "matching pitch" from the start. Brass mouthpiece buzzing while woodwinds are playing strengthens ear training and tone development. 42 5th grade beginners. We have limited time. I do not spend much time on tuning or intonation. I do have students listen to each other and determine if one is flat or sharp. We adjust instruments and embouchure as needed. 43 I think you should start at an early age. Younger students can tell / If a pitch is higher, same or lower, and 5th graders usually can tell which pitch / Is higher or lower. It is important to get them listening for pitch early on. 44 5th grade or the sooner the better. 45 Preferrably in general music, but certainly at the very beginning of playing an instrument. Why spend a year pressing the right keys down without matching pitch. Create that connection and skill as soon as possible. So many students get to HS with the knowledge to play notes and rhythms, but with a lack of understanding on intonation. I am forunate to work with my feeder program here, and now the students never play in beginning band or group lessons without a starting pitch and addressing intonation and tone production. It makes a huge difference by the time they reach me at the high school...students that transfer in from other districts stick out in an ensemble, as they are missing that component of their early band studies. 46 They should learn to tune when they learn to perform their first pitch. 47 It should begin as soon as they start playing. Although beginners can't necessarily sustain a steady pitch or adjust pitch with their young embouchures, they can hear it and begin to develop awareness and understanding. 48 junior high 49 Immediately. If a student can't play long tone and play in tune, you fight a losing battle. I teach high school, so it's taught the 1st day right away. With beginners, I would do it as soon as they can hold a steady pitch and use Smartmusic as a guide. 50 As soon as there is a semblance of an embouchure. 51 As soon as possible. Ear training is important because the students have to practice developing their ears. They will never understand how to adjust or match pitches if they always rely on a tuner or someone telling them they are out of tune. 52 The moment students begin to develop a characteristic tone of their instrument. More often than not, imitation is encourage for tone as well as intonation. 53 From the beginning of learning music so that it is becomes as natural to them as playing and not this challenging aspect of music that they avoid. 54 I start a bit in beginning band, but I don't target it much as I just want to get the kids playing and enjoying music. In the 2nd and 3rd years of band we focus more on it, and begin tuning as an ensemble. 55 Initially, at the beginning. Correct mouthpiece pitch for reed instruments provides the foundation for good tone and intonation difficulties. 56 Beginning band, even if it's something as simple as noting whether or not two players are matched (not necessarily knowing sharp vs. flat)

159 57 As beginners. We start with matching the pitch on their mouthpieces after they have played 3 months. This leads into the concept of "matching". Young kids can hear it really easy. 58 Right away, pitch needs to be introduced with a quality sound. One without the other is useless. 59 I start my students within the first 2 weeks of school in 6th grade. Students should at least be introduced to it within their first year of playing. 60 I teach elementary thru high school. I start ear training in the elementary level at a very basic level. More is applied as the students progress thru each grade level and become more experienced. 61 I start after Christmas break with the beginners. It is an important part of musicianship and the longer you wait to get started, the more their ears are going to be used to playing out of tune. 62 Start from the beginning 63 As soon as students can produce a quality tone on their instrument , they can begin to tune. A poor tone is virtually impossible to tune. 64 Maybe - students need to develop a robustness in their embouchure and overall playing to support tuning and playing in tune, and so the level of intonation is variable based on skill. We wants student to be closer than a 1/2 step when they start, within 5 cents by high school. 65 After basic embouchure has been established. 66 Ear training should begin with beginner band students. If you can get them to use their ears early, then intonation will come more easy down the road, because they will be used to listening to match their neighbor. 67 After students can consistently achieve a characteristic tone on their instrument as tone production is directly related to a players pitch center. 68 Beginning, Match pitch of mpc's or head joint etc. 69 We begin with our 6th graders shortly after the 2nd semester begins 70 Day 1 - listening is key to success. 71 First introduce the concept of matching me with beginners, then move to matching each other. This should start pretty much from day one. 72 Beginning levels 73 As soon as they can hold a steady tone. 74 After embouchures are well established. I think that if you start too soon with beginners you won't get an accurate or consistent pitch because their embouchures are not happening automatically or naturally yet. Embouchures are inconsistent at first and need constant reminding and resetting for some kids. 75 I believe tuning begins with beginning band. We do singing and buzzing exercises every day. I introduce the harmony director and tuning by ear during the spring semester. We also learn how to use a tuner in the spring as well. The combination of visual and aural skills meets the needs of various students with various learning styles. In my estimation the combination of the two will also further assist in ear training. Sometime students need to see how they are out of tune on a machine in order to see and hear how to adjust pitch. 76 It begins by teaching good tone quality. When a student can consistently produce a proper tone, then they can be taught to play in tune. You can't tune a bad sound. So there is no definitive answer to this question for me. It different for every student but hopefully sometime within the first few months of playing. 77 6th grade (beginners). Recognizing differences in pitch and being able to adjust is a valuable asset in a musician. 78 beginner band students need to understand and comprehend the need for characteristic tones and good intonation. 79 We establish good tone and start talking about matching pitches in the first year. We do this so that the students are constantly listening and adjusting and it becomes habit. 80 I start ear training in beginning band. It starts with teaching them the importance of buzzing on the mouthpiece and making sure that they create the correct pitch on the mouthpiece before playing on the instrument. 81 I introduce it by Christmas with beginners, so about 3 months after beginner has started playing. Trombone and horn section sing to match pitch from day 1 82 beginning band, it is a developed process that takes time to master just like an instrument 83 As soon as possible, to get them thinking about it so that it will become a natural process.

160 84 once they can make a good tone as beginners (very early) i think it's important that they don't get used to hearing things out of tune. 85 beginner year 86 As early as possible! 87 Their very first day of musical instruction. We start from day one recognizing if pitches are higher or lower than the previously played note. We play out of tune on purpose and gradually bring the instruments in tune with our embouchures so the students can understand what we're talking about. This tends to leave a very big impression on the need to play in perfect tune with the entire group. 88 As soon as they are able to produce a steady tone, we begin to talk about matching sounds. The longer and more often students are asked to listen and discern pitch, the better their eventual intonation will be. We talk about tuning as a constant process. "Every note is a tuning note." 89 3rd six weeks of 6th grade year. hammered to listen to each other to understand its me or them style. 90 Not until they have a good grasp of enbroucher, proper air flow and good tone production. 91 Day 1. All students are capable. The choice on when to being falls on the teacher. 92 We start working on pitch matching during beginning band. It is important for students to understand the concept and the importance of using their ear (and a tuning device as needed) to play in tune. 93 The 1st year. Brass players should learn to vibrate in the center of a pitch. 94 It should begin at the MS level, only after they have established a good tone quality on their instrument in expanded ranges. It teaches good listening skills, pitch awareness, and develops good musician skills in order to manipulate pitch which requires a solid embouchure foundation. 95 I think all students should be aware as soon as they can make a fundamental, characteristic sound. But we tell our beginners to start listening and matching about this time of year, we talk about the pyramid of sound and "balance" with them usually mid year, some are still working on better tone quality, but if they are more advanced, we challange them a bit with listening excersizes 96 Briefly toward the end of 6th grade. Once per week in the 7th and 8th grade. 97 It should begin in beginning band, if not before. I believe that most students can naturally discern intonation. They may not know if a pitch is sharp or flat, but they most certainly can tell the difference between in tune and out of tune. They can recognize it in recorded music and they can recognize it when they are performing. It seems that it is almost a "feeling" for them. / / Why teach intonation early? Because we need to capitolize on student's natural musical abilities before they become poluted by our neglect. Making intonation a matter of importance early will benefit students entire musical careers. 98 After they've mastered their first 5 notes. These first notes are usually the consecutive notes of a scale, and show enough understanding to begin introducing more advanced musical concepts. 99 Beginning band. / So they know what sounds good 100 First year students would be made aware of it, with increasing time spent on identifying and adjusting as they gain more experience. 101 As soon as they understand how to produce a good tone with a supported air column. Once they understand their own responsibilities, begin to teach them how to compare their sounds to others. 102 elementary. Students should be trying to match pitch immedately 103 In elementary beginning band, as soon as they start making consistent tones. One cannot tune a pitch that has poor tone quality. Students can match pitch and will benefit from instruction and encouragement in the area of intonation (especially beginning alto saxophones, and their instructors). Awareness is key. 104 End of first year or second year. At this point they should be able to play consistently with a proper tone, with proper air support and embouchure. 105 Immediately. Listening is at the core of all good music making. Refining ears should be involved in every step of the process. 106 Beginning band. I think it is hard to teach tuning once students get used to hearing themselves without tuning. It doesn't bother them. 107 Usually with my beginners, once they can play 5 notes. So about a month into classes 108 High school. In my area, students are not getting good enough instruction to master their own instrument, let alone thinking about manipulating their sound. 109 At birth, or at least as soon as possible afterwards. They earlier they develop pitch discrimination, the more refined it can become.

161 110 From the beginning. My beginners sing their first five notes. Some can do it. Some struggle. It's important to start early so that they know from the beginning that singing is a part of playing their instrument. They are taught that the instrument is an extension of their singing voice, and in doing so they avoid developing the "I'm a player, not a singer," mentality. 111 From the first day. Students should sing the intended pitch before attempting to reproduce it. / Unless done early, problems compound as more instruments are added to the mix. 112 they should start ear training alongside with beginning instruction and have them listen and demonstrate with their hand the speed of the "waves" when two players sounding a unison pitch are out-of-tune and also identifywhen the beats or waves stop 113 I feel tuning should be introduce in the second semester when students start playing their instruments. 114 I use it as early as elementary school, even if they are unable to reach perfect intonation. I get them listening in the correct direction to set them up for future success. 115 Elementary music, but it can be subtle 116 The first year of playing sometime later in the year when everyone is finally able to get a characteristic sound on their instrument. 117 I start with my beginners. Most of my students can tell pretty early when a note isn't quite the same. I have found that alerting them of why this happens before Christmas makes it easier to get them to start playing in tune. 118 From the first time they pick up an instrument 119 I try to get them to listen to each other in beginner band once we start gaining pitch accuracy. In my district I am the only band director and I have mixed groupings of beginners. I am utilizing that to help my trombone players especially. I teach that grombones can easily adjust their slixe positions to match the baritones. Horns can match alto saxes and so on. 120 As soon as possible. The sooner they begin to understand the concept, the sooner they will appropriate it on their own. 121 As soon as a good tone quality can be performed, then students can learn to "tune" 122 I believe in 5th grade/beginning of middle school. I think before that age, students do not understand such an abstract concept. I think 5th grade is a good year to introduce music, instruments, and intonation. 123 When they first start learning to play an instrument or sing. This way it becomes a part of the initial learning process and not something they are taught later. 124 As soon as they can produce an acceptable tone 125 After about the first few months. It's never too early to try to get them to be closer in tune with each other. If you let them play too out of tune as beginners, sometimes it's hard to tell if they are just out of tune or playing wrong notes. 126 Beginner year. No reason not to play in tune. 127 5th grade, pitch matching...use call and reponse. 128 We do those aforementioned exercises with our beginners in 6th grade. 129 6th grade....the sooner the better 130 once the student can achieve characteristic tone. 131 I believe it should start in beginning band, even if it's olny a note or two. I think matching pitch is very important to help them start using their ears. 132 We attempt to start the concept and study of intonation in the second semester of beginning band. This would be in the fifth grade for us. The sooner we can play in tune, we believe allows for more interest in staying in the band. 133 At the beginning of playing. Sing everything they are asked to play. Ear training and intonation awareness happens inside of the individual player and must be recognized. 134 As soon as they start making sounds. In their first year. The earlier they understand what playing in tune sounds like, the more likely they are to be able to play with good intonation. 135 I start the basics in elementary school. More so with string players as the wind instruments take a little longer to establish good tone. 136 Elementary. The sooner the students are able to audiate, the more successful they will be at being able to adjust pitch. 137 Intonation and very fundamental ear training should begin during the first year of band instruction - about halfway through the first year and after the students can play a good fundamentaal sound and their

162 instruments and after they can play more than a full scale of notes. 138 Right away, as soon as they can make a sound. It's important to get the concept happening, even though they may not play successfully in tune right away. They can learn what in tune and out of tune sound like, and how to adjust. 139 Beginning Band so the students learn about the importance of tuning early on in their musical development. 140 When they learn to make a sound. An out of tune note is a wrong note in my band 141 In middle school. I focus on unison intonation, not chords, at that age. 142 At an early age! This allows them to build awareness of intonation. I would say after they have mastered a very basic proficiency on timing and sound production they can focus on tone quality, which will lead to better intonation. 143 Ear Training - In beginner band. I believe you need to get the students into the habit of listening from the beginning. If they do not listen as beginners, then they will not know if they are playing correct or wrong notes. / We talk about playing with clear sounds. Not so much about intonation until year 2. 144 Immediately upon beginning an instrument and should be a fundamental process along with developing characteristic tone quality. 145 As early as possible in general music classes. When students can hear the pitch and understand how to fix it it makes the process of tuning much more simple. It also allows for higher level work and study to be completed by the students. 146 Beginner 147 I think they can get the concept very early. I believe they can be introduced to differences and they are pretty good at detecting what sounds better when intune or out of tune. They can hear it when presented that way. As an instrumentalist it's harder to know what to do about it but most of them know when it sounds right and when it doesn't. 148 Beginning band 149 6th grade 150 When a student is able to establish a descent tone quality on their given instrument. For beginners, buzzing a specific pitch with their mouthpiece can be especially helpful in establishing correct embouchure formation and thus an acceptable tone quality. 151 As soon as they begin musical instruction of any kind, including general music at the elementary level. The ability to match pitch should be practiced as soon as possible in order to enhance that ability so that it becomes automatic. 152 Very near the beginning. Even though first year students are still focused on notes and rhythms, it is not okay for them to get used to being out of tune. No, they may not have acquired embouchure control yet, but they need to know what it sounds like to play in tune and make that their goal. They will learn how to make adjustments on the fly later. 153 Pretty much right away when they start playing. 154 I think as early as possible. People very young can hear/feel the vibrations when two pitches are very much out of tune with each other. I think starting-at and early age-with gross examples of the major concepts we want our musicians to later master is possible and beneficial. 155 I intimated in an earlier question that I do very little of it during the first quarter of the school year. With that said, I painstakingly tune every beginners' instrument in the string orchestra for the first part of the year until they become confident with the mechanics of the instrument. With the band instruments, we try to produce tones to maintain their interests. Tuning is slowly introduced around the 2nd quarter of the year (unless something is so hideously out of tune early beyond the initial honking and squeaking...). 156 I think it should be taught as soon as the student can maintain good tone. I used to teach tuning to my 5th graders when I taught beginning band. 157 First week of beginner band! The sooner we can get the students singing the better. 158 Elementary school music teachers/private piano teachers, etc. 159 Since they first start playing. I play the "matching game" with my beginners. 160 / / I begin to work on this aspect only after they can handle the instrument with a degree of facility. 161 At the very beginning of their musical instruction-year 1. Early instruction in ear training I believe develops a musician for long term more complex objectives like improvisation in Jazz and much more...

163 162 At the beginning. We should be teaching our students that its not enough that you push the right button down and blow. 163 It should be taught from the beginning oncethey master the first few notes. Sometimes, when we'reinthis stage, I let it slide now and then but while in class, we start working on it from about week 3. 164 Day one. The first time a new brass player buzzes a mouthpiece, intonation and ear training are beginning to develop. If it as addressed and taught, students begin to know what to listen for and control their sound accordingly. If intonation and ear training are not addressed at the beginning, students begin to learn that playing out of tune is acceptable. 165 Intonation can start the first year of instruction on an instrument! Ear training I only do at the middle school level with my jazz students. 166 From the beginning. Letting students be unaware early on creates a "broken normal". Out of tune sounds correct to them. You mess them up. 167 beginning year. A student needs to have pitch awareness from the very beginning otherwise it does not become part of their daily routine. 168 During the beginning band year. Students must learn to listen and discern. They should ask if a bad sound is their fault. 169 1st year for basic concepts of is the sound the same or different? 2nd year developing independent tuning skills. 3rd year developing independent ownership of tuning and being in tune with the group. 170 as soon as they begin on their instrument. Listening and adjusting should be priority 171 In the elementary years we are mostly considered with students using good posture, bow handling, and left-hand technique. The process for really holding students accountable for pitch occurs in junior high school. 172 After they can make a solid tone, know all their notes, and have an understanding of dynamics. Because asking the students to tune when they don't know what they are playing is too much for them to think about. Tuning is an active process. Once we start and once we are aware of what in tune is we can't go back. 173 Ear training instruction should begin as soon as students can make characteristic and steady sounds on their instruments. I believe if you can train students to know what "in-tune" sounds like and how to adjust to make it sound good, they will not want to make "out-of-tune" sounds. 174 It should begin as soon as they begin their musical education. They need to be aware from the beginning that there is a significant difference between "close enough" and "right on". If they are immediately trained and made aware that it's not as simple as "press and blow", then they will have a chance of approaching music with the required sense of detail. 175 Early.childhood. Parents need to sing to their children and have them sing back or listen to music. 176 The very first time they play! we match pitches on mouthpieces and headjoints. I teach most of the beginning woodwinds and have them match pitches on their very first notes. We talk about intonation and adjust constantly. In advance classes we tune and balance chords and harmonies in pieces. 177 Early Childhood Ed. As early as possible. Pitch matching, call and response, rhythmic flow all are natural to us and can be used in teaching other concepts (see the "Music Together" program for infants). 178 Beginning band. Students need to get an understanding of what a good sound is and what to listen for. 179 When they are beginners. I go ahead and make sure brass and saxes have the instrument pulled to the approximate spot to get the best tuning. If they hear notes in tune early on, they will become accustomed to match pitch later on. 180 I think students should start thinking about listening and intonation from the very beginning of the rehearsal. When students engage their ears they fix balance and intonation instantly. 181 k-2 is a oppertune time to start pitch recognition and tuning skills. 182 Beginning band. I don't want students to get used to what out of tune notes sound like. Also, if they are out of tune, it may be an embouchure or air issue that needs to be addressed immediately. 183 As soon as they have a concept for what it takes to produce a good sound. Playing in tune requires ear training, and it should be started as soon as the students are physically capable. 184 As soon as they start on a formal music class. They don't need to be able to play a good sound/note before they can learn what acceptable intonation is. 185 As soon as good tone is a natural occurence. It is one of the most crucial aspects of musicianship. 186 As beginners, all students should be taught what to listen for and how to adjust their pitch.

164 187 Beginning level, start singing and matching pitch from demonstration (live player or electronic) / / With their instrument, once they have begun to produce a characteristic tone. 188 Right from the beginning of music instruction because it is a difficult skill to master. 189 Early. I would start working on intonation as soon as students could hold a steady pitch. 190 Ear training begins the first day that the students pick up the instrument. They listen to determine whether they are on the correct pitch. In the second year we begin to refine that by introducing them to the fact that we can all be playing the same general pitch but we are out of tune. 191 From the start. I believe they can hear it. 192 Right at the beginning, along with singing 193 3 years old. Music play should begin as early as 3 years old. If Children learn how to audiate correctly the will rarely need a tuner when playing with others. 194 At the first lesson - because it connects so exactly with everything they do on the instrument. 195 AS soon as they are able to understand the difference in pitches. 196 As beginners, as soon as they are making good quality sounds. I feel they need to form the habit of listening and playing in tune as early as possible so that it becomes a part of their way of playing and self-expectations. 197 in elementary, to determine early onset ear training or to see if there is any issues recognizing pitches 198 In beginner band. Many kids will come to middle school band with a strong background in ear training. This can be attributed to the strong elementary music program in our city. 199 I start with my students the first day of classes (9th grade). At summer music camps, where I guest conduct, I start at the first rehearsal with 6th & 7 th graders. My strategy is that if you can hear the pitch and match it with your own voice, you will be able to tune, playand better. 200 In elementary school. We teach the kids very simple intonation characteristics in our 5th and 6th grade elementary band classes. 201 Beginner level. Most students go through elementary school singing. It is much easier to simply continue that approach of singing as an everyday norm. 202 as soon as a good tone is produced... without the correct amount of air for a "good" tone tuning is nearly impossible 203 Third year of playing. The first two, students are still trying to make a good fundamental sound. You cannot tune an uncharacteristic sound. 204 The moment they can hold a tone steady on their instrument. 205 As a beginner! As a beginner, they should know it is not enough to just play the right note, but how they fit into the scheme of things. The only person more dangerous than someon who doesn't know his part, is someone who doesn't know what he is a part of. 206 From the first day of instruction. Students are continually developing habits and skills whether they be good or bad. It is important to establish good tone and pitch understanding from the beginning. 207 I feel ear training should begin very early in a player's development, certainly within the first year of instruction. Ideas and concepts of pitch matching and ear training can help set the foundation for success in performance and practice. 208 get kids singing early. This is ear training. 209 The very first day of class, even for beginners. They need to be aware how important it is! 210 Day one. all kids can hear whether or not two sounds "match" or not and their ears will eventually lead them to good intonation. It's not as big of a deal to accomplish as some make it out to be. There's no magic, just learn to hear what it sounds like when you're matching the people around you. 211 As soon as the student is able to produce a consistently centered tone. It does no good to use electronic tuners and to put a emphasis on individual intonation is the student can not produce a sound that will blend with the ensemble. 212 By the second year beginner. It takes at least one full year to teach them to make a good sound. Some instruments, like oboe and bassoon, immediately start out with ear training. 213 For intonation on instruments certainly not right away, until tone and technique are established. Ear training should be incorporated from the start. 214 It should begin in the beginner classes. The sooner they can listen and tune with each other the better 215 6th grade.... We start passing around concert F for them to start to develop their ear and blend their sound

165 together as one. Even young kids can do that when they don't even actually know what they're doing. They are not able to describe it but they can strive to make a better matched sound with their neighbors. 216 After about a month of learning new notes in beginning band. 217 as a beginner - it reinforces students to play with a 'centered' sound 218 At the beginning but it has to fit the situation and be fun. 219 beginner band - it is foundational 220 Right away. Have them hear/feel beats, then get in tune. I use a trombone against each kid with a snare drum so students can hear the snare wobble, then roll in tune. 221 Within the first month of playing, Start right away to avoid bad habits! 222 from the start. i always have students begin singing from the first notes so they have the concept of "singing through their instrument" 223 Day #1 of beginning band. The kids don't need to know they are working on intonation, just that they recognized what is higher or lower than the pitch being played. Over time, they will develop recognition of in tune and out of tune. All instruments have notes that do not sound in tune, and when you have a strong basis for what is in tune vs. what is not, you learn to fix the intonations issues correctly. 224 Speaking as a band director, when they learn to buzz. They must match air speed and lip or reed vibrations so that if they are all vibrating at the same speed they they will be in tune with each other. I can then have them match pitch to me, another student/instrument or electronic device 225 As soon as they start playing the horn. They must learn to match pitch as early as possible in order to refine the skill to a high degree by the time they are in high school 226 a few weeks after they start on their horn. perhaps sooner, I have mixed classes so other fundamentals require more attention until things get comfortable for student/class. 227 We start intonation at the beginner level, just after they can produce a funamental tone in a 1 8va range. 228 5th grade as soon as they start. All kids love to sing. It's natural. Start it while it's natural so it doesn't become foreign. when they hit junior high they become self concious. Make it a natural part of their experience 229 We start in 6th grade with beginners listening and tuning to a Bb concert note. 230 Only after they are able to play with a steady pitch with characteristic tone. Otherwise there are too many variables to worry about tuning. 231 I would say ideally between 3-4th grades. At least by 6th grade at the latest. I get students at high school who have never considered if they are flat or sharp before and it is hard to get them to listen, let alone actually hear it. 232 From the beginning. buzz, sing play. Woodwinds also mouthpiece only sing play. 233 I do not address intonation/ ear training until several months into their 6th grade year. Prior to this they are mainly focusing on tone production and not sounding "squawky". 234 As soon as possible...preferably in elementary school 235 Sixth grade (or whenever they start band), because they can do it, and it helps them later on. 236 as a beginner - many times, bad habits developed as a beginning player negatively affect intonation; the earlier, the better. 237 at the very beginning! Students need to know what to strive for and this helps them hear what a correct pitch truly is. If we can normalize students from a young age, they will have a stronger overall timbre with a correct center pitch for each note. 238 1st day BEFORE they get a horn. They MUST develop their ear to be as successful as possible. 239 As soon as they can make a sound on the instrument mouthpiece to get them to start listening to themselves and others. 240 In band? In beginning band. The younger that they begin the better their development long term. 241 The first year of playing. Once he students are able to generate a solid characteristic tone quality. 242 As soon as students can make a decent tone and can somewhat consistently produce a decent tone. Beginners after six months or so are ready for "target practice" looking at a visual tuner. They can also hear waves between out of tune players by this time. Develop a culture of how great it is when two students sound like one. 243 As soon as they can understand it. Usually late in their first year. 244 6th grade to some extent

166 245 I think it should start as soon as they can get a sound on the instrument. If you start this during the beginning playing stages, it will become a habit to listen and match. 246 As early as they start band. 247 Intonation/ear training starts in beginning band. (ex: matching pitch, listening to others and sounding the same) 248 As soon as a student can maintain a good tone. Unison playing is very important as well as making students aware of what being in tune means. I start when I get my 7th graders, which is their 2nd year of playing. 249 We start in the first year of band as soon as their tone production is established. 250 Interval training, and listening for beats. Examples of bad intonation vs good intonation as well. I personally think it should happen in any ensemble, from the beginning. Soloists (those not working with accompanists) are probably the only ones toward which it doesn't matter so much. 251 Immediately. You should be training the ear & body at the same time as they are both directly related to playing well. 252 I start in 6th grade because I know that later I will not necessarily have time to catch them up. 253 Elementary school. Students must learn to match pitch with their voice or they will have a VERY hard time learning it as they are also learning an instrumnet. 254 Kindergarten. More exposure means better accuracy. They should at least be able to move pitches up and down to match songs by the end of Kinder. I know some people start their children on pitches before speech. 255 we start talking about it in beginner band 256 Early childhood students should be learning how to sing basic songs and even Solfege. 257 Day one. We start on day one because intonation in any musical ensemble is an ongoing effort. 258 As early as possible. We do bend pitches to find the center of the tone. I teach 7th and 8th grade instrumental music. In our music classes I feel like there is not enough emphasis on using our EARS! 259 I start this in 7th grade. We briefly touch on this with 6th grade. Of course, I am constantly talking about how to make a good sound on your instrument, but tuning is not discussed. I want my 6th graders to focus on putting air through the horn. I have had a lot of succes being able to fix tuning issues in 7th grade. 260 Elementary Music singing should be where students develop a sense of pitch center and tuning. As far as instrumental music, as soon as the student is able to make a characteristic sound. 261 Students should learn to listen to eachother in elementary school. This is the beginning of learning to play in tune. 262 We ususally begin working with tuning and ear training in the last 9 weeks of 6th grade (their first year of band). At this point, the majority of studnets are using an acceptable tone quality and preparing for thier first contest. 263 As soon as they can produce an acceptable tone. They need to know what acceptable as early as possible. Young students are smart enough to know when they are out of tune. It's the teachers responsibity to make them aware of that. Sadly, there are many who do not. 264 6th grade, but very relaxed and variable by instrument. By the end of the year, 6th grade Flutes should know when they are sharp or flat by a quarter tone. Tubas should know when they are on the right note. 265 day one. you can only tune what you can hear. 266 A few months after they start playing. I allow them to establish their embouchures and build their mouth muscles up before i even address it. Once they start getting more or a characteristic sound on their instrument i introduce tuning to them. 267 Beginning band - you can start training them to understand in tune and out of tune at this time. The more experience they have listening, the better their ears will become. 268 Beginning Band. In tune playing makes for in tone playing. 269 As soon as they get an instrument and their embouchure is developing. I have much more tolerance for out of tune in beginning winds but I often check one note in all sections and adjust the instrument or usually encourage a student to support and firm the embouchure to match pitches. If you don't start early, they can't develop their ears and just be expected to play in tune later. 270 Matching of pitch and adjusting of pitch to improve tuning should begin at the beginning band level. I have seen and heard young students grasp the concept of matching pitch at an early age-but again good

167 sounds must be taking place in order to achieve any sort of consistency in this area. 271 It depends on the individual. Mozart was ready at three. Some will never be ready. In general, the earlier the better. 272 Second semester of their beginner year students should be encouraged to begin listening and matching pitch. Good playing is dependend on good listening skills and should be taught early along with basic technique. 273 It begins with developing good tone - so it begins when they start on their instruments as beginners.

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181 BIOGRAPHICAL SKETCH

Name: Ryan Vincent Scherber

Birthplace: Buffalo, New York

Higher Education: University of Cincinnati, College-Conservatory of Music Cincinnati, OH Major: Music Education Degree: Bachelor of Music (2006)

The Florida State University Tallahassee, FL Major: Music Education Degree: Master of Music (2011)

The Florida State University Tallahassee, FL Major: Music Education Degree: Doctor of Philosophy (2014)

Professional Experience: Southeastern Local School District South Charleston, OH 2006-2009 Music Teacher

The Florida State University Tallahassee, FL 2009-2014 Graduate Teaching Assistant

182 Case Western Reserve University Cleveland, OH 2014- Lecturer in Instrumental Music Education

183