Perfect Intonation: Three Approaches to Sound Control

Most of us know that practicing long tones is our path to a great sound and great intonation. And we know how to do them. So, no need to preach to the choir here.  But the question I pose is this: how do we assess them?  

 

I utilize three methods. I’m sure there’s are more, but these work best me.

1. Pitch matching
2. Cents monitoring
3. Parallel intervals

 

Pitch matching:

Pitch matching is taking an external pitch and trying to match or blend with it.

When using this method, having an outside sound source is necessary. I advise using a chromatic tuner, but certainly playing notes on a piano or keyboard instrument will do. Though not the most reliable, even having another person play a note while you try to match it can also be helpful. The effective part of this method is that you have to really hear the note. There’s no subjective rationalization, it’s either in tune or out of tune. To further make this point, I suggest wearing headphones and turning the reference note way up. It’s very humbling! When I first have players do this, they usually take off the headphones after 30 seconds. The truth can sometimes be a hard pill to swallow.

 

Cents monitoring:

 

Cents monitoring is using the light or needle on the metronome to see whether you're flat or sharp.

This method is all visual. Again, you’re taking your cue from the needle or the light. You’re either to the left of the center (flat), to the right (sharp), or dead center (in tune). Another visual component to this is that when the pitch is flat or sharp a red light appears. It's green when the note is in tune. This method is great because your eyes can see what your ears sometimes can’t hear. Which is ok, too. As long as you can hear where the issues are.

 

Parallel intervals:

 

Parallel interval practicing is when you match up intervals against each other in different keys.

I find this approach to be the least accurate but the most helpful. Sometimes it’s not so much about being in tune with the tuner but being able to play in tune with the person or persons you’re playing with. So practicing intervals does this. 

 

 

 

If you're not clear on what this, this is what I mean:

 

Take the upper register for example. Play a series of perfect fourth intervals. A to D; Bb to Eb; B to E;  C to F, etc. This method is less about matching A - 440 and more about matching the person or sound source you're playing with.

 

 I’ll post some exercises later, but this should get you started in thinking about long tones in different ways. Or at least having different ways to approach them.

 

 

 

Until next time...