Rhythm for the visual learner (or those who just like pizza)

Teaching dotted rhythms is easy if you are teaching kids with strong maths brains. For example:

• A dot means we add half the value of the note to it's original length
• A quaver is worth half a beat
• A dotted quaver is worth half as much again
• Half of half a beat is a quarter, and a quarter plus a half is three quarters, therefore;
• A dotted quaver is worth three quarters of a beat

Completely logical and simple, right?

Not all kids are successful fraction-users. Or, in the case of younger students, they haven't even started fractions yet. We need an alternative strategy!

I thought of something which often gets divided into fractions that students would be able to visualise - pizza. (Feel free to turn this into cake, or if you're a health-nut, an apple).

We start with a whole pizza. This represents a crotchet, or a whole beat.

We divide it in half (I usually 'assign' each half to a student, or in the case of individual lessons, one half for me, and one half for them). This represents quavers, or half of a beat.

The student then needs to mentally cut one of those halves in half again. How big is each piece? A quarter.

I am going to give the student one of my quarters, and they will need to put it with their half. How much pizza does the student now have? Three quarters. A dotted quaver is worth three quarters of a beat.

You can use the food/visual analogy with a lot of rhythmic concepts. One which comes to mind, that young students often struggle with, is 6/8.

6/8 is counted in half pizzas (quavers). There are six half pizzas per bar.

How many pizzas in total are there in each bar? (Three! So, dotted minim.)

We are going to group the half pizzas into groups of three, which is how quavers are grouped in 6/8. How much pizza is in three halves? (One and a half! So, dotted crotchet.)

The basics of 6/8 (counted in half-beats, pulsed in dotted crotchets, and a full bar is worth a dotted minim) have been laid out in food.

This is a tried and true strategy of mine, and the bonus of this one is it will appeal to both the maths-savvy student and the visual learner. It also injects a little fun and distraction to an otherwise serious concept. Enjoy!

Philosophies of instrumental music teaching

There are many different approaches to teaching instrumental music, and there are as many different situations we can teach in. Over the years, I have formulated many different ideas to approach the teaching of instruments, and landed on a few that seem to suit most people. Here are a few of my ideas:

1. Children (and humans in general) are masters of mimicry.
This is not a trait to be avoided, but a trait to exploit, extend and use in a sub-conscious fashion. These days, educators sometimes avoid the concept of mimicry as it alludes too closely to 'rote learning'.

Many concepts in instrumental music can only be attained through repetition and memorisation. Think about learning note reading, new fingerings and sound production techniques. Even if you allow students to explore these concepts and work them out for themselves, they still need to be reinforced through some method of copying and/or repetition.

We can use the ability of humans to mimic to enhance aural skills. Learning a new scale? Create easy patterns that the students have to play back to you. Learning how to tune? Play a game of 'match my pitch' (i.e. don't use the tuner to enhance their visual skills more than their aural skills!)

One concept I find almost requires mimicry is sound production. I make it a point to play in every lesson in some capacity. Students need to hear what they should be aiming for on a regular basis. They are clever little devils. If they hear the sound, they will instinctively find way to create it.

A word of warning - students will sometimes try to copy everything, good or bad, just like a toddler absorbing and using their first curse word. If you play with poor tonguing and incorrect fingers, they will either call you on it or assume they can do the same thing.

2. Let them play music.
I was teaching a group of beginning flute students a few weeks ago. They had already had a lesson on making a sound, and I was showing them hand and finger placement so we could learn B, A and G. With those notes, they would be able to go home, make different sounds and likely try to work out songs such as Hot Cross Buns (aural training by stealth). The following group, students who had been learning for 1 year already, arrived early and could not believe that in the second lesson that these beginners already 'knew notes'. When asked what they did by the second lesson, they said they had spent the first five weeks on the headjoint only.

There are completely valid reasons for wanting to spend a larger amount of time on the initial production of sound. There is a chance that a higher proportion of students wind up with more 'correct' embouchures (IF the teacher knows what they are doing). But in this situation, where the students have been offered an opportunity they might not have otherwise sought out, we need to appeal to a greater audience. These students have come to learn music, and music they shall learn.

Mimicry will also feature here, because for the student who might not necessarily get a perfect sound out straight away, when they hear their peers getting sounds and notes, they will work just that little bit harder (sometimes subconsciously) to work it out. In 13 years, I have never had a student who didn't work it out after a few lessons. It tends to encourage a more solid practice routine early on, as students try to keep up with each other. Establishing a practice routine based on blowing the headjoint for five weeks cannot be an easy task!

And if you have ever considered starting the students in the first lesson with the headjoint/mouthpiece/reed and not putting the rest of the instrument together at all, consider this. Kids are innately curious. If you don't show them, once they have that instrument at home, they will try anyway. Wouldn't it be best if you show them straight away and avoid any damage that may get sustained without proper instruction?

3. Believe in your repertoire.
My students are completely used to the fact that I don't tend to follow books from beginning to end. I choose the most natural progression, and the one that fits my program and assessment. I am quite upfront about which pieces I choose to omit, and why. I often explain that the following piece has more educational benefits, or that I think the next one is 'fun' to learn. I don't simply follow the book aimlessly because I need to believe what I am teaching is always valuable and relevant.

I also make a point of explaining to students which pieces I really like, and why. 'Why' is another level of understanding, and it is good to encourage students to critique music with justification.

4. The kid you dismiss today...could be the only one who truly wants to be there.
There's always one that lags a little behind the others. Maybe their reading is not as fast, their fingers not as coordinated, their tone not as clear. They probably already know it. And with some encouragement, that kid could be the one who knuckles down over the school holidays and really takes to the instrument. Maybe they are a late bloomer. Or perhaps they are a child who enjoys the escape of music from whatever their harsh realities of life are, whether they are 'good' at it or not. And yes, there are some students out there with much harsher realities than you could imagine.

It is easy to wave these kids off, to not give them extra attention lest they are 'lazy' or 'stupid'. But you don't know what the future holds. Work out what it is that gets through to them. If it doesn't, well, you gave it your best shot. If it does, the student will remember.

5. Make the lesson fit the student, not the student fit the lesson.
Education research has progressed far enough now for most of us to realise that this is obvious. The idea is logical. The execution, however, can be a little more awkward.

In small groups of instrumental students, there are little ways of making sure each student is catered for.

• Know their names. I know it sounds logical, right? If you have a lot of students, try remembering something about them and associate it with their name. They will be grateful!
• Know one thing about them and use each student's 'thing' to relate to a concept. Most kids have out-of-school activities, other instruments, dance, footy, pets, etc. There is usually a way of linking them, even if it is loosely!
• Have multiple ways of explaining things, and be prepared to use at least two methods for each concept. If you have mathematical ways of explaining rhythm, and some non-mathematical students, make it visual as well (I use a 'pizza' analogy to talk about beats and fractions of beats).
• Some kids are happy to fly under the radar, quiet achievers if you like. Allow them to contribute in their own way, but make sure they know you do care about them and aren't ignoring!
• Vary lessons so that you are not just working on one concept, one piece or in one format within a single lesson. This way, you are catering for students who respond to learning in varying ways.

6. Keep it relevant.
In this age of the tunnel-vision focus on academics and standardised testing, students (and, more frequently, parents and schools) want to know why they should be doing something that is outside of these areas. Additionally, we are seeing a generation of students who, in my honest opinion, are conditioned to being entertained in some way at all times.

Relevance can be achieved by:

• Linking concepts back to other subjects (maths and language being common, but history/culture may also feature)
• Using repertoire that students both know and like (not for everything, but perhaps as a reward or a challenge, such as movie themes)
• Linking instrumental music to other areas of life, such as being a team, treating it as another subject to study and improve on, etc)
• Making technical work and concepts more 'interesting' (scale patterns, competitions, naming certain combinations of notes such as 'the ambulance', etc)

*                *                *

These are some of the areas I have come to realise over the years that fit in with not only my personal philosophy of teaching, but work in with our ever-changing education systems and expectations. Use some of my ideas, develop them into your own, completely go in another direction, it is up to you. Just make sure you are always developing and maintaining your own consistent philosophy. And don't forget to love your job!

Don't blame the reed!

"I'm sorry, that wasn't very good, I just have a bad reed today."

This statement just makes me want to throw a reed knife at someone, possibly in the hope they will use it. There are so many things about this that aggravate me.

Part of it might lay at the fault of educators (and the time we can spend with a student). I totally get that. Perhaps we need to focus less on educating the student to play the oboe/clarinet/bassoon/saxophone, and more on teaching them to BE an oboist/clarinettist/etc. Learning to play one of these instruments doesn't just mean teaching notes on a page, fingers on keys and forming a correct embouchure. Acquiring and maintaining your equipment is a huge part of it.

When a student claims to play badly because of their reed, they are actually saying:

• I don't know how (or can't be bothered) to look after my reeds
• I haven't developed the skills to play around a 'bad' reed

I feel, as a musician, if I blame the reed, I am actually blaming myself. It is my fault that I haven't got my reeds in suitable playing condition, or that I haven't catered for the change in climate. Part of my job as a reed player is the reeds themselves. It as important as playing the instrument; you can't have one without the other.

Don't point your finger at the reed - it will probably only point one back at you.

A student's guide to looking after reeds:
1. If a student tells me they have a 'bad reed', the first thing I will ask them is to try the other ones they have. If I had a dollar for every time the answer was 'I don't have any others', I would be able to teach pro bono.

ALWAYS have a supply of reeds with you in your case wherever it goes (and, additionally, extras at home). For clarinet and saxophone players, whose reeds often come in boxes of 10, at least one reed guard full of reeds, plus a couple of brand new ones, would be considered a minimum. For oboe and bassoon players, three reeds in your case would be the minimum. And those reeds should all be playable - four chipped reeds in a case is not a supply. These reeds should be of varying ages (you don't want them to all die at once) and for a variety of situations (i.e. have one slightly softer reed, one slightly harder reed, just in case of weather changes that might affect the cane).

2. Keep them in a case. A properly designed reed case, not the plastic holders they came in.

For single reed players, reed guards are a good, cheap method of keeping reeds flat and protected. Double reed players should use a closed case with ribbon style holders that is well-ventilated.

3. Know your reeds.
If you are a single reed player, use a ball-point pen to number your reeds, in a place where your mouth won't touch but not on the bark. After awhile, you will remember which numbered reeds are better than others (good for concerts) and rotate them more easily.
If you are a double reed player, you might have reeds with different coloured thread, which makes each one easy to identify. If not, you can mark them the same way as a single reed, or you might even paint a dot of different coloured nail polish on the thread of each reed.

4. Know how to adjust them.

These babies didn't make the cut...

This applies mostly to double reed players, but it is possible to adjust single reeds, if you are that way
inclined.

There are some great resources available in the web regarding adjusting bassoon reeds. For adjusting oboe reeds, there is some information on this blog. (you need to make sure you are adjusting for the correct type of oboe reed - short scrape, used mostly here in Australia; or long scrape, used mostly in the US). Double reeds are expensive, and there is no reason why a reed which doesn't suit you all that well should be binned.

Preparing for playing with a bad reed
If all of the above fails you, and you get stuck on stage with a reed that feels like you are trying to blow a brick wall down, it helps to be prepared. Many athletes, particularly those involved in airborne activities such as gymnasts, learn how to fall. This isn't to promote falling, this is to prevent injury in the case that they DO fall. We are preparing ourselves in the same way.

While it is important to practice making a beautiful sound, playing with good technique, etc, these things are much easier to achieve on our favourite reed. Have one practice session a week or so where you play on the worst reed in your case. Aim to make it sound as though you are playing on your favourite reed.

Learn techniques that you can perform on stage that might help the reed. In the case of single reeds, you can adjust the 'hardness' of a reed by changing its position on the mouthpiece. A reed placed higher on the mouthpiece will feel harder, and vice versa. These changes, naturally, need to be pretty small - a large deviation away from where the reed should normally sit on a mouthpiece and you will compromise all aspects of your playing.

Double reeds often have wire - you can sometimes manipulate the wire with your fingers enough to affect the feel of the reed. A more closed opening will make the reed feel softer, and vice versa. Use your fingers to manipulate the cane itself - be gentle and only touch the scraped parts of the cane.

Learning the lesson...
Not long after I had begun making my own oboe reeds, I had been practising in a university practice room. Once I started making my own 'playable' reeds, I refused to play on anything else. I turned up to my lesson, opened my reed case, and my three best reeds were missing. I had left them in the practice room. I looked high and low for them, with no luck. The only reeds left in my case were varying degrees of playable (read: not really). My lesson finished at 10am. Our oboe class was at 11am, and we would get randomly selected to present the orchestral excerpt of the week in this class.

I hightailed it to the reed lab and managed to make a surprisingly playable reed in about 35 mins, from tie to final scrape (note: I do not recommend this!) Lo and behold, I was chosen from the hat to present the orchestral excerpt that week, on my brand new, not played-in reed. Somehow I made it through, and did a much better job than I expected. But it was extremely stressful and the reed (probably as a result of being performed on straight after being made) never played properly again after that.

Lesson learned! I now try to retire my favourite, broken-in and stable reeds before they are dead, and move them to the end of my case. In their place, I put newer reeds. I know that if in a dire situation, those newer reeds don't hold up for me, I will always have my trusty backups. It also has the apparent benefit of making them last longer!

P.S. Flute players, don't think you have got off scot free - your lips are like your reed - look after them! The weather is cooling off, lips will start chapping and tone will start going out the window. Prevention is better than cure!

Practice Techniques, a.k.a. Stop Banging Your Head Against the Wall

It has recently been highlighted to me that a lot of students don't actually know how to practice. Specifically, they haven't been taught how to fix the bits that just aren't working.

Remember the 'head, meet wall' analogy? *smacks head into wall "That hurt...I think I'll do it again!" *smacks head into wall "That hurt...I think I'll do it again!" *smacks head into wall...

This, my friends, is not progress. But so many students practice as though 'it's going to work someday...maybe next time'.

Also remember that practice doesn't make perfect, practice makes permanent. The more times you practice it wrong, the more you are reinforcing the wrong-ness. There will come a point where it will be almost impossible to break the habit.

Tempo Control
I hope you own a metronome, or at the very least an app that does the same job. If not, you're going to need one for this exercise.

This is good for passages of constant notes, transitions between different note values (e.g. a passage of semiquavers followed by slower rhythms) and tricky rhythms. It can be tedious, but it is worth every second you spend.

1. Find a passage you just can't get right, or up to tempo. Reduce the tempo a large amount, even half speed. Choose a speed you know you are going to get it right at.

2. Play the passage at that speed with the metronome. Once you get it completely right without any sense of fumbling, bump up the tempo, usually between 5 or 10 beats per minute.

3. Keep moving through this process, never moving the tempo faster until you have got it perfect.

4. Always make sure you practice a passage like this slightly faster than your intended final speed at least a few times. If you intend to perform the piece, you never want to be performing at maximum capacity. If you are playing with a pianist or orchestra, you cannot control the exact speed they will play on the day. Additionally, adrenalin and anxiety will often have you playing slightly faster in performance than you would in practice. Be prepared!

Chunking part 1
Think of chunking like musical surgery. We are going to remove the diseased part, fix it up, then put it back in. Chunking is great for passages where you will require muscle memory (unfamiliar jumps, too fast too read, etc) or sections where your fingers are simply fumbling.

Identify your problem passage. Play it through slowly, then identify exactly what the problem is (work on one at a time).
Let's use this Stamitz as an example (mostly because I was using it with a student recently in this context). The problem was the constant reading of quavers in this passage. The student would get overwhelmed by about 5 notes in and not continue to read accurately.

We broke it down into groups of notes as dictated by the rhythm and separated them, so it wound up looking like:

We fixed up the problem spots within each group. Now, time to link them back up. Slowly, slowly! We don't want to work old habits back in! We linked the groups of three notes to the first note in the next group, like this:

Once this became easy, we could put the whole thing back together.

Chunking part 2
The following method is best when you realise there is just a small section that is messing the whole lot up. Let's use the Stamitz again. We will pretend for this exercise that we are having trouble getting into the first full bar. Our issue is the falling A to E, followed by the G and F#.

Let's isolate just those notes.

Then, let's progressively add notes on either side of this 'cell'. Do not add another note until you can play the previous combination perfectly. Your progression might look like this:

Change up the rhythm
Can't get the hang of notes in a run? Change the rhythm!

A lot of these practice techniques are simply us finding a way around the complexity that is our brain. We can learn 'hard' passages by convincing our brain that it is much easier than it looks. The rhythm technique actually in some ways does the opposite of the above techniques - it makes the brain realise how easy the original passage was by making it harder! It also gives you the chance to play certain combinations of fingers at different speeds than you were originally meant to.

Take this example:

The notes are not hard, but on some instruments, the finger combinations are not pretty!

We can turn it into this:

or this:

or even this:

Not only will you gain renewed flexibility in the passage, it might even make learning it more fun!

Hopefully this will make your practice more meaningful and efficient. Happy practising!

This one time, at music camp...

So, you think music teachers finish school in December and then go and chill until it's time to return at the end of January?

No way! That's just extra time to play!

View from the dining hall

I have just spent a magical eight days at the historical Camp Quaranup in Albany. A group of musicians runs a music camp from the site at the end of each year (or the start of the next one, depending on how you look at it). Who wouldn't enjoy playing music all day with like-minded people when you have the added bonus of views like these?

View from the gazebo, my favourite spot

View from my dorm

The camp has been running for 41 years. It is a mix of amateurs and professionals, beginners and seasoned players, young and old, but all with a common goal - to play wonderful music together.

Sibelius 5 sight-reading

There are two main orchestras, arranged by experience. Both are 'play-through' orchestras, meaning we read down a different large work or two every day, regardless of the results! It is great to get exposed to that amount of orchestral music (and then find out which bits you actually would need to work on if you were to perform it!)

There is an ensemble that caters for younger players and those with not much ensemble experience. This is also where the players on second instruments can be found. Sometimes, the first lesson they have on their instrument is from a fellow player the night before the first rehearsal. True story.

In the afternoons, we break into chamber music sessions. Wind quintets and octets, string orchestra and quartets and any other combination of small ensemble you can think of occurs in these sessions. Often, experienced players are teamed up with younger or less experienced players, all in the name of exposure to good playing, wonderful music, leadership and new ensemble skills.

The evenings are not just reserved for music. We have quiz nights, choral nights, bush dancing and more. Some nights we will play through major wind works such as the Dvorak Serenade or the Mozart Gran Partita. There might be a swing band rehearsal. There is a concerto night. There is as much to absorb as there is to participate in.

I attended the camp primarily as an oboist this year, whereas in the past I have attended primarily as a flautist (my first instrument). I thought I was in pretty good shape from the gigs I had done through December.

My reedmaking sessions

Day One the muscles in my lips gave out early. Day Two I bit through both lips (probably as a result of the oboe solo in Bizet Symphony no. 1). Day Three I healed nicely and began to develop some stamina. Day Four to Eight I was invincible. If only I could play that much and maintain those chops throughout the year!

And I couldn't resist all the relaxing time in between sessions to make some reeds. My reedmaking adventures have been largely on hiatus since arriving home in June. Finally I had time! And what a backdrop...

The thing I enjoy the most about camp is the great connections you make with like-minded people, some of whom are colleagues, others who play alongside you in ensembles back home. It is a family oriented environment, where the 'village raising a child' model definitely applies. It is great to come to camp in successive years and watch the musical development of many players, and watch how quickly the kids really do grow up.

I think it is important for musicians of any age or stage to find that certain thing that makes music relevant and meaningful. The music is great, but we know there is more to participating in music than just playing. Music is social and cultural. I have found a little musical niche that keeps it fresh and interesting, and it means so much more when you find it!


You might also find yourself getting more in touch with nature, as Spidey here demonstrated when he dropped in for some Dvorak.

(The picture doesn't do it justice. He was huge. And he hung around for several days.)

Hope you are all enjoying your summer so far!

Instrumental life after high school

We are fast approaching that time in most students' lives: high school graduation. That time when 5 to 10 years of learning an instrument gets shoved under the bed with old Chemistry homework to gather dust.

No, no, no!!

There is musical life after high school!

Music is not just another subject to most students. There is a fair degree of self-motivation, external time committing, soul-baring and blood/sweat/tears that goes into learning an instrument. It is a shame to let that experience go to waste when there are places to go that are crying out for new musicians.

Along with all of the associated educational benefits of music, it is also a social endeavour. It crosses cultural and age barriers. It is a great source of stress-relief and a healthy hobby. After all, playing a musical instrument is on the list of activities that are known to contribute to the prevention or delay of dementia.

There are different levels of engagement in music once students finish high school. The first one is the one most people think of when they consider music past school: tertiary education.

Continuing to play your instrument at tertiary level is becoming much more commonplace with universities beginning to allow non-majors to participate in music courses and ensembles. If you are studying a content-heavy course and wish to earn credit in another area, check with your institution to see if they offer non-major involvement in the music program.

Outside of the education system, there are many community opportunities to stay involved in music. There are quite a few community bands and orchestras in most areas. Here are a few you might be interested in if you are in Perth:

Concert Bands (several of these have an auxiliary swing band):
Leeming Area Community Bands
Armadale City Concert Band
Mandurah Concert Band
Combined Districts Concert Band
West Australian Symphonic Wind Ensemble
City of Perth Bands
Perth Concert Band
Claremont Concert Band

Brass Bands:
Royal Agricultural Society of WA Brass Band (formerly Midland Brick)
Town of Victoria Park Brass Band
City of Perth Bands
Challenge Brass
Canning City Brass

Orchestras:
Fremantle Symphony Orchestra
Metropolitan Symphony Orchestra
Hills Symphony Orchestra
South Side Symphony Orchestra

I have played in a number of the bands and orchestras in Perth, and each one has a slightly different feel about it. Most bands are crying out for more players (especially clarinets, double reeds, low brass and percussion) and are happy to have you come along and try it out. Orchestras are always in need of string players and 'hard-to-staff' instruments such as double reeds, brass and percussion.

(If I forgot any, or you are involved in a community band/orchestra you would like included in this group, please email me and I will add it in.)

There are a number of community choirs popping up over Perth as well. Many now have Facebook pages or websites and it is worth Googling if you are interested in keeping the music alive.

If keeping to yourself is more your thing, or you are interested in a path of continued improvement, private lessons might be just the ticket. Some teachers work better with younger students, but others know how to work with adults - it is quite different. A good adult teacher understands how to work in with a busy working/studying life, and their expectations of you should not be vastly different to your own. They should listen to your areas of interest - this is less about the pure education of music and more about continuing the enjoyment of music. By the same token, you as a student should also realise that there are some things that teachers know are going to help you reach your goals, and some of them might not be as fun! Adults can also continue to take exams to give them a specific goal to reach - exams are not age-based. Perhaps this is a good time to start learning a second instrument, especially if you play an instrument that seems to be well-catered for in community ensembles already. This time around, you have the benefit of learning at your own pace without the pressure of exams, assessments and curriculum (also, the second instrument is MUCH easier than the first).

For the more-casual among us, there is the opportunity to organise regular 'rehearsals' of an ensemble of your choosing for the pleasure of playing through music (and occasionally wine may be involved). I have friends who have begun to play the recorder since their children have become involved in music, and have regular 'lunch and recorder ensemble' sessions with some like-minded friends. Get yourself a book of flexible ensemble rep and gather some friends together - sometimes music making without particular goals or expectations is the best kind.

Music - Play For Life!

Step away from the tuner and no-one gets hurt!

Tuners are great little devices. And now, you can even have one in your pocket at all times with tuner apps available for your mobile device of choice. They are responsible for helping provide a consistent, stable pitch for ensembles to tune to via the oboe/tuba/pitch reference instrument in your ensemble. And they are the key to making sure you play in tune all the time - just stick one of these handy little suckers on your stand and try to avoid the red lights. Right?

No, you are probably not.

Err, no.

I have seen doctoral students with them on their stand in rehearsals, annoying everyone around with the constant Christmas-tree-like flashing. I have seen entire bands performing on stage with their tuners clipped to their bells. And every time, I feel like music education has seriously let these people down.

There are both scientific reasons and educational reasons why this is a bad idea. The scientific reasons are all to do with a guy called Pythagoras. (Yes, the guy responsible for the theory behind calculating the length of the hypotenuse in a right-angled triangle. I told you there was maths in music.) It is widely believed that Pythagoras was largely responsible for discovering the natural division of the musical scale into 12 notes. He calculated the scale by using a string of a set length, and changing the length based on a ratio of 3:2. After repeating this process 11 times, he wound up back at the note he began at, albeit in a different octave. Except he didn't quite make it. The natural division of the scale, according to the ear and the maths, overshoots the octave slightly, meaning not all 12 notes fit neatly into the octave. The fifths, known as pure fifths, are pleasing to the ear, but the thirds sound rather interesting according to modern ears.

This didn't become an issue until about the 16th century, when the third came into prominence as the dominant interval, keyboards were being used and composers wanted to have the flexibility to write in all available keys. Several tuning systems were used around this time, including just intonation and well-temperament (J.S. Bach's Well-Tempered Clavier was his way of introducing the tuning system as a way of writing in all 12 keys). Equal temperament was proposed in the late 16th century. It involved the division of the octave into 12 equal intervals. Equal temperament was easy for keyboard instruments, but it didn't allow for the natural 'settling' of certain intervals and the resonance that 'pure' intervals provide.

Tuners typically use equal temperament. If you are playing with piano, then this is not such a bad thing. If you are playing in an ensemble that relies on the natural harmonics of certain intervals, then by being 'correct' with the tuner, you are actually 'out of tune'. Fifths will sound squashed and major thirds will sound too open. Leading tones need to be raised slightly in order to create a sense of their true function.

There are tuners which claim to use just and mean temperament, but given that natural tendencies will always depend on the current harmony being sounded, how can any device possibly predict what the exact pitch of the note is that needs to be slotted in, given it does not know what pitches have already been given?

Pedagogically speaking, relying on tuners means students are training the eyes and not the ears. They know what to LOOK for but often have no idea what SOUNDS in tune. This coupled with the fact that the tuner is not, essentially, in tune with most ensembles, and it is no wonder these students have a confused ear.

Students should learn to identify sharp and flat against a unison pitch as a first step, and work at matching this as quickly as possible. Tuning fifths should follow soon after. Students should listen to eliminate beats, accentuate resonance and discover how to affect pitch on their instrument WITHOUT changing the pitch of their entire instrument by moving tuning slides and pegs for single notes. (Don't laugh. I have seen it more times than I can count.) Air speed, embouchure and finger adjustments/venting are the main players here.

So, the tuner is a handy little tool, but it is not a crutch. Overused, it will do more damage than good. Trust yourself to rely on your ears, and you will be surprised how much you are innately aware of.