Intonation

In order to improve intonation one must heighten one’s pitch sensitivity and develop the ability to recognize when something is in tune.  While it is certainly imperative, simply listening carefully is not enough; one must have a point of reference to guide this process.  Listed below are some tools which provide a point of reference for improving intonation. 

The tools listed below are valuable but as one is working with them it is important to remember the most important point:

To play in tune, refine  your pitch sensitivity

Sensitivity is the most valuable skill because it is transferable.  It can be used regardless of the situation – chamber ensemble playing, solo playing with piano, orchestral playing, etc.  One must calibrate one’s internal sense of pitch because it is this sense which is carried with the player always, unlike the tools listed below.  When you turn the tuner off you must retain the degree of sensitivity the tuner enforces, otherwise you have wasted your time. 

Tuner
One of the best uses of a tuner is to play from the beginning of a phrase until reaching a questionable pitch.  Hold the note in question and have a look at the meter.  Once this is done a number of times, a pattern may emerge which will give an idea of the player’s tendency.  Identifying tendencies is important to a trombonist because the slide movement patterns occur in many different registers on the instrument.  For example, if one is always flat on second position A-natural when moving the slide in from fifth position F-sharp, the same is likely to be true between second position E-natural and fifth position C-sharp. 

The “Tune-Up” System
This system is a book and cd available at http://www.tuneupsystems.com/ and is one of the best tools available for learning how to play in tune.  The CD contains a series of drills generated on a computer to be beatless – that is, perfectly in tune.  As you play with the cd, your goal is to keep the sound beatless.  Every key is covered so a trombonist can systematically learn his or her tendencies.
           
Just Intonation vs. Equal Temperament
The tune-up system is written in just intonation, the system generally used in ensembles.  By definition, if something is in tune in just intonation it is beatless.  This involves tempering certain notes of the chord in order for the vibrations of each note to cooperate with one another.  Major thirds need o be lowered 14 cents, minor thirds need to be raised 16, perfect fifths need to be raised 2, etc.  For a more detailed discussion of these facts, buy the tune-up system and read the accompanying text.
Fixed pitch instruments cannot temper pitches according to key so they must use a different system known as equal temperament.  In this system each half step is 100 cents from its neighbor.  Because of this, equal temperament is not beatless and one must be aware of this when playing a solo with piano. 

Drone
To use this technique play a phrase while another trombonist plays the tonic of the phrase as a long tone or drone.  Make the drone full and resonant and listen for intonation between the two parts.  A good teacher can be most helpful in playing the drone and pointing out tendencies to the student along the way.
           

Trombone-specific intonation problems

1. Slide condition
If one’s slide is not working properly it is very difficult, if not impossible, to play in tune.  Make sure the slide action is smooth and use your choice of lubricants.  I like slide-o-mix, available at www.hickeys.com and usually apply it once a day.

2. Harmonic series tendencies
Learn about the harmonic series and the resulting pitch tendencies of each note.  Here is a web page with a good explanation: http://en.wikipedia.org/wiki/Harmonic_series_(music)

3. Slide technique
Do not touch the bell with the fingers of the right hand as you move the slide.  This will seriously impede aural sensitivity because the emphasis is placed on tactile sensitivity instead.