Control Your Pitch

Intonation is an extremely important element of tone production. It is important to work on this topic because you need to be able to tune (match pitch) to yourself, other instruments, and adjust to a piano.

Playing 'in tune' involves the process of adjusting the pitch of a tone until it matches a reference tone. For instance, all ensembles tune before playing. If the tuning note is 'A,' and your 'A' is lower than the rest of the ensemble, you will clash with others playing the same note. Not good.

Continue reading and learn basic tuning strategies to follow as you are working on improving intonation skills.

Caution: Beginning flutists are encouraged to become more comfortable with their flute embouchure before focusing on intonation.

When do I need to play in tune?

Always. It should always be part of your practice routine. Whether you play alone or with others, intonation problems are audible to the audience, tuner, recording device, and your peers. It is important to get to the step where you can automatically adjust to intonation problems as soon as they appear. This takes time, dedication, and consistent practice.

What can impact flute intonation?

Multiple variables are involved in the intonation process.

We need to tune our instrument to make sure it plays at the correct pitch. In this case A=440. Every instrument will be a little different. In fact, each day will be a little different. Intonation is affected by the condition of the instrument, the weather, indoor temperature, your posture, and even if you had salty food the night before. If you perfect your tuning note one day, it will be slightly different the next day and the day after-so will your tone. We work on intonation to reduce the amount of variables that get in the way of good tone production, and to increase musicality, along with the ability to play with others.

Common Intonation Problems

Memorize these common ways intonation is impacted so you can fix it faster.

Air Speed
1. less air = flat
2. more air = sharp
Angle of the Air
1. higher airstream = sharp and airy
2. lower airstream = flat and muddy (also possibly in tune with a robust sound)
Aperture size, embouchure coverage, and headjoint placement

Ear Training Exercises

Intonation exercises teach you how to identify and adjust your pitch to match. Try it now. Can you match the sound of the refrigerator hum? How about the fan? Find sounds around the house and hum along. Match your pitch to the sound you hear.

You can also practice with a tuner and develop your tuning ear with exercises from sites such as:

https://www.musictheory.net/exercises/ear-note

https://tonesavvy.com/music-practice-exercises

How do I control my flute pitch?

There are multiple layers to the intonation process. Let's start by selecting one pitch per week. If practiced daily, you can achieve relative pitch in 12 weeks. Connect to as many senses as possible. Senses include hearing, sight, touch, and speech.

Hear - Hum - Play - Look
hear the pitch (memorize the sound!)
hum the pitch
play the pitch
look at the tuner and adjust (air speed, angle, embouchure, posture)
Sometimes we need to see things before we can hear. Work backwards!
1. Start with an accurate digital tuner.
2. Play your pitch and do your best to center the needle (green dot).
3. Close your eyes, as you're playing, and listen to both pitches.
4. Memorize the sound, embouchure placement, and body placement.
5. Bonus: Feel the pitch by humming it.

Control Your Pitch Download

Download Worksheet

Now that you know the first steps to work on intonation, download the Control Your Pitch worksheet and get started. This worksheet is divided into five sections and is provided in the key of G. Feel free to modulate to the key of your choice - but stick to that key for at least a week.

Straight tone.
- A. Play each note without vibrato, repeating the entire exercise three times in various dynamic levels.
- B. This time crescendo, decrescendo as indicated
- Bonus: practice A and B with vibrato.
Climb up (or down) the scale adding crescendos and diminuendos as indicated. Check the pitch of the landing notes
Octaves
1. Work on large intervals and dynamics - this can be applied to both lines.
  1. crescendo to f (easier to accomplish going up)
  2. decrescendo to p (easier to accomplish going down)
Adding the fifth.
1. Crescendo up to the half note,
2. hold the note while decrescendoing for four beats,
3. then sustain at piano for as long as possible (until you run out of air)
4. Bonus: at the last possible moment lift up to the next chromatic note (ex. D-Eb)
Same as #4 utilizing the entire scale (or given mode)