Tuning
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At what point do you teach tuning to high school students? I’m think from the beginning.
It is my approach to tell students to not touch the tuning pegs in the beginning. Everyday in class, each student plays their open strings from the floor to the ceiling, first through sixth, in quarter note value. After several weeks of tuning each guitar, students start memorizing the sound of each string. At that point, I tell students which string to adjust and which direction.
I have tried putting an electronic tuner on each guitar. That does not work all that well when students try tuning an octave too high too low. Most students now have an app on their telephone with a tuner.
Overall, I would not encourage tuning until perhaps the second half of the school year.
Students need to “hear” the pitches before they start to tune. If they don’t have an app on their phone using a “clip-on” tuner is the best way to have your students tune their guitars.
We start with listening and matching, showing the students to move the tuners gradually. Only then I have them tune with both clip on tuners and relative tuning. I think it’s important from day one to get the student to begin recognizing and matching pitch.
I don’t think most kids generally have the ability to match pitch during the early stages of learning to play – especially when there are 25 other kids trying to do the same thing. Like Bill mentioned above, I insist that kids not touch their tuning pegs for the first semester. After a semester of playing, I show kids how to use a clip-on tuner. These work pretty good in classroom settings as long as the guitar is close to in tune already.
When a student has played for a few weeks they can often tell if their instrument is “off” and I’ll tune it for them. It also takes up much less precious instructional time.
Clip on tuners work best because they pick up the vibration of only the instrument it’s attached to. Most students have a smart phone. There are a number of free tuner apps.
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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