String Intonation

One of the most difficult aspects of string playing is intonation. Even the slightest bend of the finger will change the pitch on a full-size violin, and even more so on a fractional instrument. Though most school orchestras and private teachers implement finger tapes, there is still a probability of pitch variance. Muscle memory is a crucial skill; however tapes can foster a reliance on touch as opposed to sound. Don't get me wrong; I'm a proponent of tapes for beginner students, but early ear training is what ultimately sets students up for long-term success when it comes to intonation.

I talk about ringing tones on a daily basis with my students. These are the fingered pitches that correlate with the same notes as the open strings. Assuming the instrument is in tune, when one plays a ringing tone it will sympathetically vibrate the corresponding open string, causing it to ring. This vibration can typically be seen as well as heard.

Because it is easiest to hear the ring after a stopped bow, I have my students play all of the ringing tones in first position staccato, paying careful attention to "tall" fingers as to not dampen any open strings. Once they can distinguish ringing tones from non-ringing tones, and are truly listening to intonation, I integrate the concept into scales. For example, I will set the metronome to 60bmp, choose a scale, and the student will play two staccato quarter notes for each ringing tone, and a half note for any non-ringing tone. Practicing this way not only improves overall intonation, but helps the student maintain focus throughout the scale and internalize the fingerboard geography. The more aware students are of their ringing tones, the more likely they are to find and listen for them in their repertoire.