Four Ideas To Improve String Intonation Problems Mark Przybylowski Bunker Hill Middle School, Sewell, NJ mark@markprzybylowski.com
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s a string player, solid intonation – or accuracy of pitch – is something that must be developed and is an ongoing area of development and practice no matter the experience level of the player. Many of my middle school orchestra students don’t hear when they are out of tune and are also not sure how to fix the out of tune note. As educators, it is our job to help them develop their ear, recognition of pitch, and ability to adjust their pitch on their own, in the moment. The method and means for helping students or yourself develop more solid intonation will vary, but listed in this article are four ideas that have proven helpful over the years. 1) Playing to a drone A drone is a sustained tone or note. Working on intonation with a drone is an extremely powerful way of developing the ear and gaining more confidence and accuracy of pitch. I have used drones with my students in small group lessons, large group rehearsals, one-on-one lessons, and in my own practice. If you have a pitch generator, such as a Doctor Beat or similar device, you can start by setting the generator to the tonal center you
desire. The idea is to measure each note, whether it is the notes of a scale or a musical excerpt, against the drone. The goal is to make sure each note is exactly in tune and if it isn’t, adjusting accordingly. This method of practicing intonation really connects the player to each note. When a note is not totally locked in, it is apparent. It is best to practice very slowly and stay on each note of the scale or musical passage until every note is totally in tune. This method of practice will help to build confidence in where your students should place their fingers. If you are teaching in a small group lesson situation, rehearsal, or one-on-one lesson and you don’t have a pitch generator, you can split the group in half so that one group or person plays the sustained note and the other group or person works on matching their pitch to the sustained tone. You can then switch the groups or roles. 2) “Did that sound like what I played?” Another method I use is I play a short excerpt or phrase, two or three notes long, and have the students repeat what I played. If the students echo and their pitch is not accurate I will ask them the question, “Did
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that sound like what I just played?” I will then ask, “Which note (or notes) didn’t sound exactly like mine?” This helps the students and I to analyze their performance and helps to get the students thinking critically about their intonation. I tell them to focus on the note that was out of tune and really try to hear it and adjust it. I don’t immediately isolate the incorrect pitch notes so that my students apply their knowledge. If the problem isn’t corrected, we will spend some time working on the notes that aren’t correct. Working on intonation with students can be frustrating for them, therefore, it is important to be positive and encouraging. 3) Move your finger up or down Another method is to work on matching one pitch note at a time. This works best when working with one student at a time. For example, I will play a single note, such as an F#, and tell the student to move their finger lower in pitch (toward the scroll) or higher in pitch (toward the bridge) until they make their note sound exactly like mine. Once the student has located the note, I will have them play the note and match it to mine as accurately as possible.
OCTOBER 2018
