In Tune

Karr, Gary

doi:10.1177/000313139604600115

American String Teacher

1996

DOI: 10.1177/000313139604600115

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In Tune

Gary Karr¹

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Strategies for Improving the Intonation of Your Orchestra

Hopkins¹

2012

American String Teacher

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Orchestra directors who address tone production, intonation and rhythmic precision as important priorities in rehearsal will greatly improve the sound of their orchestras. Of these three areas, fixing poor intonation can be the most challenging to address because it requires tremendous patience and ongoing attention from both director and students. As Cohen (2009) writes, “Intonation is a problem for string players, from beginner to advanced. And, it's a skill that most work on constantly.” (p. 23). All orchestra directors would likely agree with Curry's observation that “slow and disciplined intonation practice is essential to becoming a great string player” (Curry, 2011, p. 94). Yet in an orchestra rehearsal, fixing intonation can bring the pace to a grinding halt. Teacher and students can be frustrated if rehearsals are consumed by slow work on intonation. Sometimes in rehearsal we apply an intonation “bandage” to a problem that actually requires a much lengthier treatment to cure. Fortunately, there are ways that intonation can be easily addressed in every rehearsal and gradually refined over time. This article will describe strategies that are commonly used to improve intonation in orchestras. Many of these strategies can be used at all levels, from elementary to the college level, as developmental or remedial strategies. Some will be more appropriate to use with younger students, some with older students.

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Strategies for Improving the Intonation of Your Orchestra

Hopkins¹

2012

American String Teacher

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An Analysis of Double Bass Vibrato

Mick

2024

String Research Journal

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The purpose of this study was to investigate the rates, widths, and pitches of university double bass players’ vibrato in relation to pitch height, fingers used, and tempo. Forty ( N = 40) undergraduate and graduate double bass players performed excerpts in first, fourth, and thumb positions. The overall mean vibrato rate and width was 5.17 Hz and 19 cents. Analyses indicated that university double bassists employed faster vibrato rates and increased width as they performed in progressively higher registers. The third and fourth fingers vibrated the fastest, but the second finger produced the largest width. Musical examples played with a fast tempo were both faster and wider (5.35 Hz, 20 cents) than musical examples played with a slow tempo (4.94 Hz, 19 cents). Participants vibrated almost equally above and below the in-tune pitch—overall mean pitches of vibrated and non-vibrated tones varied by 1 cent. Music educators may use these results to create more consistent descriptions of double bass vibrato and, potentially, more efficient methods for teaching vibrato.

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In Tune

Cited by 2 publications

References 0 publications

Strategies for Improving the Intonation of Your Orchestra

Strategies for Improving the Intonation of Your Orchestra

An Analysis of Double Bass Vibrato

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