Strategies for Improving the Intonation of Your Orchestra

Abstract

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.

Effects of Short-Term Practice With a Tonic Drone Accompaniment on Middle and High School Violin and Viola Intonation

“…Practice with a drone accompaniment appears to be a common technique used by instrumental music teachers to improve intonation of their students (Scherber, 2014). In addition, pedagogues in string education recommend the use of a drone accompaniment to improve intonation (Curry, 2011; Hopkins, 2012; Reel, 2005; Watkins, 2004). Curry (2011) and Hopkins (2012) suggest that students produce a sustained tonic drone against a particular scale.…”

A Survey of Collegiate String Musicians’ Use of Drone Accompaniment to Improve Intonation

“…Nearly all participants who used a drone accompaniment indicated that this practice technique was recommended to them by former or current teachers. It appears that a majority of the participants are following recommendations made by their teachers and other string pedagogues to practice with a drone note accompaniment to improve intonation (Curry, 2011; Hopkins, 2012; Watkins, 2004).…”

“…Pedagogues have recommended that students practice with a drone accompaniment so that they can match their pitch to that of the drone (Curry, 2011; Hopkins, 2012; Watkins, 2004). The drone accompaniment can serve as a reference point and provide a tonal center so that all subsequent pitches may be tuned relative to the drone.…”

“…String pedagogues have recommended a variety of drone accompaniment sources such as a cassette tape recording (Griswold, 1988), a CD recording (Curry, 2011; Hopkins, 2012), a tuner (Curry, 2011; Griswold, 1988; Watkins, 2004), and adjacent open strings (Curry, 2011; Hamann & Gillespie, 2013; Hopkins, 2012). Many participants indicated that they use a metronome with a tuner to produce a drone accompaniment.…”

“…Many string pedagogues have recommended using a drone accompaniment to improve intonation (Curry, 2011; Hopkins, 2012; Watkins, 2004). For example, Curry recommended that while a student performs an E-major scale, a drone E is produced on a tuner to provide a reference pitch.…”