Stuck in a scale rut? Join me for a whole month’s worth of 31 different ways to approach scales. New posts go up every day in January 2023. Start from Day 1 here.

After today, I’m a third of the way through this project! And so far, the “I” word hasn’t come up: “intonation.” It’s not that I haven’t been trying to play in tune. I just haven’t been making it the main focus. But now it’s time to spend a few days diving into that world. With a little effort, we should come out of it with sparkling clarity and more ring (or resonance) in our sounds.

So for today, I started with the foundation of good intonation on all string instruments: being in tune with the open strings. I started by making sure every note in common with an open string matched exactly, by comparing back-to-back. Then I gradually worked from a slow tempo up to a moderate tempo, always listening for that match.

There’s no need to go through all of the steps outlined here, especially if this kind of practicing is new to you. Just go as far as you can patiently and carefully work. Working carefully on just the first part will pay off far more than rushing through all the steps.

Why do this one?

There are so many reasons to work on intonation. It makes our sounds more resonant, our vibrato more vibrant, and we’re able to blend with other musicians better – to mention just a few.

Remember, like with all intonation work, we’re mainly training our ears. Yes, our fingers and muscles will learn, too, but it’s our ears that will guide our fingers to make the difference between almost-in-tune and perfectly-in-tune. That’s why careful intonation work for a few minutes will make the playing you or I do afterward more in tune, as well.

Today’s scale variation particularly highlights the natural resonance – the “ring” – of the instrument. That’s why I chose D Major for today’s key. Since all 4 open strings work in that key, I knew I would get a lot of ring from matching them all. (Compare, for example, to A-flat Major, where only 1 note – G – matches an open string.)

Preparations

If you haven’t practiced intonation by comparing to open strings before, or if it’s been a while, you’ll find it helpful to do some experiments listening for ring first. What do I mean by “ring?” When, for example, the note D on the A-string is perfectly in tune with the open D string, the open string will vibrate sympathetically with the higher note (even without the bow touching the D string). That creates more ring in your sound – a fuller, more beautiful sound.

To hear this effect for yourself:

Play a D on the A-string that’s perfectly in tune with your open D-string
Listen for the sound of the D-string ringing sympathetically (you may even be able to see it vibrating). Just make sure nothing is preventing the D-string from ringing, like stray fingers in your left hand just barely touching it.
Then move the upper D (on the A-string) a little flat. The open D-string will stop ringing sympathetically. Notice the effect of that on your sound.
Move the upper D back to in-tune, and out of tune, until you feel familiar with the sound of the ring.

Part 1: Compare with open strings

For each note of the scale that shares a letter name with an open string (same pitch level, or an octave or more away), compare the stopped note with the open string by playing back and forth between the two. Adjust the stopped note until it matches. Then proceed to the next note of the scale. Take your time and go slowly. You might notice certain tendencies (for example, maybe your E’s tend to be too high); make a mental note so you can start to counter them. Remember good, relaxed technique (it’s easy to tense up), and always get the best bow sound you can (it will make it easier to tell if the notes match).

Part 2: Listen for the ring – allowing extra time

Play through the scale with no set tempo. Pause on each open-string-matching note long enough to decide whether you hear the ring or not. Once you’ve found it, proceed to the next note of the scale. Remember good sound and relaxed technique.

Part 3: Listen for the ring – slow tempo

Play the scale in a steady, but slow, tempo. Listen for the ring on each open-string-matching note and adjust as needed. Remember good sound and relaxed technique.

Part 4: Listen for the ring – moderate tempo

Play the scale in a moderate tempo (or faster, if you can). Listen for the ring on each open-string-matching note. This tempo should be too fast for adjustments, so aim differently the next time that note comes around. Remember good sound and relaxed technique.

Arpeggios

If you get through all four steps above, and are still up for more, then move on to arpeggios. I focused just on D’s, making sure every one rang perfectly in tune with my open D, and I didn’t worry so much about the other open-string notes that came up.

If you’ve tried today’s scales, I’d love to know what your experience was like! Just post a comment below.

D Major is a great key to start with, because there are so many opportunities to find the ring, and the payoff is very rewarding. After some experience with D Major, venture into other keys.

PDF version