CelloMind Hans Jorgen Jensen / Minna Rose ChungSecond Ei Managing editor: Colin Cronin Copyeditor: AudraGorgiev Publication design:Joha Funk Photography: Oleksander Mycyk (principal), lan McCausland @), Matthew Ryan Dueck @, Charmaine Mallari(@) Photography captions: John-Henry Crawford (Front Cover), Hans Jongen Jensen and Minna Rose Chung (7, Saga De Leon and Hans Jorgen Jensen (), John-Henry Crawford (xiv), Grant Zempotich 6), Nicolus Augustin Chappay 1) and (0s), John-Henry Crawford 24), Riana Anthony (0), Davi Liam Roberts! (46), Henry Chen 69), Minna Roxe Chung! (64), Andeé Michett (78), pianist Qiyun cellist Drake Driscoll (102), John-Heney Craveford (10), Hana Cobon (114), Emily Yoshimoto (238) Myrtil Mitanga (46), Riana Anthony (164), Emily Yoshimoto (178), Riana Anthony (89) from left to right: Wieklffe Simons, Grant Zempolich, Drake Driscoll (9D, Kevin Zaporski (94), Minna Rose Chung? (197), Johr-Heary Crawford (206) Brannon Cho (212) Saga De Leon (228, Jillee Kim! (228), Sitiao He @28), Desiree Abbey! (244), John-Henry Crawford (248), Hans Jorgea Jenson (Back Cover), Minna Rose Chun (Back Cover) © 2017 by Hans Jorgen Jensen and Minna Rose Chung Published by Ovation Press,Ltd,, Chicago, IL. 60647, |http://ovationpress.com Ovni © ColloMind: Intonation and Technique vation ress’ All rights eoserved, No part ofthis publication may be reproduced, distributed, or transmittedin any form or byany means, including photocopying, recording or other electronic or mechanical methods, without the prior written permission ofthe publisher, exceptin the case of briefquotations embodied in critical reviewsand certain other noncommercial uses permitted by copyright law. Permission requests: ‘Submit a request athttpy/cellomind.com Ordering information; ‘Visit httpy/cellomind.com/ to order. Special discounts may be avallable for quantity purchases by corporations, associations, and others, For details, submit on the website Printed in China ISBN978-0-692-89029-5 For more information aboutthis bookand other great publicstionsContents Preface Howto Use This Book. Part 1: Intonation 1 Intraduction‘o Intonation ‘2. The Harmonic Ovartone Series 3. Tonic Sympathetic Vibrations ofthe OpenStrings 4 Cents Explained 5__Justintonation and the Harmonic Series 6 _Dissonant and Consonant Double Stops 7__Just Intonation System for Double Stops 8_Just Intonation System for Major Triads 9 The JustScales 10. ThePythagorean Comma LL The 24 Enharmonic Pythagorean Pitches 12. ThePythagorean Triads 13. The Pythagorean Semitones 14 The Pythagorean Seales 15 TheSyntonicComma 16 Advanced Sympathetic Vibrations 17 Intonation Performance Practice in the Bach Solo Cello Suites 18. Intonation Performance Practice with Piano. SRSRENBE Ea Seyxe 93, 108 Part 2: Technique 19 The Light'Toueh 20. Velocity Studies 21 Natural Harmonies Vibrato 22 FingerAgilty and Balance 29. Introduction toShifting 24 Organized Shiftinginto the Higher Positions 25 Melodic Shifting Exercises with Vibrato 26 TartiniTones 27. Double Stop Studiesin Thirds 28 Double Stop Studiesin Sixths 20 Double Stop Studies in Octaves 30 DoubleStop Studies in Tritones ‘1 Combination Double Stop Studies 32 Practical Shifting Examples from the Cello Repertoire 22. Practical Application for Double Stops Appendix Glossary ‘Exercise Index: Bibliography BREESERREREEES EE ERE io BPreface A note from Coauthor Hans Jorgen Jensen Thisbook hasbeen on my mind for alongtime; certain sections of thebook were ereated many years ago, When Minna Chung professor of cello at the University of Manitoba, called me inthe spring of 2018to tell methat she was taking a sabbatical that fall and wanted to spend it In Chicago, I responded in an exuberant voice: ‘know what we should work on together. Ihave a book that has never been finished, and finishing this bok together with you wouldindeed be exeiting. Little did I know at that time that the original book would neverbe finished. Instead, anewbook, larger in seale, ‘would emerge from ourcollaboration. Since that first sabbatical in Chicago, we have spent countlesshours hard at work together, meticulously goingover every detail in ‘order to produce the highest-quality bookpossible.1 am forever indebted to her willingness and patience; for her drive to neverquituntil we both were happy with the final result. ‘Throughout my instructional career, [have spent agreat deal of time and energy on teaching my students great intonation, I remember vividly the first time astudent asked me,“Why do Ihave toplay that note higher?" after 1 had asked for acertain pitch to be raised. My answer was simple:"Because it sounds better.” ‘The students then replied, “I don't think so..[like it lower.” Thatincident inspired me to start searching for and reading all the material I could get my hands oa about intonation so that | would be able to explain the resson for wanting acertain pitch to be raised orlowered. The science behind intonation can be explained in ways thatare much easier tounderstand than your average high-school scienes class. However, because scientists are usually not pecformingmusicians, there has always been «large gap between thescience of intonation and practical application, Trememberanother special lesson when cellist Allan Steele (sa teenager) came to his lessonand told me with anincredibly excited expression inhis eyes:"I have found the!” “What F?" Lasked him, He replied,“TheF that makes the 7th partial vibrate onthe Gstring” Before that lesson, I had mostly shown Allan something called tonic sympathetic vibrations, but Allan had now taken itonestep further and started to explore the entire ‘fingerboardon his own. tthe followinglesson I asked Allan, “Why are your ears now suddenly somuch better? Why areyou able to really play in tunenow?" Allan answered, I have started to do what you asked inte to do all the time, and by hearing and listening to the sympathetie vibrations, Tean now calibrate the piteh that f need and want.” “What do you mean?” I responded. ‘Then, Allanexplained how he was able to doit: “I know ‘that the 7th partial Fis 21 cents [a unit of intorvallie measurement] lowerthan the piano pitch, so when using. itasa tonic, place it higher than the 7th partial on the G string” From that lessonon, [rarely needed to talk about intonation with Allan. I thinkhe loved that thereare scientific theories behind intonation, Ultimately, it inspired Allan to take decisions about intonation intohis ‘own hands. ‘People withgreat intonation are intuitively sensitive wo sympathetic vibrations. However, this is also a skill that almost anyone can develop with organized practice, intonation is very personal, subjective, and intuitive, However, understandingthe science behind intonation and integrating it with our natural instinct can ‘open upa whole new world of possibilities. One of theend goals of our practice is to reach that autonomousstage where sll movements become almost automatic, lind tntons onandeghpiaue Rela vl‘When performing—when engaging your CelloMind—you mustbe free to focus on the musical and expressive aspects of the music. Yet, wemustalso remember that no matter how advanced we become, itis always important to continue seeking opportunities to grow and improve. Thisbookisaresource to help usall do exactly that A note from Coauthor Minna Rose Chung A revolution is happening..that's what I heganto think after listeningto Hans Jorgen Jensen, professor of cello at Northwestern University, speak ferociously about one of his favorite subjects: stringintonation. When he Invited me to contribute toa left-hand technique book, the ‘concept seemed simple: present contemporary approaches to fundamental cello techniques. What we dida’t know at the time was that we would end up explaining how great ‘musicians intuitively play with exceptional intonation. After months of expounding originalexamples that would best clarify Jeas ns teaching methods, the idea of “how to play in tune” beeame impossible to ignore, - remember his creative snd fun teshniquesthatquickly [first began my studies with Professor Jensex, 1 improved my left-hand technique andintonation in preparation for myorchestra debut with the Haydn C Major Cello Concerto. 1 did not fully understand why I needed. higher sharps and lower flats for my rapid scale passages, but Iwas just excited that this incrementaladjustment made my sound brilliant Since those early years, Professor Jensen has advanced his pedagogical theories on how to teach intonation. I havealso learned from these ideas and continue to develop my own “inner and outer” hearing: the perception of pitch and its surrounding tonal reference. At times you may find the material quite challenging, in particular themathemsticaland sclentificinformation, sot forth in theintonation chapters. We recommend that you studyand absocb the informstion with patienceand, consistency. Oar original exercises and those borrowed fromhistory were elected to improveyour intenation ability and left-hand technique, incorporating both the mental and physical awareness inte proper practicing skills Itis importantto play through all the exercises within each chapterin ordertotrain your nner and outer hearing, to vill Celleind Intosationand Technique | Preface feel thephysical sensstions of aparticular technique, and to engage your CellMind, Our collaboration hasted toa novel approachin finding direct way to communicate important concepts. The final result is gratifying because our knowledge and resources continue to help many students realize that intonationisa profound and sophisticated skil setfor left-hand technique. Itisourhope that cellists worlewidewilluse enlighten their ColloMinds, is bookto Acknowledgments ‘This book has been ajoint venture involvingfar more ‘than simply the two of us authoring beok, We are greatly indebted to the following people forall theérhelpand support over theyears, ‘Russell Roland, cellist with the Spektral Quartet. hada profound influence on the practical application of just intonation in this book. The Spektral Quartet are firm believers of performing the classical repertory with avery strong influence from just intonation, and Russell's very, deep knowledge and practical advice on thistopie was vital, Dr. Paul Stark, an esteemed radiologist and a terrific cellist, helped toreview the book and provided a keeneye toensure allof our informiation was precise. Dr Michael Kimber was gracious enough to allow us to use his illustration ofthe “Schisma’ in Appendix V. He ‘was also an excellent subject-matter expert, helping us to refine our definitions and explanations oftheoretical ‘concepts in the book, A few more cellists deserve special mention due to their keen interest in the topic of intonation: Allan Steele, Mira Luxion, Nicholas Heinzmann, Nicky Swett, Henry Myers, Christopher Bennett,and LeandroSaltarelli. Allof these musicians provided their own unique ideas, which wil have alastinginfluence on this book. ‘The vibrato and shifting exercises in Chapter 25 of this book were written by cellist James Czyzewski ashis final paper in his pedagogy class at Northwestern University, Anumber of these exercises were given to James (by Professor Jensen) for personal use during his studies,He expanded the exercises, adding few more and giving ‘themall his personal touch. ‘We extend oursincere appreciation to theory and piano, professor Charles Horton atthe University of Manitoba, Desautels Faculty of Music for his editorial advice and invaluable analysis of Popper Etude No. 34. ‘We vouldalsoliketo express ourgratitude to engraver Roman Tarowski for his patience and terrific work this project ‘maddition, this book could not have come together without the maltificeted aid and organizational skills of Colin Cronin, editor and project director of this book. Finally, we woul ike te lose with a short porvonal note fromeach of us: “Avery special and heartfelt thank you goes to my wife, Fumiko, for her incredible help, understanding, and patience with mewhile working on this book. Lalso must thank all my wonderful students over the years at the Chicago Music institute, the Robert MeDuffie Center for String, the Meadowmount School of Music, and the Bienen School of Music at Northwestern University.” —Hans Jorgen Jensen “A tremedous thank you to Professor Hans Jorgen Jensen for inviting me aboard this immense collaboration and for continuing to lend me invaluable advice. Thank you for sharing your precious time, wisdom, and stories with me and so many legions of students. Tomy family, circle of colleagues, and students around the world, thank you for your endless supply of humor, insight, and support. Lastly, my contribution to this book wouldn't have been made possible without the collegial support from the extraordinary administration, faculty, and student body at the University of Manitoba Desautels Faculty of Music, Canada.” —Minna Rose Chung Celok tntonatonanaephniaye reas.How to Use This Book ‘Thisbook is separated into two parts: 1. Intonation II, LeftHand Technique Part [on intonation should be studied in the order the chapters are preseated (anless you are already familiar with the material) as the concepts ineachchapter buildon one another. In contrast, thechaptersin Part TTontechnique are mostly composed of separate and, independent studies ofleft-hand cello techniques. As such, it isperfectly fineto study them in any onder qwith the exception of the shiftingstudies in Chapters 28-25), dependingon yourskilllevel. Asa general rule, we recommend practicinga minimum of 20 minates per day ona section of one chapter, with a smaller percentage ofthe allocated time to study the other sections. For amore intensive practice session, dedicate 15-20 minutes perday on exch ofthethree core subjects: intonation, left-hand technique, and double stops. Ifyou haveany additional time, explore thepractieal repertory ‘examples, However, werecommend to not exceed an hour per day of study on thismaterial Healthy Practicing (One of the most important aspects of practicinga musical instrumentis touse healthy, efficient biomechanical ‘movement patterns when practicing and playing. The“no pain, no gain” philosophy can be very dangerous should nothe part ofour vocabulary. Remember to perform proper warm-upsand cool-downs before and after pra fortaking breaks. Also, switching back and forthbetween Aifferent repertory and technique studies can help with concentration and fatigue. Over-practicing one kind of technique can lead to injury or other issues, even when done the right way. ing. Give yourself adequate time ‘Treat your body and mind with the utmost intelligence and respect, and know when enough is enough. Routine and Goal- Setting Strategies “Many people fail in life, not for lack of abitity or brains or even courage but simply because they have never organized their energies around a goal.” liber G. Hubbard Goal settingis a powerful tool for bailding both long- term vision and short-term motivation. High-performing achievers use it in almost al elds, including musie ara sports ClloMingd: Intonation and Technique 9) Howto se Thieogk xtHierarchy of Goals > Short-term—weekly and daily practice schedules > Mid-term—one totwomonths > Long-term—one year Itis important to have adaily routine where a set amount oftime isdedicated to specific exercises. In particular, technique is often practiced without.a long-term goal in 1, Itshould be practiced the same way as your concert repertoire, 1nd mastered tothe best of your ability Conversely, seales,for example, should bepracticed with specific goal over the course of several weeks, months, or years, dentify the aspects of your playing that need attention and improvement. Here aresome specificideas for practicing scales: > Short-term goal—master afour-octave scale st a sow ‘speed with a beautiful warm legato sound, applying different intonation systems appropriately. > Medium-term goal—play all major and minorscales, in three or four octaves at aslow speed with solid intonation and a beautiful warm legato sound. ~ Long-term goal—perform all major and minor scales in three oF four octaves (without stopping) Insixteen notes with detache, spiceato, orlegato bowing and ‘with solid intonation (fast tempo: J 160) Setting such specific goals provides focusto your practice and is ofthe utmost importance for long-term ‘development, ‘Let me tell you the secret that has led me to my goal: my strength lies solely in my tenacity.” sit CelleindIntosstionand'Technique | How toUse'This Bok Cello Practice Example ‘The following example illustrates how you might create a study plan for improving your intonation, your ability to play fast, and your vibrato. Select exercises from the followingchapters > Partl > Intonation (Chapters 1-18; studied inchapter orden) > Part > Velocity Studies (Chapter 20) > Natural Harmonies Vibrato (Chapter20) and Melodic Shifting Exercises with Vibrato (Chapter 25) Intonation For thechapterson intonation, start from the beginning ‘and spend at least one or two weeks workingconsecutively through each chapter (trying to absorb the information too quickly ean lead to confusion). Take the necess time toread, comprehend, and implement all the mnandexercises before proceeding to the next y Mastering the intonation section of thisbook and making itanatural part of your musical mind can takea few ‘months to perhaps one ortwo years, depending on your Interest and knowledge, Velocity Studies In Chapter 20 on elecity studies, it is most beneficial to select a few different exercises (velocity and sale exercises, orscale and Cossmann exercises) to work on simultancously. Practice the exercises systematicallyand consistently. with a diligent reviewof the previous day's Vibrato Chapter: Ifyou have tension or fundamental problems with your basic vibrato, start atChapter 21, “Natural Harmonies Vibrato.” For further vibrato development, practice the exercises in Chapter 25, focusing on evenness and different vibratospeeds for each exercise.Your Slight Edge Consistency is oneof the most powerful tools for long termdevelopment. Maximizing the use of small amounts of time will make your practice more productive, effective, and efficient, People often want to see results immediately, aot realizing what theyean achieve when building up a skill overa number of days, weeks, months, and years. ‘The Slight Edge’ isa philosophy promoted by personal evelopment coach Jeff Olson that focuses on leveraging small, daily diseiplinesto createsubstantial results and success over the long term. Consider the following: + Lminutecach day bocomes6 hours in one year > 10 minutes each day becomes 60 hours in oneyear > 30 minutes each day becomes 180 hours in one year Select which skills vou want to focus on, and spenda short amount of time on those skills each day. Be disciplined and creative in the way youspend your practice time—even for just afew minutes. As you improvein aparticular skill, yourmethod of practicing that skill should change. ‘We have designed this bookto be a custom-madle source of information for intonation and left-hand technique. It if this book will select a is ourhope that each persons topicand chapter they needto explore further, andthen take the necessary time to master that chapter or chapters. before movingon to the next topic. 1 self oon, The Sigh Rye: Secret tou Sccenfl Life (Mementam Mes divs of Videos, LP 2003). Clloin:Intonationand Technique 9), Howto se This ook, xIntonation, atthe highest accuracy level, isan intuitive skill that requires a very sophisticated innerand outer hearing. For those with extremely sharp listening ski theoretical knowledge about intonationis not a necessity inorder to master it, However, if your listening abilities arenotuiteat that level, understanding the theories about intonation canbe agreat help in refining your ear ‘and makingit a moreintuitivepartof your playing, Itib quit time working onthe intonation sections of this book— perhaps as longs one to two years!Trying to absorb the information too quickly can lead toconfusion, which is ‘why we recommend short and focused practice sessions possible to spend a considerable amount of over longer periods of time. nour experience, when students spend the necessary time and begin to assimilate ‘the applied information to their own playing, an incredible cchangein their ability to play in tune takes place. Over the years, we have seen numerous players with less than perfectearsdevelop intonation control at the highest level Each chapter in Part is intended tobe studied in the order they are presented, as the concepts that are introduced build on previous concepts. However, practicing only the just intonation exercises for a prolonged period of time can lead to undesirable effects ‘onintonation in your playing, Therefore, werecommend that after familiarizing yourself with the generalconcepts, you should practice the just and the Pythagorean chapters concurrently. The following isa brief overview of what to expect from each chapter, Colon [anata TeshnigneCHAPTER 1 - INTRODUCTION TO INTONATION An introduction tothe three prima inuuse today: equal temperament, Pythagorean tuning. intonation systems istintonation, and CHAPTER 2 ~ THE HARMONIC OVERTONE SERIES ‘The harmonic overtone series (or harmonic secies)is one ‘of the most baste aspects of intonation and theseientific ‘backbone for just intonation, Thoroughly understanding the harmo ‘and committingit tomemoryis essential to developinga more refined sense ofintonation. CHAPTER 3 - TONIC SYMPATHETIC VIBRATIONS OF THE OPEN STRINGS. ‘Sympathetic vibrations playa very important role in sound production and intonation on string instruments, ‘The mostresonant sympathetic vibrations of the cello are known asthe toniesympathetic vibrations CHAPTER 4 - CENTS EXPLAINED Cents areused in this book to compare and measure similar intervals in different tuning systems. I is agreat tool for sensitizingthe earand refining the mind tohear and visualize very small distances between the same intervals that maybe tunedin avariety of ways. CHAPTER 5 - JUST INTONATION AND THE HARMONIC SERIES Just intonation is based on the harmonic series and is used for tuning double stopsand chors. This chapter teaches how the first eight partials compare to and deviate trom ‘equal temperament. CHAPTER 6 ~ DISSONANT AND CONSONANT DOUBLE STOPS Dissonant and consonant double stops are very important aspects of harmony and havea tremendous influence on intonation. This chapter teaches you how to hear the beating (or absence of beating) in double stops. Training 2 Celleind Intosstionand Technique your ear and mind tohear the difference between dissonant and consonant intervalsis a greatwayto learn, ‘how to play double stops in tune, ‘CHAPTER 7 - JUST INTONATION SYSTEM FOR DOUBLE STOPS Developing the ability to visualize and imagine the sound of thejustintervalsin your mindis one ofthe most important aspects ofintonation to master. In this chapter, you will explore listeningto the vibrations (or absence of | vibrations) of chords and double stops when tuning them, CHAPTER 8 - JUST INTONATION SYSTEM FOR MAJOR TRIADS Just intonation is nota fixed-note tuning systembut relational system where exch pitch must always relate toits corresponding dominant piteh. Inthe arpeggio exercises for thischapter, the keys are organized with the open string.as thedominant pitch. Practicing the arpeggios with just intonstion will provide abetter foundation for understanding the just intonation system and how to use tin practical applications. (CHAPTER 9 - THE JUST SCALES While particularly applicable to performersspecializing in early Classical and Baroque performance practice, learning to play the just majorand minor scales is very beneficial for any musician strivingto develop a more sophisticated sense of intonation. The scale exercises. highlight how overtones affect sympathetic vibrations, ‘which will help refine your earand mind forintonation. CHAPTER 10 - THE PYTHAGOREAN COMMA ‘The Pythagorean commais the 24-cent difference between 12 stacked perfect fifths and seven stacked octaves, It isalso the interval difference between all Pythagorean pitches, ‘Byunderstanding how the Pythagorean comma works, you will understand why, for example, C sharp major is, slightlysharper than D flat major, and how this guides ‘musicians in expressive playing. enharmonic keys and enharmorCHAPTER 11 - THE 24 ENHARMONIC PYTHAGOREAN PITCHES Pythagorean tuning isa very sophisticated and beautiful system, Most people use it intuitively; however, learning how it works will makea tremendous difference in developing more comprehensive understanding and control nation, CHAPTER 12 - THE PYTHAGOREAN TRIADS Practicingall the ma Pythagorean tunis ‘withall the keys that use the Pythagorean pitches. srand minor triads using is an excellent way tobecome familiar CHAPTER 13 — THE PYTHAGOREAN SEMITONES ‘The Pythagorean chromatie scale is avitalelementin addingcolor and expression to music. In this chapter, you will larnabout the two different kinds ofsemitones in the scale, Additionally, the concept ofthe Py thagorean hal step attraction is applied to the standard cello eepertory. CHAPTER 14 - THE PYTHAGOREAN SCALES ‘The Pythagorean majorand minor scalesare the basis of playingscales and music with an expressive, melodie ‘quality. When Casals talkedabout “expressiveintonation,” in reality, he was advocating for Pythagorean intonation, CHAPTER 15 — THE SYNTONIC COMMA The Syntoniccomma is22 cents, andis the difference between the Pythagorean majorthird (408 cents) and the just major third (86 cents) Itis used regulary to switeh fromvertical just tuning to horizontal Pythagorean CHAPTER 16 ~ ADVANCED ‘SYMPATHETIC VIBRATIONS ‘The charts in this chapter illustrate themost important harmonies of the open strings that can be activated by sympathetic vibrations, Practicingtthe exercisesin this ‘chapter willsharpen the way you perceive pitches, as well ashow you navigate the entire fingerboard. CHAPTER 17 -INTONATION PERFORMANCE PRACTICE IN THE BACH SOLO CELLO SUITES Just intonation playsa major role in the J. S. Bach solo cello suites due to the frequent use of double tops, chords, and the vertical harmonicaspects within the composition. ‘Today, however, many celistsuse acombination of just ‘and Pythagorean intonation for maximum expressive effect. The selected samples inthis chapter will belp you understand howthese systems canbe used to accentuate different aspects of the Bach suites. CHAPTER 18 — INTONATION PERFORMANCE PRACTICE WITH PIANO Playingtogetherwith a keyboard tunedusing equal ‘temperament presents a different set of challenges. The ‘concept of compatibility between Pythagorean and ‘equal temperament is introduced, and samples from the repertory are used in order to show how to adjust intonation when playing together with the keyboard. APPENDIX ‘The appendix explore a number of topics related to intonation in greater detail: 1. The Helmboltz.Intonation Chart Il The Just Diatonic Semitone Divided in Two, Four, and Eight Parts IIL Harmonie Series in Scientifically Accurate Cents IV. Just Intonstionin Consonant Double Stops V. The Schisma Colloid Jonata Technique‘Intonation is a Question of conscience You hear when a note is false the same way you feel when you do something wrong in life” Sek Reco ee et ee eee ES eC eee asChapter 1 Introduction to Intonation Developing a sophisticated understanding of intonation isacritical component of musical expression and a continuous challenge for any string player. Unfortunately, the theories behind how intonation works are often complicated and introduced with litte practical application. nother words, theyare not particularly useful formusicians, Through the intonation studies in this book, we sim to present these theories inclearand: understandable terms that will improve your ability to play in tune. For string musicians, intonstionis.a particularly sensitive and dynamic process where each pitch must adjustto its ‘musical function, be it melodic or harmonic. Throughout history, musicianshave used many different intonation systems, Today, we use a combination of three main systems, depending on the context. For example, wien playing with the piano, string playersare influenced by the piano’s equal temperament tuning.On the other hand, many musicians who specialize in authentic Baroque and ‘Classical performance practice use Just intonation—a. system based on the harmonie series (also called the harmonic overtone series). Furthermore, when playing melodically, we are stronglyaffected by the balance of, and gravitational pull toward, perfect intervals (Le, perfect fourths, perfect fifths, unisons, and octaves). This melodic ‘expression is called Pythagorean tuning, which is based on pure perfect fifths, Knowingwhea and howto use these different intonation systems isa major challenge for musicians today. By understanding these theories of intonation and learning how to-apply them, youwill cultivatea more refined and ‘comprehensive ability ofhow to play in tune. Celloinds Intonation snd Technique Cents ‘The cent isa logarithmic unit of measure used for musical intervals, and isa fundamental conceptin buildinga more sophisticated sense of intonation, One octave contains 1200 cents. Typically cents are used to measure extremely ‘small, finite intervals, or used to compare the sizes of similarintery Isin different tuning systems, It is difficult to establish how many ents are pereeptible to the human ear becauseit varies fromone person to the next, However, most professional masiefans ean distinguish differences inpitches from five to sixcents and above. Intonation Systems Today ‘There are three primary intonation systemsin use today: 1. Equal temperament—a system that dividesthe ‘octave into12 equal semitones 2. Just inton: sna relational piteh system based on, the natural harmonic overtone series 3, Pythagorean tuning~a system based on stacked pure perfect fifths Equal Temperament ‘The 12-toneequal temperament system divides the octave into 12 equal sed semitones,cach one consisting of 100 cents, Keyboard instraments (suchas the piano) are tuned usingequal temperament. This system enables these instruments to play in all keys with minimal flaws in intonation. Inequal temperament, however, perfect fifths and perfect fourths are not completely in tune—theyare two cents smaller or larger, respectively, than thelr just and Pythagorean counterparts. Inaddition, major intervals are lightly larger in equal temperament compared tojust, intonation, and minor intervals are slightly smaller, Chapter Injection tolatonation 5Just Intonation Based on the natural harmonic evertoneseries, just intonation is required to tune doublestops and chords: so that the instrument ringswith all the overtones of the double stops, linedup accordingto the overtone series. Developing a thorough understanding of just intonation and the overtone series will greatly help to refine your inner and outer hearing. Just intonation is apurely relationalsystem where the itches constantly adjust to different tonal centers. In double stops and chords, itis important to know what note is the key centerand thenlet the other pitches adjustto the dominating pitch, Just intonation can be used both melodically and harmonically for Baroque and early Classical music. Its, also used for tuning chord-Like structuresvertically in chamber music ensembles, Pythagorean Tuning Pythagorean tuning (named after the Greek philosopher and mathem: ian Pythagoras) is the scientific explanation for our preference for lower minor thirds/ sixths, higher major thirds/sixths, and leadingtones melodic playing. Expressiveintonation hes its roots in, the Pythagorean system, which is built upon the stacking of perfect fifths. The legendary cellist Pablo Casals Introduced the term expressive intonation to musicians onamassseale, saying,“Each note islikea linkin achain, impertant in itselfand also as.a connection between what has been and whatwillbe.”! All scaleshave an expressive, melodic quality. The notes on the first degree (tonic), the fourth degree (subdominand, and the fifth degree @ominan) are the pivotal balance points upon whieh theother notes in the scale rest. Ina majorscale, the major third has a ‘gravitational pull up toward the fourth, while the major seventh—as the leadingtone—has a gravitational pall up toward the tonic. Ina minorscale, the minor third has ‘gravitational pull down toward the second scale degree, and the majorseventhagain, as the leading tone—has an upward pull toward the tonie. Comparing the Three Intonation Systems String players tend to uscall three systems in order to play in tune. Since most musicians do this intuitively, how and when to switch between the systems is not always understood. In this book, we will provide the tools and exercises toexplore the melodie value of the Pythagorean systemand the basis for harmonic tuning inthe just system Additionally, adjustments must be made when playing with the piano toaccountfor the equal temperament tuningof the keyboard, ‘Comparing Pythagorean and Just Tuning Inthe following three samples, youwillece how to switch, between the twosystems; the fourth exercise illustrates a practical example. [BEEBE tre trouble with Pythagorean ‘Tuning and Double Stops 1. Keep in mind that Pythagorean tuning only works for pure double stops (unison, octave, perfect fourths and fifths) but not for major or minor double stops. 2. Phy the three-note pattern with ahigh F sharp that leads up tothe G, When that same sharp is plaved together with the open A, it sounds outof tune. 1 la, Cunt und the Ara laterpretatian, (Berkeley: Universit of Califoria Pees, 1990).18 6 Colloind tnonationana Technique Chapter: Introduction to IntonationTERE Combining Expressive Pythagorean (EERE ust Tuning Used Vertically Tuning with Just Vertical Tuning ‘ond Melodically 1. Playthe three-note pattern with an expressive F 1. Play the lower F sharp inthe three-note passage sharp that leads up to the 6. and keep the same F sharp for the double stop. The 2, When playing the double stop, lowerthe F sharp to double stop is now in tune with the same F sharp. tune with the A string, ‘This isan example of pure just intonation, 2 Used melodically, the lower Fsharp might sound. low, but it as abeautiful, soft, and round tone quality. This method of tunings oftenused by players specializingin Baroque and Early Classical performance practice, Casals’ Cadenza from Haydn D Major Concerto, Hob. Vilb/2, Op. 101 ‘The two F sharps: 1. Inthe first measure, use the low F sharp for the double stop in order to play the D major chord in tune. 2 Inthe second and third measures, use the higher and expressive F sharps in orderto make the scalessound more expressive ¥ Pablo Casals (1876-1973) mes ce poe none a . » tet Ps ees eget a ‘nan nigh Fe er nah CelloMind:Intonationand’Technique —_Chapterl:Ipjmnustiontolatonation 7Using Equal Temperament to Match Unison Passages with the Piano ‘When playingin unison withthe piano, itis important to listen to and match its equal temperament rtehes. Inthe below A major unison passage from the Beethoven A major sonata, the tricky notesare the Fsharp (the major third) andthe C sharp (he leading tone). The just F sharp and thejust sharp will sound toolow.The higher, melodic Pythagorean pitches willsound better (but will sillbeslightlyhigh:). [ERIE Excerpt from Beethoven A Major Sonata, Op. 69 ‘Tobest match the unison passage with the piano: 1, Tune the cello to the pianoA. Match the otherstrings with pure fifths. 2. Match the A and D to the open strings and slightlylower the melodie Pythagorean sharp, (C sharp,and D sharp for the unison passage to sound perfectly in tune with the piano. ae es 5 ColleMind Intosationand Technique | Chapters Introduction to Intenation'| believe that from the earth emerges a musical poetry, which is by the nature of its sources tonal | believe that these sources cause to exist a phonology of music, which evolves frorn the universal known as the harmonic series — Leonard Bernstein’ Chapter 2: The Harmonic Overtone Series ‘The harmonic overtone seriesor harmonic series is the basis ofall tonal musicand the foundation of our understandingof Western music. Itisalso presentin nature and through man-made sounds, from chirping birds to blasting fire sirens. To better understand the harmonic series, let's first definea few basic concepts, Fundamental Tone ‘The fundamental tone or fundamentals the main note heard when playing any note on any string. Itis thelowest standing wave frequency, whereall parts of the string vibrate together. When playingan open A string, the note beard (A) isthe fundamental tone. It can also bereferred to asthe first harmonie/partial. Standing Wave ‘The way astringvibrates is called astanding wave and is composed of thefundamental (the lowest standing wave frequency) and several other smaller standing waves, Partials A partial isthe portion ofa wave that vibrates. Astring vibrates in many parts; theoretically, standing wave patterns can divide the string into an infinite number ‘of partials. In this book, we will focus on therirsteight partials. Nodes ‘Harmonie nodes refer to the points between thepartials| where the overtones are located. These nodes donot vibrate, 1 Leonard Bernstein, Phe Ununmwerel Quetin Six Tah ef Harvard (Cambridge Harvard University Pens, 1970), 424 Cellos ntonationand Technique ‘Chapter: The Harmon verte SeriesOvertones Located at the harmonic nodes, overtones refer to any partial except for the lowest—the fundamental tone. These overtones ring along with the fundamentalnote, to which they are mathematically related, In some ways, we can describe overtones In comparison with light. For example, we understand that light isthe totalspeetrum ofall colors, but not all colors can always be seen individually, The same prineiple applies with the overtones. These “over” tones resonate as part ofthe total sound, but they are not alwaysdistinguished individually. ‘The greater the number of vertones activated, the more full-bodied and brilliant the sound. ‘Natural harmonies are overtones foundon the stringandare producedby touchingthe strings lightlyat the harmonie nodes, Relationship between Partials and Overtones Partials and overtonesbothhave a great Influenceon sound quality and intonation, While they are very similar it is important tobeableto distinguish between thetwo, Remember that anovertoneis defined as any partial exceptthe lowest (fundamental) and, that they are located at the harmonicnodes between the partials (where there are no vibrstion®), Partials and overtones are counted differently due to the fact that the firet partial is the fundamental pitch. The second partial is counted as the first overtone (one octave above thefundamenta). Wave Representation of Partial Series (© = Nowe Oxronss 2nd 4th sth oth sth Parts of String Vibrating Whole string ‘Two parts ‘Three parts Four parts Five parts Sixparts Seven parts, Eight parte 10 CelleindIntosstionand Technique | Chapter2: The Harmonie Overtone Series Pitch Produced Pundamentaltone Octave above fund Octave + fifthabove fund Twooetaves abovefund Twooctaves +major thirdabove fund Two octaves + fifth above fund ‘Twooctaves +minor seventh abovefund Three octaves above fund Fandamenta ‘st Patal ‘ne Pata sh Pati 7h Pati ‘ah Pati Overtone Ist ‘nd ath sth ahale stem aColdioi ery ge mile sy on the Cello Fingerboard er Ue Gerace Rael i) ern old 1 ae Cena ce aay eo - e Two Octaver + Majer Third @ 4 Two Octaves + Perfect Fifth @ ee i ae ALN C1 Ween) Partials Ua Feu ti Can Se rst} Clle\ind: Inffntionand Technique | Chapter2: The Harmon vetoneSeries, ItHarmonic Series FFirsteight partialson the open strings: Practicethe eight partials on one string with a variety of fingerings. Locate and play the first eight harmonicson the indicated strings, Study and memorize the harmonic series and the overtone chart. ‘Know the namesand numbers of the eight partials on all four strings. Majer o © © ° ° ° * Pata 2 a 4 : 6 7 + 2 CellefindIntosationand Technique | Chapter2: The Harmonis Overton Series iMaiaial concarenas eames.Cena The phenomenon of sympathetie vibrationson the cello occurs when a plucked or bowed piteh causes one oF more harmonies onanother string() to resonate in sympathy. The sympathetic vibrations share a harmonic likeness with the original pitch. Physicist Hermann von Helmholtz proposed that the “sound-movementofa st its originally narrow and fixed home and diffuse itself in ican leave the air? and that this soundean “putanother string into sympathetic vibration.” An example of sympathetic vibration (or resonanco isa window rattling when a busora big truck drives by. The window rattles at the same or higher harmonic frequency of the sound made by the bus or truck. Another classie example s thebursting of awine glass from the powerful voleeofa soprano. Sympathetic vibrations play a central rolein sound produetion and intonation, The most resonant sympathetic vibr: playing the solid notes C, G,D, and A in different registers. jdonsof the open strings take place when Alecturety Hermannvon Helmbolta, ss detailed y Shelley Tower, Sense Hearing the Open String Sympathetic Vibrations Playingthe openstring tones in different registers on other strings creates the most obvious and vibrant sympathetic vibrations on the cello, InBxercise $1, the lower staffline indicatesthe actual note tobe played. The higher staffline indicates the sympathetic vibrations that are activated onthe open, strings, Play the solid notes inthe center of the pitch to activate the most resonant sympathetic vibrations on the other strings. VBratian:A Historyof the Pleasure and Pas of Saud. (London: A&C (Chapter; Tonie Sympathetic Vibrations ofthe Open Stings 18[EREEEEEED] Tonic Sympathetic Vibrations of the Open Strings Here are some helpful ways to hear the sympathetic vibrations: 1. Play the solid note forte with a fast up bow while traveling toward the frog. Lift the bow off the stringandstop it from vibrating with one of the fingers of the bow hand. Listen forthe sympathetic vibrations. 2, When you place the left-hand finger right in the centerof the note, itactivatesthe sympathetic vibrationsto a greater extent, resulting in a richer and more resonant sound, 3, Tohelp hear the perfect placement ofthe left hand, experiment with placing the pitch near the center ofthe note. ‘Notice how more vibrant the sympathetic vibrations are when the finger is placed rightin the center of the note. (open A, newhole sting vitrates ‘2nd pari on SV Simpati trains v MW pen A sting win Open D strrg ‘Open Othe whole sting vinates __ Found oniwe sinngs tn partion i 2 % v 1 1 wv set 109 4m parton i «th parsaton i Tes Kame = * hoa w " " 2nd pati en ‘th partial on 2 uM 0 ' ' M4 CelleMindIntosationand Technique | Chapter: Tonic Sympathetic Vibrations ef the Open Strings Matatial[BEEBE] How to Locate Sympathetic Vibrations 1 Inthis exercise, we have isolated one note, Notice that as you get closer to the center of the note, the sympathetic vibrations become stronger. When you are perfectly intune, the sympathetic vibrations are at their most resonant. 2. Itisimportant to hearexactly where thesympathetic vibrations are located on the cello. Going back and forthbetween ‘the solid notes (that activate the harmonics) and the harmonies themselves isa great exercise in fingerboard geography, No Sympathetic vibration Weak Sympatetic vibration ‘Stong Sympathete: Vitration wt et at et . very lat verysharp sgt fat sgnly sharp bullseye / 109% intune CelloMindntomationand Technique Chapter: Tonk Sympathetic VibraLocating the Positions of the Tonic Sympathetic Vibrations 1, Locate and matehall solid notes on the various Additional Instructions strings, and listen for the sympathetic vibrations. 1. Before playing each note, visualize with your 2. Alternate between playingthe solid note, harmonic, mind the soundof the fundamental tone and the andthe sympathetic vibrationsin each measure, sympathetic vibrations, 8, Practicewith the followingvariations foreach 2 Use your mind to feel the placement ofthe left hand ‘measure, changing the order of notes and harmonics ‘on thefingerboard, as desired: 8 ‘Take the time beforeand after each note tolisten 18, solidcharmonie closely for the tonic sympathetic vibrations. b. harmonie-solid nda aneanal an paral ‘stpanal separ - 2ndipartiad t pees a ca mem E ° ss = *: mo 1 3 partial 1 en pariat on Nou Nv ut i Mv m4 nod no ud v a Ww ¥ —CelleMind tntosstionand Technique | Chapter2: Tie Sympathetic Vibrations the Open Strings MatDuport Double Stop Exercises with the Open Strings First Position Octaves ety) wee alee Sty aw we AD © He i 1 te i, ow Thee oe =e Ht x » eaNbe Second Position Octaves (Minor) 1S 38 24 5 ofthe Oven sng Po. CllotindImomationan Technique Chapter Tore Syrnpatheti Vis[ERIEIEER] Thr Position Octaves and Unisons (Major) 8 CelleMind Intosstionand Technique | Chapter2: Tie Sympathetic Vibrations othe Open Strings Mat‘Make sense of cents!” — Hans Jorgen Jensen Chapter 4: Cents Explained As we introduced in Chapter I “Introduction to Intonation,” acent is logarithmic unit used for measuring musical intervals and was originally invented by Alexander Ellisas a tool for measuringthe pitches in equal temperament. Equal temperament divides the octave into 12 equal halfsteps, with each halfstep (semitone) equaling exactly 100 cents. One cent ean thereforebe defined asone hundredth of an equal- temperedsemitone. Navigating with Cents Much to the practical benefit of musicians, cents can also be used to compare and messure similar intervals in different tuning systems. Inthisbook, wewill use cents asa tool for sensitizing the ears to hear small distances between the same intervals tuned ina variety of ways, ‘The interval of one cent is too slight for the human ear tohear and distinguish, The smallest interval that most musicians can identifyis around ive o sixcents. Measuring Intervals in Cents One octave is 1200.cents and isthe only interval that is the same size in all three tuning systems (equal temperament, just, and Pythagorean). Fourths and fifthsare different sizesin equal temperamentcompared to ust and Pythagorean tuning. > Equal-tempered fourthsand fifths arecomposed of cequal-sized halfsteps and areslightly out of tune. + Equal-tempered fourths are&00 cents (five semitones. > Equal-tempered fifths are 700 cents even semitones). > Just and Pythagorean tuningsystemsuse perfect fourths and perfect fifths. > Perfect fourths are498 cents (two cents smaller than equal-tempered fourths), > Perfect fifths are 702 cents (two cents larger than equal-tempered fifths). It may seem strange that the “out-of-tune” equal: tempered fourths and fifths have perfectly round numbers, while the “pure” perfect fourths and fifths donot. Thisis because the cent measuring system was specifically invented for equal temperament in which the semitones are the same size, ‘The major third js also different in each tuning system: > Equal-tempered major thirdsare 400 cents (four semitones), > Just major thirds are 886 cents (14 cents smaller than equal-tempered major thirds). > Pythagorean major thirds are 408 cents (Bcents larger than equal-tempered major thirds). Tobetter understand how to use cents to measure intervals, we will introduce octaves, fifths, fourths, and ‘major thirds as our benchmarks inmeasuring intervals before distinguishing the different sizes of the semitones in the equal temperament just, and Pythagorean systems, CClloMind: tnonationand Technique Chapter 4;Cent Exped 19The First Eight Partials of the C String We first introduced the harmonic series chart in Chapter 2, “The Harmonic OvertoneSeries.” Below we havereproduced, the C major series with the sizes ofthe intervals in cents as described previously. > A1200-cent octave is cated between the Istand 2nd partials. > A702-cent perfect fifth is located between the 2n > A498. cent perfect fourth ls although a perfect fourth also exists between the 6th and 8th partials—itis properly derived from the harmonic seriesas the interval between the 3rd and 4th). > A.386-cent just major third is located betweea the 4th and Sth partials. and 3rdpartials. located between the ard and 4th pai = GEE] The 5th Partials and Just Major Thirds of the Open Strings As stated above, the just major third is found between the 4th and Sth partials.A practical way tofind the just major thirds of the open strings isto match the solid note under the Sth partial of heopen strings in first position. The just major third is the interval between that solid note and the open string. sent einmnesh ein owe BO o _ te 5 te Sie oe ———— see [EEEEEEZE] The Pythagorean Major Third of the C String ‘The Pythagorean system is ereated from perfect fifths. All othe pitches in this intonation system arerelated by perfect fifths. You can sec how the pitches stuck in theexercise below. > Theharmonic E on the A stringis the Pythagorean E: four perfect fifths above the open C string > Four perfect fifths = 702 cents «4 =2808¢ents, > Twooetaves=1200 cents «2 = 2400 cents > OnePythagorean major third =2808 cents ~ 2400 cents, 108 cents. Ptagoean€ Zectaes Fyhagwean mae 2708 20 CelleMind Intosstionand’Technique | Chapter4:Cents ExplainedComparing Intonation Systems in Cents: Equal Temperament vs. Just vs. Pythagorean Nowlet'slookat how all ofthe intervals in cents compare amongthe three different tuning systems. Interval Equal Temperament Just Pythagorean Octave 1200 1200 1200 Pifth 700 702 702 Fourth 500 498 498 ‘Major third 400 386 408 Semitone 100 uz 90 ‘The preceding table and following chart’ clearly illustrate how the variousintervals compare with each other. Using equal temperamentas the benchmark, youcan see how the smaller just major third and perfect fourthare placed to the left ofthe equal-tempered pitches, while the larger Pythagorean major third and perfect fifth fll to the right ofthe equal-tempered. pitches. [EREEEEED] Comparing intonation Systems in Cents Pymagerems 1 Sibelius Academy, The Bass of Acoustics, The Bass of cous, Available at tp www? iba /akustiika/ide49Rtaven, Lastupdated February CélloMind: atonaton and Technique | Chgnter4:Cent Expl. 2The Just and Pythagorean Semitones Just Semitones Ez Locating the Just Semitone No. 1 ‘The just semitone is 112 cents and is found ich omctsh a ——‘IB-B_ Ht samtone between the 336-cent just majorthird and the 498-cent perfect fourth (498 cents ~ 386 cents= U2cents). [BREE] Locating the Just Semitone No. 2 Match the solid pitches with the Sth partial harmonies ofthe four open strings. > Thejust major third is386cents > Thejust perfect fourth is 498 cents, > Thejustsemitoneis 112cents, = st mior 8 396 [ERS] The Just Semitone: above the Open Strings When tuningthe ust minor sixth use the higher B flat Eft, and A fat that tune with the oen strings poe finer sch m2 erect ith ne 22 CellefindIntosationand Technique | Chapter4:Cents ExplainedPythagorean Semitones BREEZE) Locating the Pythagorean Semitone No. 1 ‘The Pythagorean semitone is 90 cents and is foundbetween Pymagoreane Poor the 408-cent Pythagorean major third and the 498-cent SZ naun 08, o-oo” perfect fourth: 498-408 = 90 cents. The Pythagorean semitones arealso found between al flats leading downand all sharpsleading up totheit respective neighboring natural mae 6 notes. orc sh Locating the Pythagorean Semitone No. 2 Inthis exercise, we use Nao erect Prtapron Semone a sare eta macniwe aoay the semitone between ae the Pythagorean Bat and the open A string. Pythagorean Flat and Sharp Semitones 1n the Pythagorean tuning system, the small 90-cent half-step attractions arethe reason why this systems soexpressive, ‘The flats pull down toward the natural notes below, and the sharps pull up toward the natural notes above * * » » CélloMtindItonation and Technigee | Chanter4-Cenls Exped 28‘The history of harmony is the history of the development of the human ear, which has gradually assimilated, in their natural order, the successive intervals of the harmonic series’ See a Ree ee Ee ete ec eee ee eeChapter 5: Just Intonation and the Harmonic Series Justintonation is based on the harmonic series, alsoreferred to inthisbook as the harmonic overtone series. It is often used for tuning double stopsand chords, When two notes are played simultaneously and ring perfectly touether, there isno interference from acoustical beats. In acousties,a beats defined as an interference of two sounds of slightly different frequencies. The Harmonic Series and Cents In previous chapters, we introduced eents and how to navigate this unit of measurement forthe different tuning systems, In this chapter, we will use cents to develop a more sophisticated ability to perceive pitch relationships. Remember thet the Ist, 2nd, 4th, and sth partials consist of the fandamental and haveno deviation when compared toequal temperament. ‘The rd and oth partials (octave +fifthand two octaves + fifth) are two cents higher dueto the fact that pure perfect fifths are ‘wvo conts larger than equal-tempered fifths (702 versus 700). Porfect fifths are perfzetly in tune, while equal-tempered fiths sre slightly outof tune. We use perfect fifths in both just and Pythagorean tuning The Sth partial (wo octaves + major third) is 4 cents lower. This small major third is found between the 4th and 5thpartials. The just majorthi intervalis 385 cents, while the equal-tempered major third is400cents. The difference is 4 cents, The 7th partial (wo octaves + minor seventh) is 81 cents lower. This small minor seventh is found between the 4th and 7th, partials. The just minor seventh is 069 cents, whilethe equal-tempered minorseventh is 1000 cents. The differenceis Blcents. ‘The followingchart illustrates the deviation in cents between the partialsand the interval abovetthe fundamental Partai! Interval Above Fundamental Deviation In Cent Harmonic From Equal Ast fundamental, ° 2nd octave ° ‘rd ‘octave + fifth 2 ath octaves ° sth, octaves + major third a4 oth, octaves +fifth 2 7th octaves + minor seventh -1 sth Soctaves ° CColioind Intonation and’ Technique | Chapter: Just Intonation ae the larmonie Series 25[EEEERIER] Harmonic Series: First Eight Partials on the Open Strings, with Deviations ‘The followingharmonie series miay look familiar to You=it is the same exercise as the one given in Chapter 2, with one difference: here, the partials are marked with numbers above thenotes, indicating the cent deviations from equal temperament. Because the fundamental and octaves have zero cents deviation, they are not marked > Playall harmonics on the samestring as indicated, > The Istharmonie/partialis the open string and the fundamental one, > The 2nd harmonie/partial isthe octave. More Exercises ‘Togiveyou morepracticein order to understandthe relationship between the harmonic series and cents, try the following exercises: ‘Memorize the note names of the eight partials on the four stringsand the cent numbers that showhow ‘much each pitch deviates from equal temperament. Practice playing the eight partials with various fingerings. Visualize and play the different partials ina random order. At the same time, say the name of the note, the ‘number ofthe partial, and the deviation in cents. ce 2 2 4 2 a a z 7 ; a 2 ° 2 2 * = = * ‘mpm a 7 5 . 7 @ AMacr 26 Celleind Intosstionand Technique ‘Chapter: Just Intonatien athe Harmonie Series‘Dissonance arises due to the beating between adjacent harmonics of complex tones. In effect, dissonance arises due to rapid ampiitude fluctuations" — Hermann von Helmholtz! Chapter 6: Dissonant and Consonant Double Stops Dissonant and consonant double stops and chords are very important aspects of harmony and have 2 great influence on intonation. In music, 2 consonance (Latin con, “with" + sonare,“tosound”) is harmony, chord, orinterval considered stable fat rest), as opposed toadissonance (Latin dis- “apart” + sonare, “to sound”), which is considered unstable (or temporary, transitional). In more general use, consonance refers ‘on of notes that sound pleasant to most toacombi people when played at the sametimes dissonance is a ‘combination of notes that sound harsh or unpleasant to most people, Interference-what Helmholtz refers to zs the “beating"-occursbetween out-of-tune pitches. tis important to train the ear and the mind to hear this, Interference and the difference between dissonant and consonant intervals. The intervals ean be organized according to the following rules Perfect consonance (no interference of the overtones): > unisons and octaves > perfect fourths and perfect fifths Imperfect consonance (interference ofthe overiones ‘ith equal emperamentandPythagorean no interference of the avertoneswith justintonation)= > majorandminor thirds > majorandminorsisths Dissonant harmonic interval (interference of the overtones): > majorandminorseconds > majorandminor sevenths > augmented fourthsanddiminished fifths 1 Thisexcerpt is asummary by Bl lartann of Hermansvon lelmbolts'swork,On the Sensation of Tae Ae Physiological Baxi the Theory af Mus: London, NewYork: Longnans, Gren. and Co. 1895). See Bll Hartinann, Comonarce and Dissonance—Reughness Theory Cogitive and Systematic Musicology Laburatory (Course: Music $298:Consonance andDissonanco, Ohi State Unversity, Avalale ttt /wwwmasicg, ho-statec/Manic9/rouglness tml CClloMin: Intonationand Techniqus | Chapter 6: Dissonantang) nan BSL iP a“Hearing the Beats’—Dissonance and Consonance Listeningto the interference—or absence of interference—in double stopsis a great way to train the ear and develop better intonation. > In perfect consonant intervals (unisons, perfect fourths, perfect fifths, octaves) no interference occurs, > Inimperfect consonant intervals (major and minorthirds and sixths) no interference occurs when tuned with just, intonation. However, interference does occur with these intervals ifusing equal temperament or Pythagorean systems, > Indissonant harmonic intervals (major and minor seconds and sevenths, augmented fourths, and diminished {ifths), interference occursbetweenadjacent harmonics of the two tones CREETEEEY tuning the cetlo 1. Play theharmonies onthe string ncicated, Slop the vibration after each harmonic 2, ‘Tune the lower string harmonic to match the frequency ofthe higher string. 3, Playthe octave harmonies together. When completely in tune, no interference should be heard. Locating the Octaves Inthe octavesexercise below, the open string isdominant. 1. Play louder on theaccidental note and feel how the dissonant tone slides into the octave, The higher octave is the 2d partial, so when playing louder on the open string, the octave is reinforced and thetwotones blend together perfectly. smile 28 Celkfindtntosationand'Technique | Chapter Dissonant aa Consonant Double Stops fi(ERIE) interference of the Harmonics 1. Practice the followingexercises with a slow and even bow speed. Glissando ina slow tempo from the dissonant minor second to theconsonant unison. 2. When sliding, observehow the harmonik 8, Move in small increments toward the unison, a, Note: It helps to keep the finger in place at specific points as you approach the unison to hear the beats more clearly. 4, Listen to how thebeats slow down as the pitch approaches the consonant interval, When the consonant interval is, perfectly in tune, the beats disappear and the twonotes swing in unison and sound the same. beat against each other until they beginto vibrate in unison, issonda ised Giessen codbos——«f~~C ees‘ obese ‘ to A _—— ek Ep a a a a obese ‘ates pment oat [REEIRRE Locating he trons Practice these exercises, listening to the difference between the dissonant and consonant intervals. Increase the tempoand play withan even bow speed across both strings. Callostind Itonationand Technique | Chapter6:Dissnantang Consonant DobleSlops 29"Beats emanate mostly/fronn the lowest common overtones that the two/ngtes share” Sead Se gee ee eer ee oe eyChapter 7. Just Intonation System for Double Stops Developing the ability to visualize and imagine thesound of the justintervalsin your mindisone ofthe most important clements of intonation to master. Listento the vibrations (or absence of vibrations) to guide your ear for the intonationof the chordsand double stops. Dominant Pitch When playingdouble stops and chords in tuneusing Just intonation, itis necessary to decide which note is the ‘dominating pitch and then adjust theother note() to Lowest Common Overtone Beats emanate mostly from the lowesteommon overtones that the two notesshare. When the double stop isin tune according to just tuning, the two common, overtones vibrate and swing together in unison. In other words, you will nothearany beats produced by the different pitches. However, ifthe doublestops are tuned using equal temperament or Pythagorean tuning (meaning they are not perfectiy in tune), you should hear beats emanating from the double stops. The more dissonant the double stops, the faster the beat rate [EEE] Dominant Pitch Exampie (The Two és) ‘The E found in thefirstposition on the D string ‘ean be tuned in two ways: with the open Astring ‘orwith the open Gstring. Inboth cases, the open stringis the dominantpiteh, and the Eis the piteh thathas to adjust to the open string, Listen. for the absence of beats when the twonotes line up perfectly in tune. Hereare two examples: 1 wins .edominant pitch: tuning the E with the open Astring: win +> When tuned with the A string, the interval is perfect fourth. > ‘The 3rd partial ofthe isin unison with the4th partial ofthe E. 2, ‘Thedominant pi sh: tuning the E with the open Gstring: > When tuned with theG string, the interval isa just majorsixth, and the Srd partial ofthe Sth partial of theG string, 1 Thebthattuneswiththe Astringas perfect fourth is 468 cents under the A string and 204centsabove the Dstring. (Pefact fth nus perfect fourth~702 —498- 204 ees) Collin: Inonatin and Technique CChapier7: Just Intonation stern for DoubleStops. stJust Major and Minor Thirds Just Major Thirds ‘The 386-cent just major thirds are small when compared with the 408-cent Pythagorean and the 400-cent equal-tempered major thirds [REEEEEEZ) The Just Major Thirds of the Open Strings The Just Major Thirds in Double Stops For this exercise, match the pitches according to the open strings and the Sth partial 1, Match the Cson the Dand G stringswith the open string, 2, Match the Eson the Aand D stringswith the harmonic E on theC string. > Donotuse the harmonic Eon the A string because itis 22cents sharp compared to the E on the C string 1. Match the Gson the DandCstringswith the open G string. 2. Match the Bson the A and G strings withthe harmonic B on theG string, 0 ooo ow mm Sere 52 Cellefindtntosationand Technique | Chapter Just Intonation System ir Double Stops iw ‘Just Minor Thirds ‘The 316-cent just minor thirds are large when compared with the 300-cent equal-tempered thirds and the 204-cent Pythagorean minor thirds. When you stacka just majorthird and ajust minorthird together, theresut isa perfect fifth. Forexample.the just F sharp is amajor third above theopen D stringanda just minor thirdbelow the A string [RESIN The Just Minor Thirds in Double Stops Hom Spat 4 ° 3 Magead 366 Parfectsin= 702 Mord 216 Comparing Just Major and Minor Thirds When compared with Fythegorean and equal-tempered tuning, ust major thirds are smaller and just minor thirdsare larger. The difference between the just minor and major thirds is70 cents,a very small semitone, ‘Compering Just Major and Minor Thirds 1, When exploring the placement of thet betweenthe overtones. is, purposely make the thirds slightly sharp or slightly flat to hear the beating 2, Find theperfect placement for these major and minor thirds. The beats disappear when the thinds are in tune. 3, Tomakejust major thirds with the open strings, move the lower note up (compared to Pythagorean tuning). 4, Tomakejustminor thirds withthe openstrings, move the lower note down (compared to Pythagorean tuning). + 22 cons congarea Pisco neg 22 can corpse Page ting Cellostind Itonatonant Technique | Chapter? tust Intonation stem fr DoubleSlops 98Just Major and Minor Sixths The just major sixths are the same pitches as the minor > minorthird + majorsixth = oneoctave thirds when the order of the pitches are reversed. The just Gi) + (88H = (1200) major sixths are 884 cents, > majorthird + minorsixth = oneoctave aa) + GM) = 0200) Likewise, the minor sixths are the same pitches as the on ee 300) major thirds with the order of the pitches reversed. The Just minor sixths are 814 cents, The Just Major and Minor Sixths in Double Stops In this exereise the 3rd, 4th, and 5th partial harmonics of the open stringsare used to tune the major and minor sixths. Listen to the sound of the harmonic double stops and play the solid doublestop sixths perfectly in tune. The Just Major and Minor Sixths in Double Stops. s8 . Hye ip » Pp > 13 : ia 34 Celleslindtntosationand Technique | Chapter Just Intonation System fir Double Stops[EREEEEEZ) Etude by Dotzauer in Thirds and Sixths We will use this short éudeby Dotzauer to practice and implement some of the information studied so farin this and previous chapters, 1. Allof the double stops should be tuned using ust tuning. The dominant pitchis G natural, AllF sharps and B naturals should match theSth partials ofthe G and D strings 2. Inmeasures4and 11, note the following: a, The Cnaturalthattunes with the G stringand matchesthe openC string has an A natural that tunes 22.cents lower thanthe openA string, b, Try laying that low A against the A string; you will hear a very dissonantand out-of-tune “unison,” The 22-cent ‘ower A should be used. 3, Inmeasure 6, use the low F natural that matches the 5th partial Eon theC string, Duport Etude No. 8 in addition to perfect intervals, thirds, and sixths, Duportftude No. 8 also includes a number of diminished fiths. ‘The diminished fifths in this étude are formedby the major third andthe minor seventh of the dominant seventh chord, and, havea gravitational pull toward the resolution of the tonic. The minor seventh resolves witha downward pull toward the thirdof the tonic, and the major third resolves with an upward pull toward thetonic, Diminished Fifth Resolving Toward a Major Third! a 1 Formoreinformationon diminished fifths, se Chapter’0, CelloMind: Imonationant Technique Chapter7:Just Intonation Stem or Doubles 35(EEEEEEEAD] Tuning Chart for Duport Etude Use just intonation for these chord progressions, The étude starts out in D major and moves through G major, D major, and E major, and finally modulates to A major. 1. ‘Thedominant pitches are theopen G, D,and A strings and theSrd partial Eon the A string. 2, Match the open strings and use the followingSth partials for allthe major thirds: BF sharp, C sharp, andG sharp. wa Nv hiv a (BEREEEEAD Fisst Hair of Duport Etude No. 8 36 san-Penre Dupont (1741-1818) Adagio cantabile CClloMind Intosationand Technique | Chapter7 Just Intonation System for Double StopsThe justly intoned chords...possess a full and as it were saturated harmoniousness, they flow on, with a full stream, calm and smooth, without tremor or beat’ — Hermann von Helmholtz! Chapter 8: Just Intonation System for Major Triads Just intonation is based on the harmonic overtones series and is mainly used for playing double stopsand chords (itis especially useful inchamber ensembles). Instrumentalists and chamber ensembles specializing in Baroque and Classical performance practices also advocate just intonation. In these contexts, Just intonation isa critical cornerstone for purity of intonation, Understanding Just Intonation as a Relational Tuning System Just intonation is not afixed-note tuningsystem but a relational system where each pitch must always relate to itscorresponding dominant pitch, In the arpegaio ‘exercisesfor this chapter, the keys are organized with the open string as the dominant pitch. Practicing the arpeggios using just intonation will provide abetter founilation for understanding the system and how to use itin practical applications, The Twelve Major Keys Divided into Four Groups ‘The 12 keysare organized into four groups basedon how they relate to the open strings. 1. The four keys with the tonicas the open string: ©G,D,and A major © ‘The flat keys: flat, & flat, A flat, and Dflat major > Bflatrelates to theopen D string > Eflatrelates to theopenG string ~ Aflatand D flat both relate to theopen Cstring s ‘The lonely F major > Relates toboth the open A.and C strings (but ‘only one ata time) Emajor and thekeys withoutopen strings: Band F sharp major > Indirectly relates to theopen A string 1 Hermann on Helmhalt, Oe the Sensations Tneas a Physiologica Bassfrthe Theory of Musi First English Edition (London: Langmans, Green aco, 1873,).497 CCeloMind:Inonathmand Technique Chapters: Just Intonation Stem for Maloy Trin 97The Four Major Keys with the Tonic as the Open String: C-G-D-A ‘The keys C,6,D, and Aare the easiest to understand and tune usingjust intonation because the just major thirds are located onthe th partialsof the open strings. These major thirds are very easy tofind. andthe triad can be played with harmonies in the higher positions. [ERREIRE] The Four Major Triads of the Open Strings with Harmonics 1. Play the major triads forthe open string keys as harmonics, as written inthe followingexercise. a, Notice that the fifths and octaves areperfect intervals, and the just major thirds are 14 cents lower compared to equal temperament tuning, Just thirds are 286 cents, and equal-tempored thirds are 400 cents, 1b. The just major thirds have avery soft, melodic quality. Theysound perfect in double stops and chords. (Maer Tae Maju Teds 8 1 2 a e . 2 Mecwancis peaine 5 or Te Atos ads gow |poe pow Just Tuned Major Triads on the Open Strings 1. Find thejustthirds on the ifths partialsas harmoniesin the first position. 2, Match the solid thirds with the just harmonic thirds, 8, Remember the sound and the position on the fingerboard. (Ma, Ju ME {Gop us THe = ————- Vv MW maps Ju TF Ado ts Tid LS _ 38 Cellfind tntosationand Technique | Chapter8:Just Intonation System for Major Trinds iThe Four Keys with Open Sirings, a: Two-Octave Triads In Cand major, practice the two-oetave arpeggios on onestring, using the harmonic arpeggios in the higher positions. Notice the lower just major thirds Practice going cross the strings with various ingerings forall fourkeys. Usehorizontal pitch memory. cmap % 3 ° CalloMinditonation ant Technique | Chapters ust Intonation $sThe Flat Major Keys with the Open Strings as Just Major Thirds: B Flat - E Flat - A Flat — (D Flat) ‘Because the open strings have a strong influence on ourintonation, in the B flat, E flat, A flat, and D flat keys the tonies must be raised to get a just major third (886 cents) that tunes with the openstrings. [ERIE] Finding the Just Tonic B Flot 1, Tune the B flat with the open Dstring so thatthe interval sounds perfectly in tunewithout any beats. a, When played alone, that B flat will activate the harmonic D, the 4th partial on the open D string, , sete regan Tena Key Paget? ion re a 2 (ESE Finding the Just Tonic € Fiat 1, Tune the E flat with the open Gstring so that the interval sounds perfectly in tune without any beats, ‘a, When played alone, that E flat will activate the harmonic G, the 4th partial above the open Gstring. Beointny Tine suet Ta Spates Teng he kay a wine Somos i 40 CelleindIntosstionand’Teehnique | Chapter Jus Intonation Sytem for Major Trinds ima ‘[EEEEIEE Finding the Just Tonic A Flat 1. Tune the flat with the open Cstring so that the interval sounds perfectly in tunewithout any beats, ‘a, When played alone, that A flat will activate the harmonic C, the Sth partial on the open Cstring. Doninaing Terie atta ™ YP paroneng> | [EEEEIEEI Finding the Just Tonic D Flat ‘The D flat key doesnot haveany sympathetic vibrations. 1. Tofind the tonic D flat, go downa perfect fifth from the just A flat tonic. Chapter Just Intonation Sate for Major Tras autoraisThe Lonely F Major Playingin F majoris tricky because the F has two open strings inthe triac:it can either be tuned withthe A string or with the Cstring. ‘The two ways of tuning F major using just intonation: 1. Ptunedto the A string when tunedto the A string the istuned higher, The C, asa perfectffth, will alse be tuned higher (22.cent9'thanthe Cstring. 2. Ftunedio the Cstring when tunedto the C string, the Fisa perfectfourth, and all the As are tuned slightly over (@2cents) than the Astring EEE F Major Reiating to the A String 1, ‘Tune the F with the open A string so that the interval sounds perfectly in tune withoutany beats. a, When played alone, thot F will activate the harmonic A,the Ath partial onthe A string. b. Remember: because the tonic Fis now 22cents higher, the dominantC must also shift 22 cents higher to forma perfect fith. oomatra st tira Tone erga ich Vomiers 1 4 44 444 od Note Mac he Cas a FaiotFith che ot oma opsnC rng 1 The2cenesisalio knownasthesyntoniccomma, See Chapter12for moe information. 42. Cellstindtntosationand'Technique | Chapter: Jus Intonation System for Major THisF Major Relating to the C String the open C string 1. Match the Con the G stringwit he open Cstring Mabe aportine nh witht ont C ving 4. Thistonic Pisin perfect orth rebtion wt 4. Avoidusing the open Astrngbecause it willhe22ceni higher. KE Wee OY a (EEZEEND Wath and Measuring with the Two Fs In onder to find the difference between the two Fs, lets startby measuring the distance between the intervals involved, using cents as ameasuring took: octave =1200 cents > perfect fifth = 702cents > perfect fourth = 498 cents: > justmajor third =386 cents > three perfect fifths = 2106 cents (7023) ‘The given exercise shows the difference in cents between tuning the F with the open Aandwith the open C. Celloind: rxonation in Teebnique Baten pan simatic sate s/o 305 0 tte F that hanes with tre Ating att C sng isco core eters ‘Reha! nes wa he 2106-266 - 1720 rap. 00 =520 "86 coms a proc uh 26010 feces Scan aunothe ern NSF? Es oe “The clement btwn tt Fe 520-08 = 22 resath eC sng Chapters hust Intonation $s