For musicians, being able to play with good intonation is one of the most important skills

to have. "Intonation… has two levels: pitch discrimination, which is the ability to distinguish

differences between two examples of a single pitch, and pitch matching, the ability of a musician

to reproduce a given pitch accurately” (Zabanal, 2019, p. 51). To play music well, the foundation

of being able to play the correct notes with proper pitch must be strong. It is an aspect of music

that is taught from when a musician first begins learning their instrument. For violin and viola

players, it is arguably one of the most difficult aspects of learning the instrument, and it is the

teacher’s job to set their students up with the skills to be able to play with proper intonation as

the students progress. The long term goal of intonation is "not only being able to play the right

note... but the ability to play the note in exact tune" with the reference (Walker, 1948, p. 26).

Dillon states that teachers should set the expectation that students should play in tune from the

start because it will help students create the habit (2003). Teachers should incorporate different

strategies into their classroom for students to develop their higher strings’ intonation, however

there are some debates among pedagogues on which strategies are the best to implement.

Singing is one way to help develop good intonation in playing. This is because over time,

singing will help students develop aural skills so they can tell if they are flat or sharp (Wolbers

2002). Singing also aids in the development of students’ aural skills by internalizing and

recognizing intervals (Dillon 2003). One study shows that when students listen to what they are

supposed to play and sing it correctly, they will play it more in tune than if they were just to

listen to it (Smith 1995). When students sing what they are supposed to play, it gives them the

chance to internalize what it’s supposed to sound like. This way, students will know if they are

playing the correct pitches and if those pitches are in tune. Dillon states that students singing

unison parts with the rest of the class will help students play harmonies more in tune later (2003).
Because of this, it is important for students to have a strong foundation and expectation of

singing. Singing to help intonation development is an agreed upon way among scholars, but

other strategies for beginner students are not.

One debate among teachers is if they should include a piano accompaniment while their

students are playing in class. Some teachers are a proponent for including an accompanying part

because of the reference for pitch it provides, while other teachers are against always having a

reference for their students. Some teachers worry that students will become too reliant on always

listening to the piano for the correct pitch (Bergonzi 1997). In Bergonzi’s study, they show that a

piano accompaniment part helped students play more in tune (1997). However, Bergonzi states

that the results for their study were not the same as similar studies. Mishra points this out in their

investigation. Different studies that Mishra found had differing results. Some studies supported

that playing with accompaniment was a better strategy, while other studies showed that playing

without accompaniment aided in students playing more in tune (2000).

Another debate among string teachers is if students should have finger marker

placements, or tapes, when they begin playing their instruments. Many teachers start students off

with tapes on their instruments because having no frets on the instrument can make it confusing

for students on where to place their hand (Bergonzi 1997). These teachers also believe that

beginning students with tapes will help allow them to play with the proper hand shape and

intonation right away. Having students play with a consistent hand shape and finger placement

will allow them to create a habit of playing in tune, which will also help develop their ear. Other

teachers argue that beginners should not have tapes because the students are not relying on their

ear for where to set their hand and fingers; rather, they are relying on the visual aid. They claim

that relying on the visual aid will harm the students’ aural skills. In Bergonzi’s study, students
who played with tapes performed with better intonation than those without tapes (1997). In

Mishra’s search, they found one study that actually showed that students who learned their

instrument without tapes performed with better intonation, but another study they found showed

that there were not significant differences between the two groups of students (2000).

Lastly, there is a debate on what position beginning students should start in. Some

teachers claim that 1st position is the best way, while others support starting their students in 3rd

position. Starting students in 1st position is the most usual way that is presented in method

books. First position is easier to incorporate open strings, so it helps give beginner students a

point of reference of the pitches. Additionally, the instrument rings more in 1st position, which

makes it easier to hear the intonation and to tune. While starting beginner students in 3rd position

is not as commonly written in method books, some teachers feel strongly for it. One reason that

teachers like starting their beginning violin and viola students in third position is because the

intervals are closer together in the higher position of the instrument. This can make it easier for

younger students to reach the notes and play in tune (Cowden 1972). Additionally, it can be

easier for students to set a correct hand position because their hand rests on the bout of the

instrument (Arica 2021). This will help intonation because students create the habit of having a

consistent hand position. It is also easier to adjust intonation when the hand is in the correct

shape and tension free. In studies comparing if students play more in tune in 1st position or 3rd

position, there have been no conclusive results on what position students play more in tune in

(Cowden 1972).

Because there is general consensus based on the studies published for what methods, or

what combination of methods, are the best to use with students, teachers should assess their

classes and situations to make educated decisions on what method of teaching they should adopt.
 With all of the debates presented in this paper, there are relatively few studies published

on each of these topics. Further research and studies needs to be conducted on which methods

work best for beginning violin and viola students due to the lack of studies, as well as the

inconclusive results.

Playing with good intonation is a very important part of music. It is a skill that string

players work on from the first day they pick up their instruments, and they continue to work on it

throughout their entire musical career. Singing is one method of helping students develop proper

intonation that is agreed upon across the board. While the other methods are debated on what

techniques should be adopted to help facilitate beginning students play with correct intonation, it

is important that teachers implement whatever methods work for them and continue to work on it

with their students.

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