The Dos (and Don’ts) of Tuning a Large String Orchestra

 Printable handout here.

Dr. Blair Williams, Assistant Professor of String Music Education, Texas Tech University, blair.williams@ttu.edu

Dr. Lindsay Fulcher, Assistant Professor of String Music Education, University of Northern Colorado, Lindsay.Fulcher@unco.edu

Rachel Dirks, Director of Orchestral Studies at Kansas State University, rdirks@ksu.edu

Liz Dinwiddie, Performing Arts Dept. Chair, Ashley Hall School, Charleston, SC, dinwiddiee@ashleyhall.org

I don’t always play in tune. But, when I do, it’s during a rest.

THE TUNING PROCESS

A structured tuning process hinges on directors’ perceptions of how their students will best learn to tune. Processes include aural, visual, and tactile awareness; pedagogies that are developed over time, and can still be learned in a group setting (and refined individually) in fun ways. On one hand, directors may choose to utilize a generated pitch, the source of which comes from either a digital source or from an instrument. In 2011, Alexander studied the comparison of these two options and discovered that utilizing either technique is helpful. However, while the source of the pitch may not differ significantly from one to the other, the close proximity to the source of the pitch is vital in ensuring tuning success. If, however, directors choose to utilize tuning devices, like digital tuners, they must find ways to use these tools without creating student dependence on the tuning device for successful tuning individually and within an ensemble performance setting.

RESEARCH

• The key to helping your students achieve tuning independence begins with a well-designed process that spans the different stages of musical development in young musicians (Alexander, 2008, 2011; Byo, Schlegel, Clark, 2011; Hamann & Gillespie, 2019; Hopkins, 2002, 2013). 

• To ensure a successful transition, careful consideration should be made in choosing how to introduce tuning from the string class to the orchestra rehearsal (Geringer, MacLeod, & Sasanfar, 2015; Hopkins 2012).

• Choosing how to implement your tuning process, however, can be challenging since there are major differences between how teachers approach tuning activities, including using digital tuners, within the classroom (Alexander, 2011; Hopkins, 2013).

AURAL SKILLS: THE KEY TO INDIVIDUAL AND ENSEMBLE TUNING

Crutches

• Digital tuner

• Teacher always doing the tuning 

• Teacher always indicating high/low

• Always tuning in the exact same manner

• Focus only on fine tuners

• Tuning only by plucking 

SHARE YOUR FAVORITE STRATEGIES

Then raid the Google Doc for more fun ideas:

CMEA

TMEA

KMEA

TUNING YOUR ENSEMBLE

• Start from singing, then apply to instrument pizzicato and transition to bow once student coordination more established 

  • Analyze high or low

  • Sing and match pitch

  • Match pitch on instrument (open string)

  • Apply as body movement exercise (pitch benders)

• Next, one string at a time (upper half, lane 3)

  • Basses - Cellos - Violas - Violin II - Violin I

  • By individuals (think “Pass the F” or “Hide Your Sound”)

  • By stand partners or sections

• Then, one string at a time, but hearing fifths across ensemble

  • All tune A to pitch source

  • Ensemble continues to play A while basses perform D, cellos, violas, etc.

  • All hold D and match within ensemble

  • Etc.

• Finally, double stop tuning for upper strings & harmonic tuning for lower strings

• Few tips & tricks

  • Righty Tighty - Lefty Loosey / Toward higher string = higher, toward lower string = lower

  • 5ths (Teacher tunes 2 out of 3, then Teacher tunes only middle 5th)

  • “Thumbs Up - Thumbs Down - STOP!”

DIGITAL TUNERS AS A TOOL, NOT A CRUTCH

• Tuner Method

  • Pitch generators

    • Instrument

    • Machine

  • Visual tuners

    • Traditional Digital Tuners

    • Snarks

    • Phone Apps

• Strategies

  • Half & Half

  • Pass the Pitch

  • Safety Checks

  • Roll the Dice

• Don’t forget about the hundreds of years of using our ears

THANK YOU AND HAPPY TUNING!

RESOURCES 

Alexander, M.L. (2008). Teaching tuning to the string orchestra: Classroom procedures for beginning to advanced students. American String Teacher, 58(4), 20-26.

Alexander, M.L. (2011). Effects of stimulus type, distance, and instrument on high school students’ open string tuning. String Research Journal, 2(1), 67-81.

Benham, S.J., Wagner, M. L., Aten, J. L. Evans, J. P., Odegaard, D., & Lieberman, J. L. (2011). ASTA String Curriculum: Standards, Goals, and Learning Sequences for Essential Skills and Knowledge in K-12 String Programs. Van Nuys, CA: Alfred. 

Berg, M. & Odegaard, D. (2018). ASTA string assessment guide: Companion to the ASTA string curriculum to measure student growth and learning. [EBook]. Fairfax, VA: American String Teachers Association.

Byo, J.L., Schlegel, A.L., Clark, N.A. (2011). Effects of stimulus octave and timbre on the tuning accuracy of secondary school instrumentalists. Journal of Research in Music Education, 58(4), 316-328.

Fischer, S. (2009). Tuning each note of the scale. Strad, 120(1432), 66-69.

Laux, C. (2015). The effect of a tonic drone accompaniment on the pitch accuracy of scales played by beginner violin and viola students (Doctoral dissertation). Available from ProQuest database. (AAT 3710248).

Geringer, J., Macleod, R., & Ellis, J. (2013). A descriptive analysis of performance models’ intonation in a recorded excerpt from Suzuki violin school volume 1. String Research Journal, 4, 71-87.

Geringer, J., MacLeod, R., & Sasanfar, J. (2015). In Tune or Out of Tune: Are Different Instruments and Voice Heard Differently? Journal of Research in Music Education, 63(1), 89-101.

Gillespie, R. (2010). Teaching aural skills in the string class: Getting your students to hear what you hear. Session/Class Handout.

Hopkins, M.T. (2002). 6 stages of tuning stringed instruments in orchestra. American String Teacher, 52(3), 64-   67, 69.

Hopkins, M.T. (2011). Strategies for improving the tone quality of your orchestra. American String Teacher,        61(3), 26-29. 

Hopkins, M.T. (2012). Strategies for improving the intonation of your orchestra. American String Teacher, 62(4), 24-28.

Hopkins, M.T. (2013). Teachers’ practices and beliefs regarding teaching tuning in elementary and middle school group string classes. Journal of Research in Music Education, 61(1), 97-114.

Hopkins, M.T. (2014). Pilot-testing of new software for measuring string players’ instrument tuning skills. Journal of Music, Technology and Education, 7, 5-21.

Hopkins, M.T. (2015). Eighth-grade violinists’ instrument tuning ability: A comparison of pitch perception and tuning accuracy. Journal of Research in Music Education, 63(3), 349-368.

Kansas Model Curricular Standards for Music (2005). Available at: https://www.ksde.org

Music Standards Review and Revision Committee (2020). Colorado Academic Standards. Available at: https://www.cde.state.co.us/coarts/2020cas-mu-p12 

Newell, D. (2005). Bach and before for strings. San Diego, CA: Kjos.

Schaefer, M. & Griffey, L. (2014, March). Large Group Tuning Procedure. American String Teachers Association Conference. Talk presented at 2014 ASTA Conference, Louisville, KY. 

Selby, C., Rush, S., Moon, R. (2014). Habits of a successful string musician. Chicago, IL. GIA Publications.

Selby, C., Rush, S. (2018). Habits of a successful string musician: A comprehensive orchestra curriculum for years 3, 4, and beyond. Chicago, IL: GIA Publications.

Texas Education Agency (September 2012). Fine Arts Texas Essential Knowledge and Skills. Available at: https://tea.texas.gov/Academics/Curriculum_Standards/TEKS_Texas_Essential_Knowledge_and_Skills_%28TEKS%29_Review/Fine_Arts_Texas_Essential_Knowledge_and_Skills

Wright, E. (2013). A quick guide to tuning in the classroom. Strings, 27(11), 27-28.

Young, P. (1978). Playing the string game: strategies for teaching  Ann Arbor, MI: Shar Music.

Young, P. (1985). The string play: The drama of playing and teaching strings. Austin, TX: University of Texas Press.