A Descriptive Analysis of Performance Models’ Intonation in a Recorded Excerpt from Suzuki Violin School Volume I

Abstract

Given the importance of modeling in teaching young students to perform, particularly in the Suzuki approach, as well as the importance of playing in-tune, we studied intonation performances on four recordings of Suzuki Violin School Volume I. These are performances that many string teachers recommend as models for beginning string students. We also asked whether performances conform to a theoretical tuning system such as equal temperament (ET) or Pythagorean tuning. We analyzed the first eight measures and the repeat of Minuet I (Bach) in G-major. Individual note deviations of performers ranged from -17 cents to +26 cents relative to the accompaniment, although most deviations were smaller. Overall, three performers tended to be closer to Pythagorean (which is slightly sharper than ET for most major intervals) while one was closer to ET. However, inspection of individual intervals showed that two of the performers were often sharp relative to both tuning systems, particularly for minor seconds and thirds, and major thirds. No performer consistently conformed to either tuning system across the span of notes in the excerpt.

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

“…Even though there are a number of other important aspects in music such as rhythm, tone quality, note accuracy, technique, and musicality, accurate intonation has been found to be one of the most salient elements that distinguishes a good musical performance (Geringer & Madsen, 1981, 1989, 1998; Johnson & Geringer, 2007). As such, intonation of string musicians is an area of interest for music scholars which includes preferences for tuning temperaments (e.g., Greene, 1937; Loosen, 1994, 1995), intonation and performance of vibrato on a string instrument (e.g., Geringer & Allen, 2004; Geringer, Allen, & Macleod, 2010; Geringer, MacLeod, & Allen, 2010), descriptive analyses of recordings of professional string musicians (e.g., Carman, 1936; Geringer, 2018; Geringer, Macleod, & Ellis, 2013), and tuning of open strings (e.g., Alexander, 2011; Hamann, Lauver, & Asher, 2006; Hopkins, 2015).…”

Eight Artist-Level Violinists Performing Unaccompanied Bach: Are There Consistent Tuning Patterns?

“…More recently, Geringer, MacLeod, and Ellis (2013) studied intonation performances in four commercial recordings of Suzuki Violin School Volume I . Three of the four performers tended to be closer to Pythagorean (slightly sharper than ET for most major intervals) while one was closer to ET.…”

An Analysis-Synthesis of the Pedagogical Literature on Intonation in Initial Learning of Violin and Viola: Pitch Contents, Teaching Approaches, and Auxiliary Resources

“…Various methods are often accompanied by audio materials with recordings made by experts (Geringer et al, 2013). In other cases, they contain the harmonic accompaniment (minus-one) for the musician to play with, which provides trainees with an intonation model for out-of-class practice exercises.…”