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Teach Strings to Tune

Julie Along Carr | October 2011


    Tuning string instruments can take up a great deal of valuable rehearsal time. Because it is a difficult skill, teachers are often reluctant to introduce it to younger students. However, once students can hear the difference between a note that is in tune and one that is not, it is time to introduce basic tuning techniques. Younger students may actually have fewer inhibitions and expectations about tuning. When taught from an early stage, tuning becomes just another part of playing the instrument.
    As long as students are using only fine tuners, they will not break strings and will quickly gain confidence in their abilities to tune themselves. Teaching tuning is a slow process, and students will not be successful right away, but you will see steady improvement with just a few minutes at each rehearsal.

Getting Started
    Initial exercises should teach students to identify the correct pitch and understand which way to adjust the string. Often students can hear that the tones do not match but be unsure whether the string is sharp or flat. At first students should hold the instrument in playing position while the teacher bows on the A string and adjusts the fine tuners (or pegs if necessary). This can be started at the earliest lessons so students become accustomed to listening to the string being tuned. Then students can play the open A, while the teacher tunes. Later ask students to play the A and D strings together while the teacher tunes. Although they will not begin self-tuning using the open fifths, this helps them hear the correct interval.
    Always encourage the students to produce their best possible sound when tuning because a poor tone distorts the pitch of the note. Strings should always be bowed because the natural resonance helps students hear the correct pitch. Pizzicato tuning should be reserved for the advanced student as a means of checking strings or for the director who may have to do a quick job of tuning.
    In private lessons or small group classes first make sure that the instrument is in tune. Then choose one string – generally the A works best – and move it out of tune with the fine tuner. At first the difference should be significant so it is easier for the student to hear. The teacher then plays an in-tune A on the same type of instrument, and the student adjusts the fine tuner until the pitches match. It requires a great deal of coordination to hold the instrument and adjust the tuners. One solution is to pair young students with buddies so that one plays the note while the other adjusts the tuners.
    The next step could be to have the student listen to the sound of the A and D strings together. The teacher moves the fine tuner out of tune and asks the student to adjust until it sounds correct again. Some students will be able to tune easier with a single pitch, while others can hear the open fifth (or fourth on the bass) and will have more success tuning by the interval.
    In a group class the students can work in pairs with one moving the fine tuner and providing the reference pitch while the other puts the instrument back in tune. This gives each student practice hearing the correct pitch and making the adjustments. Students who have difficulty hearing the reference pitch may not be ready to tune on their own.
    In an ensemble the lower strings should set the reference pitch for the upper strings. Tune one bass, or cello if you do not have a bass player, and that player is the tuning rock. The rest of the bass section tunes each of their strings – one at a time – against the reference pitch. The cellos, violas and violins can assist by giving thumbs up or down to help each bassist tune. Once the basses are in tune, the procedure moves through the ensemble by instrument. This sharpens both listening and tuning skills of each of the students. Once a number of the students in each section are proficient tuners, they can be the tuning rocks for the students around them, and the process moves faster.

Tuning Note
    Because young students often have trouble hearing the reference pitch, the source of the tuning note is important. Most beginning students can best hear a pitch match from an acoustic tone in the same octave followed by a mechanical pitch in that octave. Later they can hear an acoustic pitch in a different octave and last a mechanically-produced pitch in a different octave. Using a like instrument – violins for violins – is also easier for the young player. As students become more proficient at tuning, introduce different octaves, mechanically produced sounds, and tuning to other instruments to sharpen both their tuning and intonation skills.


Tuning Games
    In-and-Out helps in the early stages of teaching tuning as it develops the students’ ability to physically turn the fine tuners and match the pitch using their own voices as a reference. Start with all instruments in tune. On a signal from the teacher, all students except the bass players turn their A fine tuners a little to the right and then a little to the left. Students stop playing, the basses give an A, and then all students sing the A in a comfortable register. On a signal from the teacher, they all try to tune their A string with the sung A and the A from the bass players. Check each section, and ask the students whether everyone has returned to the correct pitch.
    Lost in Space is a more challenging version of the previous game. Once the students are all in tune choose one person from each section (or a few members of a large group lesson) to be the space station or anchor. On a signal from the teacher everyone except the space stations becomes lost in space and moves the fine tuner (or the bass tuning peg) out of tune moving sharp when the teacher’s hand moves up and flat when the teacher’s hand moves down.
    Space stations then play the correct pitch, students sing the pitch, and on a signal from the teacher, adjust their tuners to the correct pitch. If a large room is available, the stations can remain in fixed positions, while those who are lost move away from and back to the space stations as they adjust their pitches out of tune and back in tune.
    Beats-r-Us is a game that works best in an ensemble situation with lower strings available as the beat makers because beats are easier to hear on larger instruments. Start with two bass players that are in tune. One then moves the A peg either lower or higher causing beats to be heard between the pitches – a minor second works well. The student then moves the peg back in tune making them stop. Once students can hear beats on a large instrument, move to cellos, violas, and violins.
    When students become adept at adjusting individual strings and matching them to a reference pitch, they should practice tuning the strings by listening to the fifth interval. This is done by first tuning the A sting to the reference pitch. Then play the A and D together. Adjust the D string tuner until the fifth sounds correct. Move through the different pairs of strings tuning each one. Many of the games and techniques used for tuning individual strings can be adapted to tuning in fifths. For example one student could adjust his D string while others in the section raise their hands when it sounds in tune. Students should practice producing an even tone while playing two strings before trying to tune. They should play with even bow weight on both strings to produce a clear tone. The tendency is to press more heavily on one string.
    Learning to tune is an exciting time for students, but it is a process that will take many weeks or even months. Spend just a little time at each rehearsal and keep it fun. Take small steps so students do not become frustrated. The initial focus should be on hearing the difference between a note that is in tune and a note that is not in tune. Without this, tuning is an impossible task. Tuning practice will also improve students’ listening skills and their intonation on all notes will likely improve. Once a few students can tune themselves, they can help others, and you will save valuable rehearsal time for playing.

Tips for Directors
Fine Tuners
   At the beginning of the year (and periodically after that) check that the instrument is set up correctly. All student violins, violas and cellos should have working fine tuners. (These are the small metal tuners on the tailpiece.)
   At first students should use only the these fine tuners and not the tuning pegs. Pegs are extremely difficult for young students to use and lead not only to frustration but also to broken strings.
   The fine tuners should be loosened so they have plenty of turns available for tightening. Strings slip flat, so students will primarily be tightening them. Over time students will tighten them as far as they will go. When this happens, the teacher should loosen them  again and then retune the strings with the pegs. Fix sticky fine tuners with a silicon lubricant so they are easily turned.

Tuning Pegs
   Especially in the winter, tuning pegs can slip – sometimes several times in a rehearsal. Lava soap is an inexpensive remedy. Cut off a piece about the width of your index finger from the bar. Unwind the string, pull the peg completely out of the peg box, and rub the soap on the end. Without the string attached, work the peg into the hole in the peg box. Add a little more soap, rewind the string, and tune it up. The gritty part of the soap keeps the peg from slipping, while the soapy part helps it turn. Do this to instruments that stay at school over the summer, and they will be much easier to tune in the fall.

Bridge Collapse
   Sometimes all of the strings loosen and the bridge falls over. On string instruments the bridge and the soundpost, the small piece of wood inside the instrument between the front and back, are held in place by the tension of the strings. If the strings are released, both can fall over. (You will hear a rattling inside the instrument if the soundpost falls down.) Immediately lay the instrument down on its back to prevent this. (If the soundpost falls over, unless you have the patience of Job and the dexterity to match, you will need to take the instrument in to have the post reset. If the soundpost is not positioned in the right spot, the sound of the instrument is affected.)
   It is much easier to reset the bridge. (Often there are marks on the instrument from the bridge that will help you find the correct position.) Stand the bridge up, making sure the straight side is closer to the tailpiece. Center the bridge evenly from left to right. Then tighter the inner two strings enough to hold the bridge in place. Check to make sure the bridge is lined up with the fingerboard before tightening the outside two strings. Then tune up the inside strings. As you tighten the strings make sure the bridge stays straight and does not start to tip. The base should stay flat against the instrument.
   Impress upon students that when they tune with the pegs, they should always do one string at a time. If all the strings are loose, put some tension on the inside strings first before attempting to tune the outside strings to equalize the pressure on the bridge and sound post.
   When all the strings go out of tune at once, you may need to do a close-enough tuning and then go back and retune each string. Adjusting the tension on the two outside strings especially will often change the pitch of the two inner strings. This is more common in the cello and bass where the tension is so great on the strings. Always tune slowly as you add tension with the pegs. Tightening too quickly may cause the string to snap. This is especially likely when the strings are old or frayed.