24 Johnson ⦁ Violin Intonation shoulder. Varying designs of the viol (treble, tenor, alto, bass) were each tuned differently, usually with six strings. The tenor viol was tuned from top to bottom as A, D, G, B, E, and A.3 The intervals between the strings are not equidistant as they are on the violin, which can make tuning the viol strings to themselves a difficult task. Both instruments are tuned through tuning pegs which change the tension of each string. The tighter the string, the higher the pitch of the string. Although the pitches of the open strings were important, there are many more characteristics of successful violin intonation in this beginning history. The overall thought process concerning intonation for all instruments during this time is of significance. In the Middle Ages, around the time of the violin’s conception, Pythagorean tuning was a common idea surrounding the tuning process. This concept was based on perfect 5ths, however, there were questions surrounding the “correct” intonation of these intervals. Some intervals were separated by a “comma” of sound, which is about 22 cents of difference of a semitone. This would, therefore, cause the questionable intonation of these intervals. This led to violinists needing to adjust to fix this comma of sound. This can be attributed to the idea of just, or syntonic intonation.4 Figure 1 demonstrates the adjustments between syntonic and Pythagorean intonation, as seen by the placement of the pitches. Violins, unfretted and adjustable in regard to intonation, can be “tempered” so that improper intervals can be corrected accordingly. There are no fixed pitches on a violin, so small adjustments can be made to play a piece with proper intonation.5 3 Straeten, 26–27. 4 Barbieri, 69–72. 5 Freedman, 99.
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