Thoughts on how to play in tune: pitch and intonation

This paper examines the range of intonation practices on the violin over the last two centuries. There are four types of expressive tuning: harmonic, melodic, corrective and colouristic. The development of musical language has created tension between the concepts of pitch and intonation, and necessitated a reassessment of the value of expressive tuning. The tension between pitch and intonation can be creatively exploited in performance, and examples of performative microtones demonstrate the extent to which musicians have been familiar with microtonality throughout the history. Expressive tuning is also seen as an integral part of violin playing because of its link with the practice of tone production. The tension between pitch and intonation is further investigated in relation to the concept of musical timbre. The consideration of the totality of musical sound leads to an intonational understanding of pitch, followed by an example showing its continuing relevance in the performance practice of new music.