Break It Down
The next step is analysis. For each mistake, create an excerpt beginning at least four notes before the out-of-tune note. Play your excerpt once or twice (no more) and ask yourself the following questions: Where is the problem created? Is the problem the out-of-tune note only, or does a shift or string crossing preceding the note create the problem? A mistake is often the result of an earlier technical problem. Noticing what feels awkward, when you feel tense, or when you hold your breath will help you decide where the problem occurs.

What is the intonation problem? Is the note sharp, flat, or unfocused? Of course, your working copy shows these answers.

Is there a pattern? You might notice that a shift to third position precedes intonation mistakes. Once you recognize this pattern, you can work on learning the correct shift distance, then practice those shifts within your music. This is a very efficient way to practice. In addition, knowing a pattern helps you avoid repeating a similar mistake.

Recognizing that a shift is causing your problem is a good beginning. Not feeling the distance of the shift, not being able to shift fast enough, or not hearing the landing note within the harmony, is more specific information. This information will help you know how to practice to fix the problem.

Here are some techniques you can use to fix the problem: If you are having trouble judging the distance of a shift, so you land too flat or go too sharp, you need to teach your body to feel the shift distance. Practice the shift up and down using different rhythms. Also, practice going above or below where you want, then play the correct shift distance. It can also be helpful to play an arpeggio that contains that shift, or to play all the half-steps within the shift. Rather than repetition, try to find new ways to practice the same problem. If the problem is not fixed after a few repetitions, you need to find a different way to practice. You do not want to reinforce the mistake or develop a repetitive-stress or repetitive-motion injury.

Getting Feedback
Once you feel comfortable with the excerpt, work on the next intonation problem. After you’ve finished practicing each intonation excerpt, play through the entire passage. Finish your work by playing the passage slowly to help reinforce what you learned.

An electronic tuner is sometimes used during intonation work. Here’s an effective technique: close your eyes and play (at tempo) up to the note in question, then hold the note. Decide if it is sharp or flat, then look at the tuner to verify what you hear. This will gauge your ability to hear intonation. Of course, you still need to decide why the note was out of tune.

Finally, make a conscious habit of practicing easily, without tension or loud intense playing, during all of your intonation work. Consciously playing without force or tension may prevent repetitive-motion injuries. Loud practicing, especially for violin and viola players whose instrument is close to their ears, contributes to hearing loss.

The self-criticism, analysis of technical problems, and specific and varied practicing in this intonation regimen will improve your ability to hear intonation and to fix technical problems.

The focus, objective listening, and thoughtfulness you develop may extend to all of your practicing, improving other areas of your playing.