violin and cello tuning

January 9, 2017 at 05:53 PM · Either.

January 9, 2017 at 05:54 PM · Whichever one (owns a tuner and) is "in tune." Cellists often tune their octave harmonics. The octave harmonic of the cello A string IS the same pitch as the violin's A string.

No it really doesn't matter but cellos (mostly with steel strings this century and the past 40 years) are often harder to tune and hold their pitch better.

January 9, 2017 at 06:35 PM · It depends if one is a violist of cello-player!

On a deadly serious note, open C on cello and open E on violin ought to be kinda in tune.

January 9, 2017 at 08:21 PM · Rocky, would you comment more on the best ways to achieve that tuning between the violin and cello? Is it as simple as tuning the E a little flat and the C a little sharp?

January 9, 2017 at 10:28 PM · Tuning pitches and note relationships have always been controversial, and nothing set in stone.

To some extent, with high-level violinists, these are choices of the performer, and not just someone playing out of tune.

January 9, 2017 at 11:15 PM · I think what Jason says only applies when playing with an even tempered instrument (such as a piano or other keyboard). For violin/viola and cello the (applicable) strings should just be in tune with each other an octave apart.

One potential intonation problem might involve vibrato. I think that by consensus modern violinists tend to vibrato up to the pitch and many professional cellists (say they) vibrato around the pitch. Lot of arguments on this over the past century! Personally I don't know how our ears/brains pick correct intonation out of a vibrated note - but they seem to.

January 11, 2017 at 11:07 PM · In our quartet we generally tune to the cello A since it is often more work for a cello player to re-tune her instrument than the violins and viola. And, she usually has the cello tuned to a tuner and it is right on, or close.

One theory I've read (in a book about Primrose) is that the viola and cello should tune to a standard (tuner or tuning fork) D rather than an A, as the D on those instruments is like the A on a violin: the 2nd string down. I have been doing this now for about a year. It does tend to push the A up just slightly, but the G and C are closer to "in tune" when tuning by 5ths.

January 12, 2017 at 12:06 AM · These days, playing viola in a chamber orchestra and cello in a piano trio, I tune my cello A and C strings to the piano. In the orchestra violas and cellos (along with everyone else) tune A to oboe and then we V & C check our C strings together to the principal cello..

If we are using harmonic tuning ("perfect" 5ths) I can see no reason to not tune the C strings harmonically, but when playing with an even/equal tempered piano we have no option but to get the one note that cannot be played any other way (the open C string) tuned to the piano. For a string quartet I cannot imagine this as being required except perhaps for tuning certain shared chords.

I understand that some people can take care of these issues by counting beats, I however have never been one of those people.

(ADDED later) I believe it is cellist David Finckel who recommended tuning all strings in a quartet to an equal tempered electronic tuner and said the Emerson Quartet tuned that way when he was a member. This would agree with Gregory below.

January 12, 2017 at 12:52 AM · Jason,

my understanding is that, if one tunes to "perfect" fifths, the end product is C and E string being out of tune.

One is supposed to narrow down the fifth, or tune E slightly down.

R

January 12, 2017 at 01:00 AM · I have found it effective to tune all the strings in equal temperament for a quartet. That way, open strings aren't as dangerous. It takes some getting used to, but it works.

As for a violin and cello, I would tune the cello in slightly narrowed (equal tempered or close to it) fifths so that the low C isn't too low. The violin should then take the cello A. The D falls an equal tempered fifth below the A. The G should then be tuned to a pure fifth below the D--this helps with resonance. The E should then be tuned to sound good with the cello C.