Timing, Tone, and Intonation: Practice Technique for Musicians

I had a fiddle teacher once who focused each lesson on what he called “The Three T’s”: Timing, Tone, and Intonation. These three aspects are important practice techniques for musicians to concentrate on while mastering any instrument from voice to violin. Let’s break them down.

Timing

Timing is, quite simply, a tune’s rhythm and groove. Without timing, common melodies lose or alter their essence. Imagine “The Happy Birthday Song” sung not as a waltz, but as a march. It feels awkward and unfamiliar because the timing gives the melody its structure.

Timing can also refer to the synchronization of bowing for string instruments, tonguing for reed instruments, and articulation for voice. To master timing, I recommend practicing slowly at first with a metronome. Even with pieces that are familiar, a slow metronome will provide immediate feedback for corrections. Then, increase the tempo gradually. You know you’re moving too quickly if the tune sounds sloppy and unstructured. For best results, end your repetitions with a slow, measured rehearsal to take a mental photograph of exactly what the timing should sound like. When you return to the exercise, you’ll find you can recall it just as it’s written on the page.

Tone

Tone is the quality of sound a musician makes with their instrument. Compare the great singers Louis Armstrong and Frank Sinatra. Both great vocalists with entirely different tones. Armstrong’s tone is raspy and mimics the sound of his powerful trumpet playing. Sinatra’s is smooth and clear, darkening with age. A combination of style and unique inspiration gives each his own character. Further, vocalists will find that they have a natural tone shaped by the strength of their vocal cords and even the shape of their head. Instruments have similar qualities. One violin may sound dark and muddy, while another sounds bright and biting.

Then, each musician can call upon their inspirations to produce a tone that best suits their style and instrument. Vocalists must practice tone with caution and guidance, as the wellness of their vocal cords take a precedence to the desire to sound like Louis Armstrong. As for instrumentalists, I recommend experimentation. When you draw the bow across the strings, what subtle movements, bow placements, or left-hand intricacies can change the very quality of the notes you produce? Try for silky smooth with a light touch or raspy with bow placement near the bridge. Take control of your tone through regular play and curiosity.

Intonation

Intonation is pitch accuracy, and it may be flat or sharp. For a fretted instrument such as guitar, the intonation is in large part determined by the strings being tuned and if the frets were properly placed during manufacturing. For other instruments such as the voice, violin, or cello, intonation can be trickier to get just right. To master intonation, I recommend playing with others, checking your pitch against another string or a piano, and sing. Yes, even for instrumentalists, singing is invaluable. Challenge your ear by singing a tune with good intonation and checking it with a tuner or reliable instrument. Practice intervals, scales, and simple tunes and you’ll soon find that your intonation on your instrument will also improve. Of course, just as with Timing, finish any practice with one repetition that is accurate. It works wonders.