A Warm-Up to the Warm-Up: First-Position Violin Studies and Intonation
After an intensive practice session, I don’t always want to begin the following day with my usual warm-up routine. Sometimes I prefer something gentler—a little preparation before the warm-up itself.
I call this my warm-up to the warm-up.
Recently, I spent a couple of hours working through the first nineteen exercises of Ševčík’s School of Violin Technique, Op. 1, Book 1. The entire book is devoted to first position, but don’t let that fool you.
If you think you know everything about first position, I challenge you to work through it!
Ševčík presents an extraordinary amount of technical work through different finger combinations, chromatics, double stops, and variations in speed. After completing those nineteen exercises, my left hand felt as though it had returned to my university days at the University of Colorado at Boulder. I even reached for the Tiger Balm afterward.
The following morning, I wanted to ease back into the violin.
Before the Warm-Up: Preparing the Left Hand and Ear for Violin Practice
Beginning with Something Simple
My initial thought was to play a two-octave C-major scale in first position. But rather than moving across the strings in a scale, I wanted to spend time on each individual string, gradually warming up my left hand.
I turned to a violin method written by a 19th-century violin pedagogue and selected an exercise consisting of simple finger patterns.
The exercise is written in whole notes, making it particularly suitable for slow, deliberate practice.
My objective was perfect intonation. Nothing else.
I wasn’t concerned with speed or the number of exercises I could complete. I wanted to listen carefully to every note, comparing it with the open strings and with the notes surrounding it.
Using Drones and Double Stops to Check Intonation
Although the original exercise is written in single notes, I incorporated open-string drones and double stops to check my intonation.
This allows me to listen to the relationships between the fingers rather than treating each note individually.
An understanding of intervals is particularly useful here. Perfect fourths, sixths, and other interval relationships provide valuable references for the ear.
When playing perfect fourths, I listen for the harmonics and overtones. In particular, the relationship between G and D provides an opportunity to listen carefully to the resonance of the instrument.
The purpose of adding double stops is not to make the exercise more difficult. I’m using them to check for pure intonation.
From Elementary Finger Patterns to Advanced Double Stops
These exercises also reminded me of the finger combinations found in Doublestop Exercises for the Violin, particularly the double-stop combinations associated with the Vamos tradition.
I’ve had violinists tell me they’re working through that double-stop book, and I always point out that it is not beginner material.
It is difficult!
I’ve worked through these combinations myself, including before the book was published, having studied with someone who studied with Vamos.
What interests me about the earlier method is how similar finger relationships can be studied in a much simpler form.
Before approaching demanding double-stop combinations, there is considerable value in working through these foundational patterns slowly and carefully.
The Lowered Second Finger
Although much of the exercise uses natural notes, one section introduces the lowered second finger across the strings.
On the G string, for example, this means B-flat rather than B-natural.
As I moved through the patterns on the D, A, and E strings, I continued listening to each note and checking its relationship to the others.
Even these seemingly elementary finger combinations provide plenty of material for concentrated intonation practice.
Maintaining Freedom in the Left Hand
Throughout the exercise, I continually checked my left arm, thumb, and hand for unnecessary tension.
This is an important part of my practice, particularly when moving across the strings.
One common foundational mistake I observe is a change in the organization of the left hand when playing on the E string, especially when placing the first finger.
When playing F-sharp on the E string, the first finger needs to come down in a position that supports the other fingers without compromising the organization of the hand.
I regularly check that my hand and thumb remain relaxed as I work through these patterns.
The Pleasure of Practicing Intonation
I find intonation practice wonderfully soothing.
There is something satisfying about concentrating on individual notes, listening to the relationships between intervals, and making small adjustments as I work.
After the previous evening’s intensive Ševčík session, this was precisely the kind of practice I wanted.
A slow, attentive exploration of first-position finger patterns, with the ear guiding the work.
Sometimes the simplest material offers the most satisfying practice.
Inside My Practice Room
In this week’s Practice with Heather video, I demonstrate the exercise and explain how I use drones, double stops, and interval relationships to check my intonation.
You can follow along with your violin, pausing the video to try each pattern yourself.
And for those interested in historical violin pedagogy, I have a little challenge:
Can you identify the 19th-century violin pedagogue whose method inspired this practice session?
Leave your guess in the comments!
For violinists who enjoy practicing in the company of others, I also offer live co-practice sessions through the Broadbent School of Violin Artistry.
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Heather Kaye Broadbent is a concert violinist and founder of the Broadbent School of Violin Artistry, where she helps violinists develop beautiful tone, refined technique, and deeper musical understanding through guided study, online courses, and private instruction.
I’d Love to Hear From You
Have you explored Ševčík’s first-position studies or used drones and double stops to refine your intonation? I’d love to hear about your experience—and your guess about the mystery 19th-century pedagogue!
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