Open Strings: Confidence, Resonance, and the First Sense of Intonation
Before fingers arrive, the instrument already knows how to sing.
Open strings are often treated as placeholders—sounds we pass through quickly on the way to “real” notes. In the Continuum Approach, they are understood differently. Open strings are not an absence of skill. They are the instrument speaking in its most stable, truthful voice.
For early learners, this matters.
An open string cannot be out of tune through effort or misunderstanding. It is either tuned correctly or it is not. Once tuned, it offers something rare in early learning: certainty. The student draws the bow or plucks the string and hears a sound that is full, centred, and reliable. There is no anxiety about finger placement, no guesswork, no correction mid-gesture. The instrument responds immediately and generously.
This immediate reward builds confidence—not just the confidence of achievement, but the confidence of trust. Trust that the instrument will respond. Trust that sound is not something to be earned through struggle, but something that already exists.
This is why tuning at the start of a lesson is not a formality. It is a structural condition. When the strings are tuned correctly, the instrument becomes a reference point. Every sound that follows relates back to it.
Open strings also quietly establish the earliest sense of intonation, long before the student is asked to control pitch deliberately.
When an open string is played, adjacent strings begin to resonate in sympathy. Overtones bloom. The student may not have language for this yet, but the ear registers it instantly. Certain combinations feel settled. Others feel unstable. This is not theory—it is physical feedback.
When later fingered notes are introduced, they are not judged in isolation. They are heard against the open strings already known. A stopped note that aligns with the instrument’s natural resonances feels right. One that does not feels unsettled. In this way, good intonation begins not as correction, but as recognition.
The open strings also introduce spatial awareness of pitch. Each string occupies a clear register. The learner hears height and depth, not as abstract ideas, but as lived sound.
On the viola, the open strings are:
C
G
D
A
On the cello, they are the same:
C
G
D
A
The shared tuning between viola and cello allows for early ensemble familiarity and reinforces pitch relationships across instruments without explanation.
On the double bass, the open strings are:
E
A
D
G
For reading ease, these are notated an octave higher than they sound on the bass clef. This is not a trick or a simplification—it is a practical convention that allows learners to read comfortably without excessive ledger lines, keeping attention on sound rather than decoding.
On the violin, the open strings are:
G
D
A
E
Across all four instruments, open strings offer something consistent: a stable sonic ground.
They allow rhythm to be explored without pitch anxiety. They make pizzicato and bowing feel immediately successful. They invite listening before effort. They teach the ear what “settled” sounds like, long before the hand is asked to reproduce them.
Most importantly, open strings remind the learner of something often forgotten in early music education:
The instrument is not waiting to be unlocked.
It is already alive.
The role of teaching, at the beginning, is not to impose control—but to help the student listen to what is already there.
Across violin, viola, cello, and double bass, open strings form the first common language of the string family.
Next, we discuss the importance of tuning and how to achieve favourable results.
