In Western Classical music, notes are often viewed within a discrete spectrum based on the 12-tone equal temperament system (12-TET), and playing beyond this is considered “out of tune”. However, the existence of many other tuning systems makes the concept of ’in-tune notes’ subjective and dependent on cultural background, timbre, and instrumentation. This is particularly evident in fretless violins, where precise intonation is essential. In this study, we aim to analyze intonation choices by violin instructors on a broad scale, focusing on deviations from the 12-TET due to tonality and hand positions, aiming to enhance intonation understanding and teaching insights. Utilizing an automatic music transcription model (MUSC) with higher resolution than 12-TET, we employ separate models for short and long notes to precisely segment pitch, considering intonation deviation and nuances. We provide our results on the common violin teaching techniques using Wohlfahrt Op. 45’s 60 etudes, where seven players perform these monophonic, first-position etudes in seven major keys without accidentals. Findings indicate sharper intonation in the third and seventh degrees compared to 12-TET across tonalities; the first and fourth degrees align better with 12-TET, with the mediant (III) and leading tone (VII) being about 5 cents sharper above the tonic. This study highlights ways to improve the understanding of violin intonation choices, which could inspire more adequate teaching methods, bringing together tradition, technology, and cross-cultural appreciation.