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ABRSM vs Trinity vs LCM vs RCM vs RSL: The Ultimate Violin Grade Exam Comparison

Wondering which violin exam board suits you best? Compare ABRSM, Trinity, LCM, RCM, and RSL in this in-depth guide for violinists of all ages and skill levels.

🎬 Introduction: Which Violin Exam Board Is Right for You?

Violin grade exams are a great way to structure your learning, stay motivated, and even collect certifications that count toward school credit or university admissions. But with so many exam boards out there—ABRSM, Trinity, LCM, RCM, and RSL—it can be hard to know which one fits your goals and playing style.

Whether you’re a parent looking for structure for your child, an adult returning to music, a teacher guiding students, or an aspiring professional violinist seeking a recognized qualification, choosing the right system matters.

These exams are especially popular in the UK, with ABRSM and Trinity being the most widely used. RCM is the go-to in Canada and parts of the US. In Europe, international exam boards are less common—local conservatories or teacher-led programs are more popular. However, with the rise of remote and online exams, more students across the world are exploring these options.

🎓 What Are Violin Grade Exams?

Violin grade exams are standardized music assessments from beginner to advanced levels. They typically include:

  • Prepared repertoire
  • Technical work (scales, arpeggios, exercises)
  • Aural skills
  • Sight-reading or improvisation
  • Optional or required theory exams

Exams can usually be taken in person at a test center or submitted online by video, making them accessible no matter where you live.

🏁 How the Grade Levels Compare

While most exam boards offer Grades 1–8, their structure and difficulty levels vary:

  • ABRSM, Trinity, and LCM use Grades 1 to 8. The difficulty progression is relatively steep.
  • RCM uses Grades Preparatory to 10, followed by ARCT. The steps between grades are smaller, offering a smoother gradient.
  • RSL follows Grades Debut to 8 with a focus on stylistic and practical musicianship.

For example, RCM Grade 10 is roughly equivalent to ABRSM Grade 8. So if you’re switching systems, be aware that you might need to adjust your expectations accordingly.

❓Why do violin grade exams?

Of course you don’t need to do grade exams to learn to play the violin successfully. You don’t even need them to become a professional. Violin players aiming a professional career usually go to a conservatory or music college to get a Bachelor and/or Master in Music.

✅ Pros of violin grade exams:

  • They give you a goal in your practice and motivate
  • They give an objective sense of what level you’re at
  • You get feedback from someone else than your teacher, which can be really valuable in your learning process
  • Higher grades can be used as credentials for teaching or admission to higher music education like a conservatory
  • Learning to perform violin under pressure prepares you for orchestral auditions and concerts whether that’s as a professional or amateur

❌ Cons of violin grade exams:

  • Violin exams can put tension on your playing if you’re someone who becomes nervous
  • You can also have negative experiences with exams
  • Exams in music are never 100% objective and don’t take into account your full journey and what you’re working on exactly
  • Fixed repertoire can be a bit rigid and you might want to work on something else

🏆 Quick Comparison Table

Board Link Origin Grades Focus Best For
ABRSM View syllabus UK Prep–8 Classical, technical, aural, theory Structured classical training
Trinity View syllabus UK Initial–8 Expressive performance, flexible repertoire Creative learners
LCM View syllabus UK Step–8+ Recital focus, modern classical Performance-driven students
RCM View syllabus Canada Prep–10, ARCT Comprehensive, technique-rich North American conservatory prep
RSL View syllabus UK Debut–8 Contemporary styles, improv, groove Pop, folk & crossover violinists

🎼 Repertoire Requirements

ABRSM requires students to select one piece from each of three lists (A, B, and C), each emphasizing different styles and techniques. This ensures variety and well-rounded development.

Trinity allows more freedom, letting you pick any three from their list—including one own-choice piece. A great option for expressive players.

LCM lets you choose between standard grades and Recital Grades. Recital Grades focus entirely on performance without scales or aural tests.

RCM organizes repertoire and studies by level. Each grade includes required etudes and historical balance.

RSL emphasizes contemporary violin. You’ll play to backing tracks, improvise, and work with groove-based music.

🛠️ Technical Work

ABRSM offers a detailed technical syllabus with varied bowings and keys. It builds solid classical foundations.

Trinity includes both scales and alternative technical studies—giving students a choice in how they demonstrate technique.

LCM omits technical work in Recital Grades, focusing purely on performance.

RCM provides a thorough technical pathway including bowing, shifting, and double stops.

RSL replaces traditional technique with stylistic riffs and improvisation relevant to popular genres.

👂 Aural and Musicianship Skills

ABRSM features the most comprehensive aural tests, including melodic memory, rhythmic clapping, and identifying musical features.

Trinity offers friendly, accessible aural assessments and includes musical knowledge questions about your repertoire.

LCM offers aural tests in standard grades and omits them in recital routes.

RCM integrates aural and theory learning, particularly useful for developing total musicianship.

RSL assesses musicianship through performance style, phrasing, and improvisation instead of traditional aural drills.

📖 Theory Requirements

ABRSM requires Grade 5 Theory before entering Grades 6–8 practical exams.

Trinity offers optional theory with no requirement to advance.

LCM also keeps theory optional and allows practical-only progression.

RCM integrates theory into exam progression. Higher grades require written theory exams.

RSL embeds musicianship directly in practical work. No separate theory needed.

🧑‍🏫 Examiner Style & Exam Atmosphere

ABRSM exams are formal, standardized, and academic in tone. Excellent for structured learners.

Trinity exams are more relaxed and performance-focused. Examiners often feel supportive and encouraging.

LCM exams can feel like informal recitals, especially in recital format.

RCM exams are formal and comprehensive—ideal for students heading to university or conservatory programs.

RSL offers a real-world feel. Performance fluency and stylistic authenticity are the main focus.

🎯 Which Exam Board Should You Choose?

Choose ABRSM for a structured, classical path with academic rigor and global recognition.

Choose Trinity if you value musical expression, a friendly exam environment, and flexible repertoire.

Choose LCM if you’re motivated by performance and want to focus on expressive playing over drills.

Choose RCM if you’re in North America or plan to apply to music programs that recognize RCM qualifications.

Choose RSL if you’re exploring non-classical styles, play in bands, or want a creative and modern exam experience.

🎻 Closing Notes

Violin grade exams can inspire consistent practice and give you a sort-of objective idea of the level you’re at. They are great ‘second opinion’ for your teacher. Grade exams can help you on your journey to become a professional musician, advance as an amateur player and give you a boost in your motivation.

Review each board’s syllabus, try out some repertoire, and speak with your teacher to find the best match. Whatever you choose, remember: exams are stepping stones and not the destination.

Is the Suzuki violin method good for adults?

When people think of the Suzuki violin method, they often picture young children learning to play ‘Twinkle, Twinkle, Little Star’ on tiny violins

But what about adult beginners or intermediate players? Can the Suzuki method work for them?

The short answer is ‘yes’—with the right approach. While Suzuki was originally designed for children, its structured progression, emphasis on ear training, and carefully selected repertoire make it a powerful tool for adult learners as well.

In this post, we’ll explore:

– What the Suzuki method is
– How many Suzuki violin books there are
– Why the method’s structure is one of its biggest strengths
– How adults can benefit from it (and what to watch out for)
– Why having a teacher or guided course is essential

By the end, you’ll see why Suzuki can be a fantastic path for adult violinists – and how you can make the most of it.

What Is the Suzuki Method?

Developed by Dr. Shinichi Suzuki in the mid-20th century, the Suzuki method is based on the idea that musical ability can be developed in anyone, much like learning a native language. Key principles include:

– Listening & Repetition – Students learn by ear before reading sheet music.
– Parental Involvement (for children) – Parents attend lessons and help with practice or even learn to play themselves.
– Step-by-Step Progression – Each piece introduces new skills while reinforcing old ones.
– Delayed Note Reading – Reading music is introduced later, similar to how children learn to speak before reading.

While the parental aspect doesn’t apply to adults, the structured learning sequence and ear training remain incredibly valuable.

How Many Suzuki Violin Books Are There?

The Suzuki Violin School consists of 10 books, each containing carefully selected repertoire that builds technical and musical skills

Here’s a quick overview:

  • Book 1- learn proper posture, develop a beautiful sound, and refine intonation
  • Book 2-introduces more advanced bowing techniques and shifting
  • Book 3- works on expressive phrasing, dynamics, and vibrato
  • Book 4- introduces intermediate violin concertos such as Vivaldi A Minor and the Bach Double, as well as double stops and chords
  • Book 5- develop fluidity in positions 1-5 and continue to refine sound & intonation in double stops
  • Book 6- improve sound in the high register and increase dexterity in the left hand
  • Books 7-10-advanced pieces, including major violin concertos (Mozart, Bach, etc.)
Many adult learners find that Books 1-6 provide a strong foundation for most playing goals, whether classical, fiddle, or even pop music

Usually they move to separate pieces and etudes after those and don’t finish until book 10, although they’ll probably play some of the same repertoire.

The Biggest Advantage of Suzuki for Adults: Structure

One of the most underrated benefits of the Suzuki method is its clear, logical progression.

Each piece is chosen not just because it’s beautiful, but because it introduces or reinforces specific skills.

Example: Hidden Skills in Suzuki Book 1
– Twinkle Variations → Develops rhythm, bow control, and finger placement.
– Lightly Row → Introduces string crossings and smooth bowing.
– Song of the Wind → Works on fast finger movements and dynamics.

The problem? These skills aren’t always obvious when you’re learning on your own.

Without guidance, an adult might rush through pieces without mastering the underlying techniques—leading to frustration later.

That’s why, in Meghan Faw’s online Suzuki violin courses, she explicitly breaks down the skills in each piece. This way, students don’t just play the notes: they build a strong technical foundation that allows them to tackle any music they love in the future.

Why the Suzuki Violin Method Works for Adults (with adjustments)

Pros for Adult Learners:

✅ Structured Learning – No guessing what to practice next.
✅ Ear Training Focus – Helps with playing by ear, improvisation, and ensemble playing.
✅ Progressive Difficulty – Avoids overwhelming jumps in skill level.
✅ Classical Foundation – Even if you love other genres, Suzuki’s technique translates well.

Challenges & How to Overcome Them:

❌ Designed for Kids → Some pieces may feel childish.
– Solution: Supplement with adult-friendly music (e.g., fiddle tunes or pop songs).
❌ Parental Role Not Applicable → Adults must self-motivate.
– Solution: Join a community (online courses, group classes or amateur orchestra).
❌ Delayed Note Reading → Some adults want to read sheet music sooner.
– Solution: Introduce reading alongside Suzuki (many teachers do this for adults).

The Missing Piece: You Need a Teacher or Guided Course

Here’s the truth: The Suzuki books only provide the music

They don’t explain:
– How to practice effectively
– What techniques each piece teaches
– How to correct mistakes before they become habits

That’s why self-teaching from the books alone often leads to plateaus or bad habits

2 Ways to Learn Suzuki as an Adult and get Fast Progress:

1. Find a Suzuki Teacher – Look for one experienced with adult students.
2. Join an Online Course – A structured video course can provide step-by-step guidance. I highly recommend Meghan Faw’s Suzuki violin bundle.

Ready to Start Your Suzuki Violin Journey?

If you’re an adult beginner or intermediate violinist, the Suzuki method can be a fantastic path if you approach it with the right guidance.

To help you get the most out of it, qualified Suzuki violin teacher Meghan Faw has created online courses with tutorials for Suzuki Violin Books 1-6. Each lesson:
✔ Breaks down the hidden skills in every piece
✔ Provides practice strategies to avoid frustration
✔ Includes bonus exercises for technique and musicality

Whether you’re just starting or revisiting the basics, this course will give you the structure and clarity you need to progress confidently.

Join the Suzuki Violin Course for Adults Here

Closing Notes

The Suzuki method isn’t just for kids. With the right approach, it can give adult learners a rock-solid foundation for any musical style. The key is understanding the skills behind the pieces – and that’s where a teacher or structured course makes all the difference.

Have you tried Suzuki as an adult violin learner? Share your experience in the comments!

Happy practicing! 🎻

18 Best Violin and Viola Duets

Learn the best violin and viola duos including free sheet music!

Duos for violin and viola know a rich history spanning centuries. Many composers have written pieces for this beautiful combination.

Here on Violin Lounge, I’ve done articles on several different chamber music combinations, including violin/piano, violin/cello, and violin duets. Today we’ll be adding the viola into the mix for the first time, presenting the most beloved and a few lesser-known works for violin and viola.

For most pieces (where this was legally possible) I’ve provided free sheet music links.

#1 28 Little Duets, Op. 191 by Franz Wohlfahrt

Franz Wohlfahrt specialized in writing etude books for beginner and intermediate violinists. This book of duos is very approachable for beginners, an excellent choice if both you and a violist friend have recently started playing!

Buy the sheet music here!

#2 15 Duets after Two-Part Inventions by J.S. Bach (arr. Iwata/David)

Unfortunately, J.S. Bach did not write any duets for violin and viola. (That we know of…maybe they’ll still find one!) However, these duets based on simple two-part inventions are charming and quintessentially Bach. If you have recently started exploring solo Bach repertoire, these provide some wonderful music in the same style.

Buy the sheet music here!

#3 Four Sonatas for Violin and Viola by Michael Haydn

These four sonatas are suitable for more advanced intermediate players. They are mostly in first through third position, although the violin part does occasionally go up to sixth. Nevertheless, they straight-forward, charming pieces with many sparkling solo lines for the violin. Below is the first sonata in C major.

Click here to download the free sheet music.

#4 Duo for Violin and Viola in F Major by Joseph Haydn

Michael’s older brother, Joseph, was the more famous composer of the two. Michael is best-known for his choral works, while Joseph is remembered for writing an astonishing 106 symphonies! Even with all that, Joseph still found time to write a violin/viola duet. Like Michael’s sonatas, the violin’s part is more involved than the viola’s, mainly in terms of the rhythm.

Click here to download the free sheet music.

#5 Sinfonia Concertante in E-flat Major by W.A. Mozart

Mozart’s Sinfonia Concertante is one of the most frequently performed violin/viola duos. It is not just scored as a duet but accompanied by a full orchestra. Unlike the Haydn pieces, both instruments have equally interesting parts in this thirty-minute three-movement work. Comparable to Mozart’s violin concertos, this piece is ideal for advancing older students.

Click here to download the free sheet music.

#6 Duo for Violin and Viola in B-flat Major by W.A. Mozart

Love Mozart but don’t have an orchestra on hand? This melodic duet is just what you need if you only have two players. This piece is no less difficult than Sinfonia Concertante, however. It demands crisp articulation, a fast left hand, and long phrases, but the rich result with just two instruments is very satisfying. If you enjoy playing this piece, you should also try his Duo in G major K 423.

Click here to download the free sheet music.

#7 Six Duos for Violin and Viola, Op. 10 by Carl Stamitz

Carl Stamitz was one of Mozart’s teachers and also wrote one of the most famous viola concertos, so he understood string instruments very well. His six duets are lively and tasteful. Check out this sprightly rondo movement from the duet in A major.

Click here to download the free sheet music.

#8 Sonata for Viola with Violin Accompaniment by Alessandro Rolla

Italian violin virtuoso Alessandro Rolla was born just one year after Mozart. Rolla taught Paganini and is responsible for many of the advanced violin techniques we use today, so it is particularly interesting that in this piece, he chose to feature the viola instead, even calling it “Sonata for Viola with Violin Accompaniment”.

Click here to download the free sheet music.

#9 Duet for Violin and Viola in G Major by Franz Hoffmeister

This five-minute duet works well as a recital time-filler or encore. Although it goes at a quick pace, the rhythms are easy to understand, and it mostly doesn’t go above third position. If you enjoy playing this piece, Hoffmeister wrote five other violin/viola duos as well.

Click here to download the free sheet music.

#10 6 Duos dialogués by Rudolphe Kreutzer

Kreutzer was one of the most important developers of the French violin school. He wrote a famous book of etudes, several concertos, and forty operas. These short duos are only a few pages each, providing a light repast after practicing your Kreutzer etudes.

Click here to download the free sheet music.

#11 Duet for Violin and Viola, Op. 13 by Louis Spohr

A German violin virtuoso of the mid-19th century, Spohr’s notable contribution to the violin world was the invention of the chinrest. Like many composers of his era, he was far more influential during his life then after his death. A few of his violin concertos do remain in the common repertoire, but much of his work is rarely heard. Consider adding this duet to your next recital, and everyone may learn a little about this important figure.

Click here to download the free sheet music.

#12 Passacaglia for Violin/Viola by Johann Halvorsen

This is another very famous duet, based on a suite by Handel. A passacaglia is a series of variations on a simple bassline. This passacaglia arrangement is very challenging, but dramatic and a wonderful way to show off for both soloists. There is also an arrangement for violin and cello.

Click here to download the free sheet music.

#13 Sarabande for Violin/Viola by Johann Halvorsen

This movement is also based on a Handel theme. It has a similar structure to the passacaglia: a short theme spun out into more and more complex variations.

Click here to download the free sheet music.

#14 Two Duets for Violin and Viola, Op. 208 by Johann Kalliwoda

Kalliwoda was an early 18th-century violinist from Prague who wrote hundreds of compositions. He was a court conductor and choir director, and was respected by his contemporaries, including Robert Schumann. These short duets, though lesser-known, are wonderful examples of the type of chamber music written for court settings.

Click here to download the free sheet music.

#15 Duo for Violin and Viola by Jean Sibelius

In the world of violin solos, Sibelius is mostly remembered for his grandiose violin concerto. He wrote other lovely pieces too, such as a sonatina and this duet. It is vastly different from the concerto, as the violin plays a simple, reflective melody without much virtuosic material.

Buy the sheet music here.

#16 12 Duets for Violin and Viola, Op. 60 by Robert Fuchs

These short, whimsical pieces are from the turn of the 20th century. They are a small sample of a much larger chamber music output from Austrian composer Robert Fuchs. A professor at the Vienna Conservatory, Fuchs’ music was particularly admired by Brahms, who called it “so charmingly invented, that one is always pleased.” Share in the light-hearted charm of these short works, such as the waltz included below.

Click here to download the free sheet music.

#17 Three Madrigals for Violin and Viola by Bohuslav Martinu

Most of the duets on this list are in a classical form and style, but I wanted to include something from the modern repertoire as well. Czech musician Bohuslav Martinu composed in the neoclassical style, the same style used by Stravinsky, Ravel, and Prokofiev. This means that while his pieces imitate classical forms and may even hint at baroque elements, they are filled with modern harmonies and techniques. These Three Madrigals are technically demanding for both instruments, face-paced and highly spirited.

Click here to download the free sheet music.

#18 Just for fun…Christmas duets!

Christmas is one of the best times for holiday-themed jams with your musical friends or family, so I did not feel this list would be complete without a Christmas resource. This book provides 22 traditional, beloved carols at the easy-intermediate level. If you are looking for something easy, light, and fun, you can use this resource to learn and perform a favorite carol.

Buy the sheet music here!

What is your favorite violin/viola duet? What other chamber music combinations would you love to learn more about? Share your thoughts in a comment.

Violin Half Position – all notes, finger chart and exercises

Half position on the violin is just a semitone under the first position and comes in handy in solo as well as orchestral playing

Finding Half Position

What does “half position” even mean? Simply put, it is used to play the notes that are “in the cracks” of first position, or lower than regular first position fingerings.
Basically, every finger goes down one half step or whole step lower than it would in first positon. For example, 1 on B♭, 2 on B, 3 on C#, 4 on D. There are different possible combinations but this one is common.

Half position is particularly useful for very fast passages where you do not have time to shift to another string. You might also find it in music with many sharps or flats where you cannot use open strings.

Finger Chart of Half Position

Notes in Half Position

The full chromatic range of notes you can play in half position is as follows:
G string: G#/A♭, A, A#/B♭, B, C
D string: D#/E♭, E, F, F#/G♭, G
A string: A#/B♭, B, C, C#/D♭, D
E string: F, F#/G♭, G, G#/A♭, A

Sheet music of the half position

This is what the half position notes look like in violin sheet music. I’ve chosen between notes that are enharmonically the same. Of course if a F# is possible, a Gb is possible too (also see the finger chart above).

Example of Half Position

It is not common to find extended passages in half position (unless in etudes) because it is only used to make passages more comfortable. There is no need to play slow, legato passages in half position because you have plenty of time to shift.

This quick passage from Mendelssohn’s violin concerto is a great example of how half position comes in handy. At exactly 0:50, you can catch where Hahn shifts from third to half position on the A string. This is marked in the sheet music.

Half Position in Sheet Music

Several etude books contain exercises that focus on half position. Here are just a few to get you started:

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How to Learn Half Position

The good news for half position is that it does not require shifting your hand further up the instrument. It may however feel strange at first to place your fingers so close to the nut. If you’re out of tune, it usually needs to be even lower than you think! Practice placing the notes with a tuner. Also for each pattern play close attention to whether the fingers touch or there are spaces. This is called “coding”. Learning the coding of half position is the best way to feel more comfortable.

Also, be sure your wrist is hanging down far back enough to reach these notes, there is space between the neck and the base of your thumb, your thumb is across from first finger, and your first finger is comfortably next to the nut. “Pizza wrist” is your absolute enemy and this (and all) situations!

Read all my violin position blog posts:

Violin Seventh Position – all notes, finger chart and exercises

The seventh position on the violin starts halfway the vibrating string length: on the first octave

If you’ve practed the octave harmonic, the seventh position will be easy to find.

Finding Seventh Position

Seventh is a VERY high position, and can seem intimidating. Want to know a secret? All the techniques in the other positions apply to seventh position too. It’s not it’s own scary thing, just use the shifting methods and exercises you’ve been doing up to this point! Seventh position is one of my favorites, and it can be yours, too.

Many people struggle to find a position that starts so high up. Here’s a few helpful tricks:

  • Remember discussing harmonics in my other shifting articles? Seventh position starts on the harmonic that’s an octave above the open string you’re on. If you can hear this harmonic when you touch the string lightly with your first finger, you’re in the right spot!
  • In lower positions, the left thumb and first finger move together. Starting from high fifth position (i.s. C# on the E string) first finger starts to inch forward while the thumb stays put against the violin’s heel. By the time you get to seventh, your finger should be about 1 ½ inches ahead of your thumb.
  • Seventh position starts on the note that is one octave above the open string you are on. So an E for E string, A for A string, etc.

Finger Chart of Seventh Position

Like other high positions, you can think of seventh as having a “low” and a “high” version, depending what key you are in. For example, E♭ on the E string would be low seventh position: high seventh would be E natural.

Notes in Seventh Position

The full chromatic range of notes you can play in seventh position is as follows:
G string: F#/G♭, G, G#/A♭, A, A#/B♭, B, C, C#/D♭
D string: C#/D♭, D, D#/E♭, E, F, F#/G♭, G, G#/A♭
A string: G#/A♭, A, A#/B♭, B, C, C#/D♭, D, D#/E♭
E string: D#/E♭, E, F, F#/G♭, G, G#/A♭, A, A#/B♭

Sheet music of the seventh position

This is what the seventh position notes look like in violin sheet music. I’ve chosen between notes that are enharmonically the same. Of course if a F# is possible, a Gb is possible too (also see the finger chart above).

Example of Seventh Position

Seventh position comes up constantly in advanced violin repertoire: you will find it sprinkled throughout virtually all the major concertos. As an example, here is the opening from the fifth movement of Lalo’s Symphonie Espagnole. Watch the sheet music video, then the performance. Specifically, pay attention to the trills in mms. 30 and 31. These F# trills on 2nd finger are in seventh position. You can see what this looks like in Hadelich’s playing. Also, notice that the eighth notes in the preceding measure move from third to fifth to seventh. This common pattern avoids sudden leaps.

Start this video at 7:10

Start this video at 26:16

Seventh Position in Sheet Music

Here are some books and pieces that will give you more practice in seventh position:

Note on Seventh Position on Lower Strings

Usually, you will encounter seventh position on the E string. However, composers often love to use high positions on low strings because it creates a special color. The challenge here is getting your hand around the neck of the instrument and staying in tune.

Let’s return to our Augustin Hadelich example from the video above, this time in the fourth movement. Here he is playing in seventh position on the G string (start the video at 23:40). First, notice how far around his left elbow is. This helps him get his hand up around the instrument. Also notice how deep into the string his bow is, and how slowly the bow has to move quickly to vibrate such a short length of string.

Playing in seventh position on the G string doesn’t have to feel awkward. Practice playing scales up and down on one string. When doing big shifts, always shift with a guide finger down. For example, if you need to play a B above middle C on the G string, slide on second finger to A, then put third on B. This creates stability.

My last tip is to play on the ball of your fingers, not the tip. This will cover the string better, providing stronger intonation, vibrato, and comfort.

What are your tips for playing in seventh position? Put them in the comments!

Read all my violin position blog posts: