The Bridgerton Effect: How Vitamin String Quartet Made Classical Music Cool Again

The Vitamin String Quartet (VSQ) has captured the hearts of many through their innovative and modern renditions of popular songs, most notably featured in the hit Netflix series “Bridgerton.” Their unique ability to blend contemporary music with classical instrumentation has made them a standout in both the music and entertainment industries.

Who are the members? What are their most popular pieces? Let’s get to know the Vitamin String Quartet and their music a bit better.

Members of the Vitamin String Quartet

The Vitamin String Quartet is not a traditional string quartet with fixed members. Instead, it is a rotating collective of musicians primarily based in Los Angeles. The group was founded by Leo Flynn, a producer with Vitamin Records, who envisioned classical renditions of modern rock songs. While the members may vary, the group consistently comprises skilled violinists, violists, cellists, and sometimes additional instrumentalists.

Musicians who thank their fame to the Vitamin String Quartet

Here are a few notable musicians associated with VSQ have gained recognition, either through their work with the ensemble or through other musical projects:

Tom Tally – A versatile violist and arranger, Tally has been a prominent member of the VSQ ensemble. His work extends beyond VSQ, as he has contributed to various film scores and other musical projects. Tally’s arrangements and performances have been integral to many of VSQ’s albums.

Leah Zeger – A violinist known for her work in both classical and jazz genres, Zeger has played with VSQ and other notable acts, including Postmodern Jukebox and the Hollywood Bowl Orchestra. Her versatility and skill have made her a standout performer within and outside of the VSQ framework.

Nina DiGregorio – A violinist and founder of the “Femmes of Rock” group, DiGregorio has been involved with VSQ and other musical ventures, blending classical training with rock and pop influences. Her dynamic stage presence and technical prowess have earned her recognition.

Jerome Kessler – A cellist who has contributed to several VSQ projects, Kessler’s work spans classical and contemporary styles. He has also been involved in orchestral and chamber music performances outside of VSQ.

Career and Evolution of the Vitamin String Quartet

VSQ’s journey began in 1999 under the guidance of Leo Flynn and the Vitamin Records label. Initially, their work focused on creating string tributes to iconic rock bands like Metallica and Radiohead. The reception was overwhelmingly positive, allowing them to expand their repertoire to include tributes to a diverse array of artists spanning various genres, from pop and hip-hop to indie and electronic music.

Their breakthrough moment in mainstream recognition came with their involvement in the Netflix series “Bridgerton.” The show’s first season, which premiered in December 2020, featured VSQ’s string versions of contemporary pop hits, seamlessly integrating them into the Regency-era setting. Tracks like “Thank U, Next” by Ariana Grande and “Bad Guy” by Billie Eilish became instant fan favorites, blending modern musical sensibilities with the elegance of classical string arrangements.


Vitamin String Quartet’s discography includes over 400 albums across various genres: pop and rock, metal, emo, punk, techno, country, and hip-hop. Vitamin String Quartet has worked together with a wide variety of groups, such as The Beach Boys, Gorillaz, Oasis, 311, Depeche Mode, Simple Plan, Queen, Led Zeppelin, The Offspring, Rush, Michael Jackson, The Beatles, Senses Fail, Black Sabbath, Iron Maiden, Bruce Springsteen, Crossfade, Jimi Hendrix, The Smashing Pumpkins, Radiohead, Modest Mouse, System of a Down, The Killers, Red Hot Chili Peppers, Coldplay, Linkin Park, Muse, Thirty Seconds to Mars, Slayer, Kanye West, Adele, Lady Gaga, and Lana Del Rey, among others. Click here to get their albums.

Most Beautiful Pieces by the Vitamin String Quartet

You might have heard more of the Vitamin String Quartet than you’re aware. Here are five recordings I’d like to highlight.

“Thank U, Next” by Ariana Grande

This cover, featured in “Bridgerton,” showcases the quartet’s ability to transform a pop anthem into a delicate, string-based composition that retains the original’s emotional depth.

“Bad Guy” by Billie Eilish

Another “Bridgerton” highlight, this piece exemplifies how VSQ can take a dark, moody track and reinterpret it with a classical touch, making it both fresh and familiar.

“Yellow” by Coldplay

A heartfelt rendition of Coldplay’s classic, this piece is a testament to VSQ’s ability to evoke powerful emotions through their arrangements.

“My Immortal” by Evanescence

This cover maintains the haunting quality of the original while adding a layer of classical elegance that makes it even more poignant.

“Shallow” by Lady Gaga and Bradley Cooper

VSQ’s take on this Oscar-winning song brings out its dramatic and tender elements, showcasing their versatility and emotional range.

Vitamin String Quartet sheet music

If you’re a string quartet playing at weddings, you’ll probably go crazy because of all the requests for Vitamin’s beautiful crossover renditions. In Vitamin String Quartet’s shop you can get the sheet music and make your couples happy on their special day.

More crossover artists you’ll love

Here are five other notable classical crossover ensembles that you might like if you like the Vitamin String Quartet:


This Croatian duo, consisting of Luka Šulić and Stjepan Hauser, is known for their dynamic and energetic cello performances that blend classical and contemporary music. They have gained international fame through their renditions of rock, pop, and film music.


Originally formed as a Metallica tribute band, this Finnish cello quartet has expanded their repertoire to include a variety of heavy metal and classical pieces. They are known for their powerful, intense performances and unique arrangements.

The Piano Guys

An American group that combines piano and cello to create innovative arrangements of popular songs and classical music. They are particularly known for their creative music videos that often feature stunning visuals and innovative concepts.


An all-female string quartet that blends classical music with elements of pop, rock, and electronic music. Bond is known for their glamorous image and energetic performances, making classical music accessible to a broader audience.


This British string quartet gained fame after participating in the TV show “Britain’s Got Talent.” They are known for their contemporary arrangements of classical and popular music, often incorporating electronic elements into their performances.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Closing note

Thanks to their breakthrough and over two billion streams across platforms, the Vitamin String Quartet makes classical music and the string quartet formation a lot more popular amongst a young new audience. 

Would the Vitamin String Quartet revive the popularity of string quartet composers like Joseph Haydn? We classical music lovers can only hope.

Are you new to string quartet music? Watch this video with the evolution of string quartets to get an idea of the rich history of this ensemble form.

Strings on the Violin Explained: easy guide for newbies!

Learn what the open strings on the violin are, how they are tuned, the note names and how they are notated in sheet music

This blog post answers all the questions you might have if you’re new to the violin. With the open string exercises and tips you can get started right away.

How many strings does the violin have?

The violin has four strings. From low to high the strings are G, D, A and E. There are some exceptions of five string violins with a lower C and even seven string electric violins, but they are not so common and often electric. The violins you see in a symphony orchestra have four strings.

What are the notes names of the open strings on the violin?

The violin is tuned in fifths and the pitches of the open violin strings are G3, D4, A4 and E5. The note names are G, D, A and E. Play the tuning notes below to listen to the sound of each of the open strings.

Listen to the sound of the open strings on the violin:

How are the open violin strings notated in sheet music?

See the image below for the notation of the violin strings.

What are violin strings made of?

The core of violin strings is synthetic, steel or gut. The winding is made out of a mix of materials like metal, aluminum, silver and/or gold. There are many types of violin strings as different strings have different sound qualities. A good set of violin strings costs between $ 20 and $ 100. To learn more about different types of violin strings, check out my buying guide right here.

How to tune your violin strings 

You can change the pitch of your violin strings by turning the fine tuners that are located on the tailpiece or the pegs that are located near the scroll. When you turn them you need to check constantly if the pitch is right by plucking or bowing the string while you tune.

To know the right pitch, you can use my free online violin tuner. It has a mic tells you exactly if you need to tune higher or lower. That’s the easiest way to tune your violin correctly as a beginner. You tune the strings one by one. 

You can also tune with a tuning fork or any other source of the A pitch like a piano. That’s how professional violinists tune their violins. In an orchestra, everyone tunes after the A of the oboe. You just need one note to tune. The other strings are tuned by playing double stops and listening for the perfect fifth. I explain all about it on this page.


To how much Hz are the strings on the violin tuned?

The pitch to which the violin strings are tuned depends on the system of tuning. If we use the equal temperament system and we tune the violin like we tune a piano or guitar, the strings are tuned on these pitches:

  • G3 (196.00 Hz)
  • D4 (293.66 Hz)
  • A4 (440.00 Hz)
  • E5 (659.25 Hz)

This is the tuning to choose if you’re playing together with piano or other fixed pitch instrument. Also electric tuners are based on this system, for example my free online violin tuner.

Just tuning, on the other hand, adjusts the frequencies to match simple whole-number ratios, resulting in slightly different frequencies. Here’s how each string would be tuned in just intonation relative to the A4 string (440 Hz):

  • A4 (440 Hz) – This is our reference pitch.
  • D4 (293.33 Hz) – This is a perfect fifth below A4 (440 Hz * 2/3).
  • G3 (196 Hz) – This is another perfect fifth below D4 (293.33 Hz * 2/3).
  • E5 (660 Hz) – This is a perfect fifth above A4 (440 Hz * 3/2).

This system corresponds with the Pythagorean temperament, which is a slightly different system, but also based on perfect fifths. This tuning is used for example when playing solo or in a string quartet.

How to play open strings on the violin?

Why do I say ‘open’ strings? This is because I’m referring to the strings as they sound without stopping the notes with my finger. If I place my finger on the string and the string hits the fingerboard, the string shortens and the pitch is higher. This is how you play different notes on the violin. You can play over two octaves on each string. Read more about the violin range here.

When playing open strings you don’t need your left hand fingers on the strings. If you pluck (pizz) or bow (arco) on the strings without stopping them, you play the open strings. If you’re doing this for the first time, make sure your bow is tightened and rosined. It will take some time to learn the right combination of speed, weight and fluency in your bow hand before the violin starts to sound good.

Violin open string exercise for beginners

Make long bow strokes on one string. Try not to hit other strings (here are some tips). Practicing in front of the mirror can help. Count to four for each bow stroke. Try to make the sound as smooth as possible and consistently throughout the bow stroke. Play four bow strokes on one string. Then practice the next string. 

When to play an open string and when to play a fourth finger

In the first position the fourth finger on the G string has the same pitch as the open D string. The same goes for the D and A string and the A and E string. This means that if you see the notes of the open strings in the sheet music, it’s also possible that you should have to play a fourth finger. If there’s a 0 above the note in the sheet music, you play the open string. If there’s a 4, you play the fourth finger on the lower string.

Try playing the fourth finger and open string. The pitch should be the same, but the sound is very different. When the fingering is not written in the sheet music you choose what sounds best in that particular piece of music. In this video I explain some more about choosing between an open string and a stopped note.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

How to play each string on the violin?

When doing the beginner open string exercise above, you will notice that each string reacts a bit differently. Yes, you need to use different proportions on each string.

G string

The G string is the lowest string on the violin. This is the thickest string with the slowest vibration. To get a good rich sound, relax your right arm and let it rest on the bow. In this way you play with more weight.

D string

Coming from the D string you lower your elbow just a bit and your bow will go to the D string. Make your arm a bit less heavy.

A string

The A string requires even less pressure. The D and A string have a very neutral positon of the arm. You just need to move the bow from left to right without additional pressure.

E string

No worries if you find it hard to get a good sound from the E string as a beginner. This is very common. Lower your arm, so your bow is positioned on the E string. Don’t let your arm rest too much, but have a very light feeling in the bow. Just a tiny bit too much pressure can already cause scratchy sounds. Also make sure that you are moving the bow fast enough. If your bow speed is very low, the E string can also scratch.

Closing notes

I hope this blog post has answered all your questions about the strings on the violin. If you’re a newbie to the violin, I can recommend my free 40 lesson beginner course right here.

Fiddle vs violin: different music, same instrument

What’s the difference between the fiddle and the violin?

The most common answer is that it’s the same instrument, but used in different music styles. The violin is used for classical music and jazz and the fiddle for folk, country and bluegrass. However, there are plenty of classical musicians who call their instrument ‘fiddle’. According to musicologists the violin is a type of fiddle. Let’s clarify all of that.

Are the fiddle and the violin truly the same instrument?

A fiddle used for an Irish jig is indeed the same instrument as a violin used for a gigue by JS Bach. However, the set up of the instrument differs and the playing style and used techniques are different.

Set up of a fiddle vs a violin

At the core, both the fiddle and the violin are identical in construction. They are four-stringed instruments made from wood, typically maple, spruce, and ebony. The strings are tuned in perfect fifths (G, D, A, E), and the sound is produced by drawing a bow, strung with horsehair, across the strings.
While the physical instrument remains the same, the setup can vary significantly between fiddlers and violinists.

Violin Setup:

  • Strings: Violinists often use synthetic or gut strings for a warm, rich tone.
  • Bridge: Typically has a higher arch to facilitate clear, individual note playing.
  • Bow: Violinists may prefer a heavier Tourte design bow for better control in classical techniques and the ability to create a long sustained sound.
  • Chin Rest and Shoulder Rest: Positioned for maximum comfort and stability during intricate passages. Classical violinists generally play in higher positions, so their left hand must be able to move more freely over the fingerboard.

Fiddle Setup:

  • Strings: Fiddlers might use steel strings for a brighter, more penetrating sound suitable for dance music.
  • Bridge: Often flatter to allow for easier double stops and rapid string crossing.
  • Bow: Sometimes lighter and more flexible for quick, rhythmic bowing patterns. The bowing technique has a lot of similarities to historically informed baroque performance practice, which also uses a lighter bow.
  • Chin Rest and Shoulder Rest: Adjusted for comfort during prolonged playing sessions, often in a more relaxed stance. Amongst fiddlers it’s more common to play without shoulder rest and position the fiddle more on the arm instead of touching the neck of the player.

Besides that the set up of the violin or fiddle needs to match the style of music that’s being played, the set up is also something very personal for a player. The set up of a baroque violinist playing according to historically informed performance practice differs more from a romantic classical violinist than a fiddle used for bluegrass.

Playing technique of a fiddle vs a violin

We’ve discovered that the violin and the fiddle are the same instrument (almost), but they are certainly played in different ways. There’s no right or wrong here, but the playing technique is adjusted to perform a particular style of music in the best way possible.

Keep in mind that playing technique is very personal and highly differs within one genre. A violinist from the Russian school holds the bow in a different way than a violinist trained in Europe. Classical violinists perform music over five centuries and to stay historically accurate each musical style period requires it’s own approach. Fiddle music is also a gather name for the rich history of Irish, Scottish, French, Appalachian, bluegrass, Cajun music and much more.

Holding the Instrument

Violin (Classical and Jazz):

  • Posture: Classical violinists typically hold the instrument with a straight back and a relaxed but firm posture. The violin is placed on the shoulder with the help of a shoulder rest, and the chin rests on the chin rest. This is highly personal. Historically no shoulder rests were used until well in the 20th century and still today lots of players prefer to play without a shoulder rest.
  • Left Hand Position: The left hand supports the neck of the violin lightly, with the fingers curved and ready to press down on the strings. The thumb is positioned opposite the middle finger for stability.
  • Right Hand Position: The bow is held with a relaxed hand, with the thumb bent and placed against the frog, and the fingers curved around the bow stick. This grip allows for precise control and a wide range of bowing techniques.

Fiddle (Folk, Bluegrass, Country):

  • Posture: Fiddlers often adopt a more relaxed posture, which may vary significantly. The instrument might be held at different angles, sometimes flatter against the chest or lower on the shoulder.
  • Left Hand Position: The left hand might grip the neck more firmly, and the thumb may be positioned differently to facilitate rapid movement between strings and frets.
  • Right Hand Position: The bow grip can be more flexible and less formal, sometimes held further up the stick. This grip allows for quick, rhythmic bowing and easy transitions between strings.

Bowing Techniques

Violin (Classical and Jazz):

  • Long, Sustained Bows: Classical violinists often use long, sustained bow strokes to produce a smooth, continuous sound, essential for lyrical passages and legato playing.
  • Controlled Articulation: Techniques like spiccato (bouncing bow), staccato (short, detached notes), and martele (hammered bow strokes) require precise control over the bow.
  • Dynamics: Classical players use a wide range of dynamics, from pianissimo (very soft) to fortissimo (very loud), often within a single phrase.
  • Jazz Bowing: Jazz violinists incorporate techniques like swing bowing, syncopation, and sometimes imitate the sound of other instruments. They also employ a wide variety of bowing styles to achieve different timbres and effects.

Fiddle (Folk, Bluegrass, Country):

  • Rhythmic Bowing: Fiddlers often emphasise rhythmic bowing patterns to drive the beat, using techniques like the shuffle bow, which involves rapid, rhythmic strokes.
  • Double Stops and Chords: Fiddlers frequently use double stops (playing two strings at once) and chords (three or four strings) to create a fuller sound and add rhythmic complexity.
  • Drone Notes: Maintaining a constant drone on one string while playing a melody on another is a common technique in fiddle music.
  • Less Focus on Dynamics: While dynamics are still important, fiddlers often prioritize rhythm and melody over the wide dynamic range found in classical music.

Playing Techniques Used

Violin (Classical and Jazz):

  • High Positions: Classical violinists regularly use higher positions (third position and above) to access a wider range of notes and to play more complex pieces. This requires shifting the left hand up and down the fingerboard. A classical violinist really uses the whole fingerboard.
  • Vibrato: A technique where the pitch of a note is subtly varied to create a warmer sound. It is used extensively in classical music to enhance expressiveness.
  • Harmonics: Lightly touching the string at specific points to produce high, flute-like tones. This technique is used in both classical and jazz music for its ethereal quality.
  • Pizzicato: Plucking the strings with the fingers instead of using the bow. Classical players use both left-hand and right-hand pizzicato, while jazz players often incorporate pizzicato for percussive effects.
  • Glissando: Sliding the finger up or down the string to create a smooth transition between pitches. This is used in jazz for expressive, sliding notes.

Fiddle (Folk, Bluegrass, Country):

  • Double Stops: Playing two strings at once to create harmonies and add rhythmic drive. This is a staple in many fiddle styles.
  • Slides: Sliding the finger from one note to another, often used for expressive or ornamental purposes. This technique is common in bluegrass and country fiddling.
  • Bow Rocking: Rapidly alternating between two strings, often used to create rhythmic patterns and add excitement to the music.
  • Ornamentation: Adding grace notes, trills, and other embellishments to the melody. This is particularly prevalent in Celtic and Appalachian fiddling.
  • Cross Tuning (Scordatura): Tuning the strings differently from the standard G-D-A-E to achieve a particular sound or facilitate certain tunes. This is used in some traditional Appalachian and Scandinavian fiddling styles.


While the violin and the fiddle are essentially the same instrument, the techniques used to play them can vary widely depending on the genre of music. Classical and jazz violinists focus on precision, control, and a wide range of expressive techniques, often playing in higher positions and using complex bowing patterns. Fiddlers, on the other hand, emphasise rhythm, melody, and ornamentation, often using techniques like double stops, slides, and rhythmic bowing patterns to drive the music forward. These differences in technique reflect the diverse musical traditions and cultural contexts in which the violin and the fiddle are played.

History and Cultural Context

The Origins

The violin, as we know it today, emerged in 16th century Italy, evolving from earlier bowed instruments like the medieval fiddle, rebec, and lira da braccio. The craftsmanship of early Italian luthiers such as Andrea Amati, Antonio Stradivari, and Giuseppe Guarneri set the standard for violin making.

Evolution and Divergence

The term “fiddle” dates back to medieval times and was used to describe various stringed instruments played with a bow. By the 17th century, the violin had become prominent in classical music circles, while the fiddle remained associated with folk traditions.

Classical Violin:

  • Integral to orchestras, chamber music, and solo repertoire.
  • Repertoire includes works by Bach, Beethoven, Mozart, and many other classical composers.
  • Played in formal settings such as concert halls and theaters.

Folk Fiddle:

  • Central to folk traditions across Europe and the Americas.
  • Styles vary widely: Irish, Scottish, Appalachian, Bluegrass, Cajun, and more.
  • Played in informal settings like dances, gatherings, and festivals.

Playing like a fiddler or a violinist?

There’s a lot of overlap between the violin and the fiddle. Often the difference isn’t so clear. To illustrate the differences in playing technique, let’s take a couple of pieces as an example and play it like a violinist or a fiddler.

1. Bach’s Partita No. 3 in E Major, BWV 1006 – “Preludio”

As a Violin Piece:

  • Characteristics: Played with precise intonation, refined bowing techniques, and clear articulation. Emphasis on dynamics, phrasing, and expressive nuances that align with Baroque performance practices.
  • Setting: Typically performed in a formal concert or recital setting, often accompanied by a harpsichord or another baroque ensemble.

As a Fiddle Piece:

  • Characteristics: Performed with a more rhythmic, dance-like quality, potentially with less emphasis on strict adherence to Baroque style. Ornamentation might be added in a more improvisational manner.
  • Setting: Could be adapted for a folk setting, possibly with other folk instruments. The focus might be on the lively and rhythmic aspects of the piece.

2. “Orange Blossom Special” by Ervin T. Rouse

As a Violin Piece:

  • Characteristics: Played with technical precision, focusing on clear, fast passages and clean transitions. The violinist might incorporate classical bowing techniques and maintain a more controlled sound.
  • Setting: Performed in a crossover or classical setting, perhaps as a showpiece in a recital or concert.

As a Fiddle Piece:

  • Characteristics: Often performed with a lot of energy, emphasizing the rhythmic drive and fast-paced nature. Bowing is more aggressive and dynamic to highlight the train-like sound effects.
  • Setting: Typically played in a bluegrass or country music context, possibly at a jam session or folk festival.

3. “Ashokan Farewell” by Jay Ungar

As a Violin Piece:

  • Characteristics: Played with a focus on tone quality and expressiveness. The piece is performed with a lyrical, singing style, paying attention to dynamics and phrasing to convey emotion.
  • Setting: Often included in a classical or contemporary classical program, sometimes accompanied by piano or string quartet.

As a Fiddle Piece:

  • Characteristics: Played with a heartfelt, simple style, often with a slight folk lilt. The bowing might be more relaxed, and there may be slight variations in melody or rhythm typical of folk interpretation.
  • Setting: Commonly played at folk gatherings, weddings, or informal settings where the emphasis is on the melody’s emotional impact.

4. “The Devil Went Down to Georgia” by Charlie Daniels

As a Violin Piece:

  • Characteristics: Played with technical mastery, focusing on clarity and precision. The violinist might incorporate classical techniques and present the piece as a virtuosic showpiece.
  • Setting: Could be performed in a classical crossover concert or as a novelty piece in a classical recital.

As a Fiddle Piece:

  • Characteristics: Performed with a lot of energy and showmanship. The emphasis is on the storytelling and rhythmic drive, with aggressive bowing and a raw, powerful sound.
  • Setting: Typically performed in a country, bluegrass, or Southern rock context, often as a highlight at concerts or festivals.

5. “Danny Boy” (Londonderry Air)

As a Violin Piece:

  • Characteristics: Played with a focus on beautiful, sustained tones and expressive phrasing. The violinist emphasizes vibrato, dynamics, and emotional depth.
  • Setting: Often performed in a classical recital or concert, sometimes with piano or orchestral accompaniment.

As a Fiddle Piece:

  • Characteristics: Performed with a simpler, more straightforward approach, possibly with a slight folk ornamentation. The fiddle version might emphasize the melody and its connection to Irish folk traditions.

Setting: Commonly played in folk settings, such as Irish music sessions, community gatherings, or informal performances.

Really a violin is a type of fiddle

What musicologists say…

All right, stay with me as we dive into a rabbit hole. The New Grove Dictionary of Music and Musicians defines “fiddle” as “a generic term for any chordophone [stringed instrument] played with a bow.” This would mean that the violin (and also the ‘fiddle’ we described above), is a type of fiddle. The fiddle is a group of many different instruments. Let’s take a look at all the different fiddles and their cultural context.

9 Types of fiddles and their music

1. Erhu (China)

  • Description: The erhu is a two-stringed bowed instrument with a long neck and a small resonating body covered with python skin. It is sometimes referred to as the Chinese violin.
  • Type of Music: The erhu is used in traditional Chinese music, including classical Chinese pieces, folk music, and contemporary compositions. It is known for its expressive and haunting sound, often used to convey deep emotions in music.

2. Kamancheh (Persia/Iran)

  • Description: The kamancheh is a bowed string instrument with a spherical body, traditionally covered with animal skin, and a long neck. It has four strings and is played vertically.
  • Type of Music: The kamancheh is prominent in Persian classical music and folk music of Iran and neighbouring regions. It is known for its rich, warm tones and is often used in both solo and ensemble settings.

3. Sarangi (India)

  • Description: The sarangi is a bowed string instrument with a short neck and three main playing strings made of gut, along with up to 37 sympathetic strings. It is played with a bow made of horsehair.
  • Type of Music: The sarangi is a key instrument in Hindustani classical music. It is used to accompany vocalists and in solo performances, known for its ability to closely imitate the human voice.

4. Nyckelharpa (Sweden)

  • Description: The nyckelharpa is a traditional Swedish instrument resembling a violin but with a series of keys (nyckel) used to change the pitch of the strings. It has three melody strings, one drone string, and 12 sympathetic strings.
  • Type of Music: The nyckelharpa is primarily used in traditional Swedish folk music. Its unique sound is also found in contemporary and experimental music genres, providing a link between ancient and modern musical traditions.

5. Gudok (Russia)

  • Description: The gudok is an ancient Russian bowed instrument with a flat, pear-shaped body and three strings, played with a bow. It has a distinctive sound and is held in various ways while playing.
  • Type of Music: The gudok was historically used in Russian folk music and dance music. It has seen a revival in recent years and is sometimes used in modern folk and historical reenactment performances.

6. Hardingfele (Norway)

  • Description: The Hardingfele, or Hardanger fiddle, is a traditional Norwegian fiddle with a unique design featuring additional sympathetic strings beneath the main strings, a decorated fingerboard, and a flatter bridge.
  • Type of Music: The Hardingfele is central to Norwegian folk music, particularly in dance music like the Halling, Springar, and Gangar. Its distinctive sound is rich and resonant, often used in solo performance and folk ensembles.

7. Rebab (Middle East, North Africa, Southeast Asia)

  • Description: The rebab is a traditional bowed string instrument with a skin-covered body and a long neck. It comes in various shapes and sizes, with different regional variations.
  • Type of Music: The rebab is used in a wide range of musical traditions, from Arabic classical music to Javanese gamelan music. Its versatile sound is valued for both melodic and rhythmic contributions to ensemble performances.

8. Gaohu (China)

  • Description: The gaohu is similar to the erhu but is smaller and tuned a fourth higher. It has a smaller body and a brighter, more penetrating sound.
  • Type of Music: The gaohu is used in Cantonese music and modern Chinese orchestral music. It is known for its lively and bright tone, often featured in solos and leading melodic lines.

9. Morin Khuur (Mongolia)

  • Description: The morin khuur, or horsehead fiddle, is a traditional Mongolian bowed instrument with two strings and a distinctive carved horse head at the top of the neck. It is played with a bow strung with horsehair.

Type of Music: The morin khuur is integral to Mongolian

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Closing notes

Diving into the differences between the violin and the fiddle makes me realize what a rich history of different music from different countries and cultures can be played on this instrument. 

It’s always good to broaden your musical horizon and step out of your comfort zone to try and play some pieces that you wouldn’t think of right away.

Do you see yourself as a violinist or a fiddler? What type of music do you love to play and would you consider it violin or fiddle? Let me know in the comments.

100 Viola Jokes for Orchestral Laughter

To make insecure violinists feel a bit better about themselves, we have viola jokes

Violists are amazing musicians and they can take good jokes

We all know the viola is a fantastic instrument, but hey, just have a good laugh with the hundred viola jokes in this article.

The viola, often overshadowed by its smaller cousin, the violin, is a remarkable instrument that holds a unique place in the world of classical music. It’s rich, warm tones provide a vital middle voice in string quartets and orchestras, bridging the gap between the higher-pitched violins and the deeper cellos. Despite its importance and the beautiful music you can play on it, the viola has become the butt of many jokes mainly made by violinists. Why is this the case?

Why So Many Viola Jokes?

The tradition of poking fun at violas and violists dates back centuries. Part of this stems from the instrument’s role in the orchestra, where it often plays inner harmonies rather than the more prominent melodies assigned to violins or cellos. Additionally, the historical development of viola music lagged behind that of the violin, contributing to a stereotype of violists as lesser musicians, which is wholly undeserved. In the classical era the viola parts were often more simple than violin parts and violinists occasionally played the viola. There weren’t much dedicated violists like we had later in the romantic era, when the viola parts became more demanding. These factors have all contributed to the rich tradition of viola jokes, which are shared with affectionate camaraderie among musicians.

The 100 Best Viola Jokes

  1. How can you make a violist play tremolo? Just write ‘solo’ above his part.
  2. How do you know the stage is level? The violists drool from both corners of the mouth.
  3. What’s the difference between a coffin and a viola case? A coffin has the dead body on the inside.
  4. What the advantage of the viola vs the violin? A viola can contain more beer.
  5. Viola for sale: never used above third position.
  6. String quartet looking for two violinists and a cellist.
  7. What happens if a robber turns out to be carrying a machine gun in a viola case? Everyone breathes a sigh of relief.
  8. Bowing technique for violists: lift the bow off the strings, that’s it, now don’t put it back on.
  9. How do you know a violist is playing out of tune? The bow is moving.
  10. Why is a viola like a lawsuit? Everyone’s happy when the case is closed.
  11. What is the definition of a cluster chord? A viola section playing on the C string.
  12. What do you call someone who hangs around with musicians? A violist.
  13. How to prevent a violist from playing out of tune? Remove the strings.
  14. If you ever feel useless, remember that there are people making fine tuners for viola.
  15. What’s the difference between a viola and a trampoline? You take your shoes off to jump on a trampoline.
  16. What’s one thing a violinist can do better than a violist? Play the viola.
  17. How to hold the viola? Put it back in the case, lock it and grab the handle.
  18. Why don’t violists play hide and seek? Because good luck hiding a viola.
  19. How do you get a violist to play louder? Tell them to play softer.
  20. What is the difference between a radio and a viola? A radio plays music.
  21. How do you make a violin sound like a viola? Sit in the back row and just pretend to play.
  22. What’s the difference between a viola and an onion? No one cries when you cut up a viola.
  23. What do you call two viola players playing in unison? Counterpoint.
  24. What’s the difference between a violist and a dog? The dog knows when to stop scratching.
  25. What’s the best part of a viola? The mute.
  26. Why do so many people take an instant dislike to the viola? It saves time.
  27. How was the canon invented? Two violists were trying to play the same passage together.
  28. What’s the definition of a minor second? Two violists playing in unison.
  29. How do you keep your violin from getting stolen? Put it in a viola case.
  30. What’s the range of a viola? About 20 yards if you have a good arm.
  31. A comic was recently flying to Berlin. He decided to strike up a conversation with his seat mate.
    “I’ve got a great violist joke. Would you like to hear it?”
    “I should let you know first that I am a violist.”
    “That’s OK. I’ll tell it real slow!”
  32. Why did the violist leave his instrument on the dashboard? So he could park in the handicap spot.
  33. What does a viola section sound like underwater? A good idea.
  34. Why is a viola solo like a bomb? By the time you hear it, it’s too late to do anything about it.
  35. Why do people tremble with fear when someone comes into a bank carrying a violin case? They think he’s carrying a viola and might be about to use it.
  36. How do you make a violin sound like a viola? Sit in the back and don’t play.
  37. How does a composer create an orchestral glissando effect? Write a 16th note run for the violas.
  38. What’s the difference between a violist and a seamstress? A seamstress tucks up frills.
  39. Why shouldn’t violists take up mountaineering? Because if they get lost, it takes ages before anyone notices that they’re missing.
  40. Why can’t you hear a viola on a digital recording? Because recording technology is now able to eliminate unwanted noise.
  41. Why did the chicken cross the road? To get away from the viola recital.
  42. What instrument do violists envy most? The harp. You only ever have to play pizzicato on open strings.
  43. How do you know if there’s a violist at your door? They can’t find the key and don’t know when to come in.
  44. What’s the difference between the first and last desk of the viola section? About half a bar.
  45. What’s the similarity between lightning and a violist’s fingers? Neither strikes in the same place twice.
  46. Why do violists always get lost? Because their GPS is set to “allegro.”
  47. How do you get two violists to play in tune? Shoot one of them.
  48. Why are viola jokes so short? So violists can remember them.
  49. What’s the difference between a violist and a large pizza? A large pizza can feed a family of four.
  50. Why did the violist play in the orchestra? Because he couldn’t find the keys to the car.
  51. How do you call someone who hangs around musicians? A violist.
  52. How does a violist change a light bulb? They don’t. They leave it out because it’s too dim anyway.
  53. How do you get two violists to play in tune with each other? Ask one to leave.
  54. What do you call a violist that’s bad at playing the viola? A violist.
  55. What’s the difference between a viola and a bucket of manure? The bucket.
  56. Why do violists smile when they play? Because ignorance is bliss.
  57. What’s the definition of an optimist? A violist with a beeper.
  58. Why do violists always have to write down their jokes? So they can play them later.
  59. What do you get when you cross a violist with a dog? A dog that can play a viola.
  60. What’s the difference between a violist and a tuna fish? The tuna fish is perfect for sandwiches.
  61. How many violists does it take to change a light bulb? None. They can’t reach that high.
  62. Why do violists never play hide and seek? Because no one will look for them.
  63. How do you know if a violist is dead? The conductor stops beating, but they keep playing.
  64. Why did the violist get fired from the orchestra? For always getting stuck in Coda.
  65. How can you make a violin sound more like a viola? Play only on the G string and miss a lot of notes.
  66. What’s the difference between a viola and a violin? The viola burns longer.
  67. How can you make a viola sound better? Sell it and buy a violin.
  68. What’s a violist’s favourite game? Musical chairs.
  69. How do you stop a violist from drowning? Take your foot off their head.
  70. Why did the violist bring a ladder to the concert? To reach the high notes.
  71. What’s the difference between a violist and a battery? A battery has a positive side.
  72. Why don’t violists play chess? They can’t tell the difference between a bishop and a knight.
  73. What’s a viola’s best role in an orchestra? Kindling for the conductor’s podium fire.
  74. Why did the violist cross the road? To get to the other string section.
  75. How do you tell a violist’s calendar? They always come in a half-beat late.
  76. What’s the difference between a violist and a chainsaw? Vibrato.
  77. Why are viola jokes so popular? Because they always get a laugh.
  78. What’s the most effective way to make a violist quiet? Give them a solo.
  79. How do you get a violist off your porch? Pay for the pizza.
  80. Why did the violist bring a fishing rod to rehearsal? To catch the bass.
  81. How many violists does it take to screw in a light bulb? Just one, but they’ll argue about the fingering.
  82. Did you hear about the violist who played in tune? Neither did I.
  83. Why don’t violists ever get lost? Because everyone else is happy when they go missing.
  84. What’s the difference between a violist and a catfish? One is a bottom-feeding scum sucker, and the other is a fish.
  85. How can you tell a violist is on stage? They’re the ones counting.
  86. Why did the violist stare at the orange juice container? It said “concentrate.”
  87. How can you tell if a viola is out of tune? Someone is playing it.
  88. What’s the similarity between the Beatles and the viola section of the Royal Philharmonic Orchestra? Neither has played together since 1970.
  89. What’s the difference between a viola and a vacuum cleaner? A vacuum cleaner has to be plugged in before it sucks.
  90. How do you transcribe a violin piece for viola? Divide the metronome marking by two.
  91. What’s the difference between a chain saw and a viola? If you absolutely had to, you could use a chain saw in a string quartet.
  92. What’s the difference between the first and last desk of the viola section? A semi-tone.
  93. If you’re lost in the desert, what do you aim for? A good viola player, a bad viola player or an oasis? The bad viola player. The other two are only products of your imagination.
  94. What is the main requirement at the “International Viola Competition?” Hold the viola from memory.
  95. Why did the violist marry the triangle player? Upward mobility.
  96. What’s the difference between a violin and a viola? You can tune the violin.
  97. How to rehair a viola bow? First cut the old hair in two and remove it. That’s it.
  98. Did you hear about the crime by a pair of string musicians? It was a drive-by viola recital.
  99. Why are violas larger than violins? They are actually not. It is just that viola players have small heads.
  100. What’s the definition of perfect pitch? When you throw a viola into a skip cleanly.

An Apology to Violists

In conclusion, while these jokes are shared in good humour, it’s important to acknowledge the skill and dedication of violists everywhere. The viola is a beautiful and essential instrument in the realm of music, and those who play it contribute greatly to the richness and depth of orchestral and chamber music. We tip our hats to you, dear violists, for your patience, talent, and the laughter you bring to the musical world.

I’d love to make it up to you, so here are:

10 Reasons Why the Viola is Better Than the Violin

  1. Rich, Warm Sound: The viola produces a deeper, richer, and warmer sound compared to the violin, making it ideal for adding depth and emotion to music.
  2. Unique Timbre: With its distinctive alto voice, the viola has a unique timbre that stands out in both solo and ensemble settings, offering a sound that is less common and more intriguing.
  3. Versatility in Repertoire: The viola can perform a wide range of music, from classical to contemporary, and even folk and pop music. Its versatility makes it a more flexible choice for diverse musical styles.
  4. Middle Voice Mastery: In orchestral and chamber music, the viola often plays the crucial middle voice, providing harmonic and rhythmic support that is essential for the overall texture and balance of the ensemble.
  5. Challenging and Rewarding: The larger size and unique playing techniques of the viola present more challenges, but overcoming these challenges can be incredibly rewarding and make one a more skilled musician.
  6. Solo Opportunities: While not as common as violin solos, viola solos are growing in popularity, offering violists unique opportunities to shine and showcase their talents.
  7. Historical Prestige: Many famous composers, including Mozart, Beethoven, and Schubert, played the viola. This historical association with great composers adds a layer of prestige to the instrument.
  8. Increased Demand: There is often a higher demand for skilled violists in orchestras and ensembles because there are fewer of them compared to violinists. This can lead to more performance opportunities and job security.
  9. Distinctive Repertoire: The viola has a distinctive repertoire that includes both original works and transcriptions. This allows violists to explore a variety of music that is tailored specifically to the instrument’s unique qualities.
  10. Community and Camaraderie: Being a violist often means being part of a close-knit community of musicians who appreciate the instrument’s unique qualities and share a common bond over their love for the viola.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Closing note

I hope you’ve had a good laugh with these viola jokes. With a hundred of them I can’t guarantee that you’ll find them all good.

As a violinist I’m not very original. If I’ve repeated a joke in this list of 100 viola jokes, please let me know in the comments which two numbers are double and I will remove one and add in a new one.

You might be a bit new to viola jokes and maybe even wondering what the difference is between the violin and viola. Read this article for 7 differences and pros and cons.

What’s your favourite orchestral joke? Let’s have a good laugh in the comments.

Violin vs Viola: 7 Differences, Pros and Cons

The violin and the viola are two of the most prominent orchestral string instruments in the world of classical music and beyond. They share similarities in their appearance, technique, and repertoire, yet each has unique qualities that distinguish it from the other. Lots of musicians play both violin and the viola.

In this article I explore the seven differences between the violin and the viola, discuss the pros and cons of each instrument, and examine which might be harder to learn.

7 Differences between the violin and the viola

  1. Size and shape
  2. Weight
  3. Tuning
  4. Clef
  5. Bow
  6. Role in the orchestra or ensemble
  7. Playing technique

Watch the quick video on the right to see and hear. Below I will go into depth into each of the seven differences between the violin and the viola. After that we’ll discuss the pros and cons, which one is harder to learn and how difficult it is to switch.

#1 Size and shape

Violin vs viola size

The first difference you’ll notice between the violin and the viola is the size: the viola is bigger. Both violins and violas come in different sizes. The violin is generally smaller, with an average body length of about 14 inches (35.5 cm), while the viola is larger, typically ranging from 15 to 18 inches (38 to 45 cm). This size difference affects not only the instrument’s weight but also the spacing of the strings and the overall feel when played.

Interesting detail is that compared to the body of the violin and the cello, the viola ‘should have been’ bigger for the range. However, it wouldn’t be able to play it in the same position. The fact that the viola’s body is relatively small for it’s pitch, gives the viola it’s typical timbre. I’ll explain all about violin vs viola tuning below.

Click here for a violin size chart and click here for a viola size chart.

Violin vs viola shape

The proportions and shape of the violin and the viola are generally the same. However, sometimes for example the body of the viola is relatively bigger (to get a good sound) and the neck is relatively shorter (to still be comfortable to play).

In the image below you’ll see a 4/4 violin and 16 inch viola side by side.

#2 Weight

Violin vs viola weight

As the viola is bigger than the violin, it’s also heavier. The violin’s weight is approximately 400 to 500 grams (0.88 to 1.1 pounds). The viola’s weight is approximately 575 to 700 grams (1.27 to 1.54 pounds). You can imagine that for those with a smaller builds, it’s easier to play the violin for extended periods of time. The added weight of the viola can cause more strain on the shoulders, neck, and arms, especially during long practice sessions or performances. This requires violists to develop greater physical endurance and may necessitate more careful attention to posture and playing technique to avoid injury.

Despite these differences, both instruments are designed to be manageable for most players with proper training and practice. Adjustments in playing technique and support accessories (chinrest and shoulder rest) can help mitigate the physical demands of each instrument. Picking the right size is also crucial.

#3 Tuning, sound and playing range

The viola sounds lower than the violin. Both instruments have four strings. The violin is tuned in perfect fifths: G3, D4, A4, and E5. The viola, on the other hand, is tuned a fifth lower: C3, G3, D4, and A4. This difference in tuning contributes to the viola’s deeper tone and impacts the fingering and playing techniques for musicians. To tune your violin or viola, check out my free online tuner right here.

Differences and similarities of violin vs viola tuning

The G, D and A strings of the violin and the viola are tuned in the same pitch. However, the open strings when played sound a bit different as the violin and the viola have different timbres. The viola has a lower C string that the violin doesn’t have and the violin has a higher E string that the viola doesn’t have.

Playing range of the violin vs the viola

The difference in tuning of the strings causes the playing range of the violin and viola to be different. The violin’s range extends from the G3 note below middle C to the A7 note, whereas the viola’s range starts at C3 and goes up to about A6. See the image below for the range of the violin vs the viola. Please note that the true playing range is usually bigger, certainly if one also counts the harmonics.

#4 Violin vs Viola clef

Violinists and violists read in a different clef. The viola clef reads seven notes lower than the violin clef.

Violin clef

  • Clef: The violin primarily uses the treble clef. This is the same as the right hand of the piano.

  • Range: The treble clef suits the violin’s higher pitch range.
  • Notation: In the treble clef, the notes are notated on a five-line staff with the second line from the bottom representing the G note above middle C.

Viola clef

  • Clef: The viola primarily uses the alto clef, also known as the C clef, where the middle line of the staff represents the note C4 (middle C).

  • Range: The alto clef fits well with the viola’s mid-to-low pitch range.

  • Transition to Treble Clef: For higher passages, the viola music sometimes switches to the treble clef to accommodate notes that extend beyond the range of the alto clef. This transition helps avoid excessive ledger lines above the staff in the alto clef.
  • Notation: In the alto clef, the notes are notated on a five-line staff with the center line representing middle C. This clef is unique to the viola and a few other instruments, making it somewhat specialized.

Summary of Clef Differences

  • Violin: Treble clef is the standard, facilitating the notation of higher pitches comfortably.

  • Viola: Primarily uses the alto clef, with occasional switches to the treble clef for higher passages, accommodating its broader and lower range compared to the violin.

Understanding these differences in clef usage is crucial for musicians who play both instruments, as it affects how the music is read and interpreted.

To illustrate the violin vs viola clef, see the image below where the open strings of the violin and the viola are notated in their own clefs. Please remember that the G, D and A string of the violin and viola have the same pitch.

#5 Violin vs Viola Bow

Violinists and violists use different type of bows.

4 Differences Between the Violin Bow and the Viola Bow

#1 Frog shape

If you have a bow in your hands and you’re wondering if it’s a violin or viola bow, the easiest way to determine this is to look at the frog. Take a look at the corner of the violin vs viola bow in the image below. The corner of the violin bow has a sharp edge, while the corner of the viola bow has a round edge. Also the viola frog is larger.

There are exceptions (as always in music, haha) as Arcus makes violin bows with a round corner at the frog. However, these frogs are much smaller than a viola frog, even as a violin frog. It’s made to accommodate the lighter weight of these bows. Also in historical bows there are different designs of frogs.

#2 Size

  • Violin Bow: The typical length of a violin bow is about 74.5 centimeters (29.3 inches).
  • Viola Bow: The typical length of a viola bow is slightly longer, around 75 centimeters (29.5 inches), though this can vary slightly by manufacturer and player preference.

Lots of makers make their violin and viola bows the same length as this depends more on the arm length of the player than the instrument.

#3 Stick Shape

  • Violin Bow: The stick of the violin bow is generally round or octagonal in cross-section, tapering smoothly from the frog (the part of the bow held by the player) to the tip.
  • Viola Bow: The stick of the viola bow is also round or octagonal, but it is designed to be slightly thicker and stronger to accommodate the heavier strings and greater tension of the viola.

#4 Weight

  • Violin Bow: A standard violin bow weighs between 58 to 62 grams.
  • Viola Bow: A standard viola bow is heavier, typically weighing between 70 to 74 grams. The added weight helps produce a deeper, richer sound suitable for the viola’s lower range.

Other Considerations

  1. Balance: The balance point of the viola bow is often positioned slightly differently to accommodate the heavier weight and provide better control over the larger strings.
  2. Hair Tension: The hair tension in a viola bow is typically adjusted to be slightly higher than in a violin bow, again to manage the thicker strings and greater resistance.
  3. Frog: The frog on the viola bow is usually larger and more robust than that on the violin bow to help manage the additional weight and tension.
  4. Materials: Both bows can be made from similar materials, such as pernambuco wood for high-end bows or carbon fiber for more durable options. However, the viola bow might have a slightly different construction to accommodate its larger size and heavier weight.

Impact on Playing

  • Violin Bow: The lighter weight and size make it easier to perform fast, agile bowing techniques, making it suitable for the violin’s bright, high-pitched sound.
  • Viola Bow: The additional weight and strength required for the viola bow make it more suited to producing the deep, rich tones of the viola. Players often need to use slightly different techniques to manage the greater resistance of the thicker strings.

Understanding these differences is crucial for players who switch between the violin and the viola, as it influences their technique, control, and the sound they produce. Below I will explain some more about switching between violin and viola.

# 6 Role in an ensemble or orchestra

The roles of the violin and viola in an ensemble or orchestra are distinct yet complementary, contributing to the overall texture and harmony of the music. Here’s a detailed look at how each instrument typically functions within these settings:

Violin in an Ensemble or Orchestra

1. Melody and Lead Parts

  • Primary Role: In orchestral settings, the violin often carries the melody or the principal theme. This is due to its bright, penetrating sound and wide range, which make it well-suited for leading and delivering prominent musical lines. 
  • Solo Performances: The violin frequently takes on solo parts in concertos, showcasing virtuosic passages and intricate melodies that highlight the player’s skill.

2. Upper Harmony and Texture

  • Harmonic Contributions: Violins also play important harmonic roles, particularly in higher registers. They often perform the upper harmonies and provide textural depth in both orchestral and chamber settings.
  • Division: In orchestras, the violin section is usually divided into first and second violins, with the first violins typically handling the principal melodic lines and the second violins often providing inner harmonies and counter-melodies.

3. Orchestral Tuning

  • Role in the String Section: The violin section is central to the string section of an orchestra, often driving the overall sound and providing the leading voices in many orchestral works. The large number of violinists (usually 8-16) ensures that their sound is prominent and can be tailored to the demands of the music.

Viola in an Ensemble or Orchestra

1. Inner Voices and Harmony

  • Primary Role: The viola plays a crucial role in filling out the inner voices and harmonic structure of the music. Its rich, warm tone is ideal for blending with other instruments and creating a fuller, more complex sound.
  • Supportive Function: Rather than leading with prominent melodies, the viola typically supports the harmonic framework of a piece, often playing counter-melodies or harmonic underpinnings.

2. Complementing and Balancing

  • Blend with Other Instruments: The viola’s timbre helps to balance the sound of the string section and blend with both the higher-pitched violins and the lower-pitched cellos and basses. Its role is to bridge the tonal gap between the violin and the cello.
  • Ensemble Dynamics: In chamber music settings, the viola often takes on a role similar to that in an orchestra but with more frequent opportunities to play prominent, characterful lines, depending on the piece.

3. Orchestral Tuning

  • Role in the String Section: Although fewer violas are typically used in orchestras (usually 6-12), their role is no less important. They provide essential harmonic support and add depth to the string section’s overall sound. The viola’s position in the string section is crucial for achieving a balanced and harmonious orchestral texture.

Summary of Roles


  • Melodic Lead: Carries the main melody or theme in many pieces.
  • Upper Harmony: Contributes to the high-range harmonics and textures.
  • Soloistic: Frequently features in solo roles and virtuosic passages.
  • Section Division: Includes first and second violins, with distinct roles in melody and harmony.


  • Inner Voices: Provides harmonic depth and counter-melodies.
  • Harmonic Support: Bridges the tonal range between violins and cellos/basses.
  • Complementary Role: Enhances the overall blend and balance of the string section.
  • Chamber Music: Plays a more versatile role with opportunities for prominent lines.

Both instruments play integral roles in an ensemble or orchestra, with the violin often leading with melodies and the viola enriching the harmonic texture. The interplay between the two adds depth and complexity to the music, contributing to a rich and balanced orchestral sound.

#7 Playing technique

There are many similarities of playing technique between the violin and viola, which is why it’s lots of fun to switch between both. To the untrained eye the technique might seem similar. However, each instrument has their own nuances. Let’s discuss them:

1. Instrument Size and Position

  • Violin: The violin is smaller and lighter, which generally makes it easier to handle and maneuver. It is typically held slightly higher on the shoulder and closer to the neck.
  • Viola: The viola is larger and heavier, requiring adjustments in posture and grip. Players often have to hold the instrument lower on the shoulder and slightly away from the neck to accommodate its size.

2. Finger Spacing and Stretch

  • Violin: Due to the smaller size and higher pitch range, finger spacing on the fingerboard is closer together. This allows for faster, more agile finger movements.
  • Viola: The larger size means wider finger spacing, necessitating greater finger stretch and strength. This can be more challenging, especially for players with smaller hands.

3. Bow Technique

  • Bow Weight and Pressure: Viola bows are heavier than violin bows, requiring more arm weight and pressure to produce a rich sound.
    • Violin: Lighter bow, typically requires lighter, faster bow strokes and a focus on agility and precision.
    • Viola: Heavier bow, necessitating deeper, slower bow strokes to fully resonate the thicker strings.
  • Bow Hold: Both instruments use the same basic bow hold, but the angle and weight distribution differ due to the instrument size and string resistance.
    • Violin: Often allows for quicker, more delicate bowing techniques like spiccato and sautillé.
    • Viola: Requires more arm weight and a firmer grip to sustain sound, often resulting in a slightly different bowing style.

4. Left-Hand Technique

  • Shift and Positioning:
    • Violin: Higher positions are more frequently used, demanding quick and precise shifts.
    • Viola: Shifting to higher positions requires more effort due to the larger size and wider fingerboard.
  • Vibrato:
    • Violin: Typically lighter and faster to match the instrument’s brighter tone.
    • Viola: Often slower and wider to enhance the instrument’s warm, rich sound.

5. Tuning and Intonation

  • Violin: Tuned in perfect fifths (G-D-A-E), the violin’s higher pitch makes intonation very sensitive. Small finger adjustments can have a noticeable impact on pitch accuracy.
  • Viola: Tuned a fifth lower (C-G-D-A), the viola’s tuning contributes to its deeper sound. The wider finger spacing and larger size can make precise intonation more challenging.

6. Repertoire and Technique Requirements

  • Violin:
    • Repertoire often includes virtuosic passages requiring high agility, fast scales, and arpeggios.
    • Emphasis on clarity, brilliance, and projection, which influences technical focus.
  • Viola:
    • Repertoire includes rich, harmonic inner lines and counter-melodies, often demanding sustained, expressive playing.
    • Techniques focus on producing a full, warm tone and managing the physical demands of the larger instrument.

7. Physical Demands and Ergonomics

  • Violin:
    • Generally less physically demanding due to its smaller size and lighter weight.
    • Ergonomics are more suited to a wide range of players, including young beginners.
  • Viola:
    • More physically demanding, requiring greater endurance and strength.
    • Ergonomics can be challenging, particularly for smaller players, often necessitating adaptations in playing posture and technique.



  • Size: Smaller and lighter, easier to handle.
  • Finger Spacing: Closer together, allowing for agility.
  • Bow Technique: Lighter bow, quicker strokes.
  • Left-Hand Technique: Higher positions frequently used, faster vibrato.
  • Intonation: Highly sensitive due to higher pitch.
  • Repertoire: Focus on virtuosity, agility, and projection.


  • Size: Larger and heavier, requiring different posture.
  • Finger Spacing: Wider, necessitating greater stretch and strength.
  • Bow Technique: Heavier bow, requiring more pressure.
  • Left-Hand Technique: Slower shifts, wider vibrato for a richer sound.
  • Intonation: More challenging due to size and wider spacing.
  • Repertoire: Focus on harmonic support, expressive, sustained playing.


Pros and cons of the violin vs the viola

Now you’ve learned all about the differences between the violin and viola, we can name some pros and cons of each instruments.

Pros and Cons of the Violin

  1. Versatility and Repertoire: The violin has a vast and varied repertoire, spanning multiple genres from classical and jazz to folk and contemporary music. Its versatility makes it a popular choice for solo performances, orchestral roles, and chamber music.
  2. Brighter Sound: The violin’s bright, clear sound can carry over an orchestra, making it ideal for melodic lines and solos. Its ability to project makes it a favorite for concertos and symphonies.
  3. Size and Portability: Being smaller and lighter, the violin is easier to handle, especially for younger players or those with smaller hands. Its portability is a practical advantage for musicians who travel frequently.
  1. Competition and Saturation: The popularity of the violin means there is significant competition among violinists. Achieving distinction in the field can be challenging due to the high number of proficient players.
  2. Physical Strain: The violin requires precise finger placement and bowing technique, which can lead to physical strain or injury if not executed properly. Violinists often face issues like tendonitis or repetitive strain injuries.
  3. Intonation Sensitivity: The smaller size and higher pitch of the violin make intonation (playing in tune) a critical and often challenging aspect of performance. Minor deviations can be more noticeable, demanding high precision from the player.

Pros and Cons of the Viola

  1. Unique Sound: The viola’s rich, mellow tone provides a unique voice within ensembles. Its warm sound is highly valued in orchestral and chamber music, offering a distinct timbre that complements other instruments.
  2. Demand for Violists: There is generally less competition among violists compared to violinists. Orchestras and chamber groups often need more violists, increasing opportunities for skilled players.
  3. Role in Ensembles: The viola frequently plays inner harmonies and counter-melodies, contributing to the texture and depth of the music. This role can be intellectually stimulating and musically rewarding.
  1. Limited Solo Repertoire: The viola has a more limited solo repertoire compared to the violin. Although there are notable concertos and sonatas, the breadth of available music is narrower.
  2. Physical Demands: The larger size and heavier weight of the viola can pose physical challenges, particularly for players with smaller frames. Extended playing periods can lead to strain on the shoulders, neck, and arms.
  3. Projection Issues: The viola’s deeper tone does not project as easily as the violin’s. In orchestral settings, violists must work harder to ensure their sound is heard, which can require additional technique and effort.

Is it harder to play violin vs viola?

You’ve learned all differences and pros and cons between the violin and the viola. Now we’re ready to answer the burning question you might have had when you started reading: is it harder to play the violin than the viola?

Both instruments know the challenges that all bowed instruments have: playing in tune on a fingerboard without frets and learning very subtle bowing technique to make a good sound.

In the pros and cons we’ve discovered that the violin is smaller and lighter, which makes playing it easier in a way. On the other hand there’s more virtuoso repertoire expected from you, the notes are closer together on the fingerboard and the competition is killing. The viola is heavier and larger, the finger spacing requires more stretch and it requires a lot of control to make a good sound.

Both the violin and viola have their unique challenges, and determining which is harder to play ultimately depends on individual circumstances:

  • For Beginners and Young Players: The violin may be easier to start with due to its smaller size and lighter weight.
  • For Players Seeking Unique Opportunities: The viola might offer more opportunities in ensembles and orchestras due to less competition and high demand for violists.
  • For Those Who Enjoy Technical Challenges: The violin’s demanding repertoire and sensitivity to intonation might provide a more rigorous technical challenge.
  • For Those Who Prefer Harmonic and Textural Roles: The viola’s role in providing inner voices and harmonic depth can be musically rewarding.

Ultimately, the “harder” instrument is subjective and varies based on personal physical attributes, musical goals, and preferences. Mastery of either instrument requires dedication, practice, and an understanding of its unique characteristics.

My personal answer: choose which one you find sounds most beautiful. Mastering any instrument requires a lot of practice and just LOVING your instrument will make that road so much more pleasant.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

How hard is it to learn the viola as a violinist?

In this funny video you can see me pick up the viola from scratch as a violinist and see my 1 minute, 10 minute and 1 hour progress. This gives you a rough idea what it’s like to switch from violin to viola.

Is a violin more expensive than a viola?

The violin is known to be a very expensive instrument. Stradivari violins and are sold for up to 20 million dollars. However, Stradivari also made violas and the first place on the list of the most expensive instruments in the world is occupied by the “MacDonald” Stradivarius viola, which is valued at over 45 million dollars.

However that might not be the price range you’re looking in ;). In general if we’d buy a violin or viola from the same maker, the viola is more expensive. The simple reasons are that a viola requires more precious wood and there’s more surface to work on.

For example, an excellent student viola that’s great to start out on, is the Fiddlerman Artist viola. It costs a little over $ 800 including a case and a bow. It’s sister, the Fiddlerman Artist violin, costs about $ 100 less. In general we could say that the violin is a bit cheaper than the viola.

Historical Development

Origins of the Violin and Viola

Wow, we’ve discussed a lot. Of course there are also differences in the historical development of the violin vs the viola. To round up this comparison let’s cover a bit of that. The violin and viola both originated in the 16th century, evolving from earlier bowed string instruments like the medieval fiddle, the rebec, and the lira da braccio. The earliest known violins and violas were created in Northern Italy, particularly in the region of Cremona, which became famous for its luthiers.

The Violin’s Development

The violin was developed first, around the early 1500s. Andrea Amati, one of the earliest and most influential luthiers, is often credited with creating the first modern violins in the mid-16th century. The design of the violin quickly gained popularity due to its bright, expressive sound and versatility. By the late 16th century, the violin had become a staple in European music, used in both secular and sacred settings.

The violin’s development continued with notable contributions from luthiers such as Antonio Stradivari and Giuseppe Guarneri, who refined the instrument’s design and enhanced its acoustic properties. Their instruments are still highly prized today for their exceptional craftsmanship and sound quality.

The Viola’s Development

The viola emerged shortly after the violin, around the same period in the mid-16th century. However, the viola’s development was somewhat slower, and it did not achieve the same immediate popularity as the violin. Initially, the viola was used primarily to fill out the middle harmonies in ensemble settings. Its larger size and deeper sound made it less suitable for solo performances compared to the violin.

Over time, the viola gained more recognition, and composers began to explore its unique tonal qualities. The development of the viola was significantly influenced by the same luthiers who crafted violins, including the Amati, Stradivari, and Guarneri families. These craftsmen made important advancements in the viola’s design, improving its playability and sound projection.

Viola jokes…

Was this the elephant in the room all along? Why are there so many viola jokes? Yes, unfortunately for those poor violists, lots of puns are made by other orchestra members. Click here to read my article with 100 viola jokes and some background info.

Closing note

Why am I like this? I started to write a small article to explain some differences between the violin and the viola. Here we are… over four thousand words. Well, I hope you’ve found this all interesting. If you got so far, thanks for spending time with me. Let me know your biggest or funniest insight in the comments below!