How to Read Violin Sheet Music (easy guide for beginner violinists)

Beginner guide to reading sheet music for the violin

Learn how to read which note and finger to play and in which rhythm

Do you have a strong desire to learn the violin, but have never read music before in your life?

The prospect of learning music notation should not be a paralyzing fear that keeps you from following your musical dreams. By learning a few basics and practicing patience, you can learn to read music fluently while still enjoying your music-making.

The first step is making sure you understand what all the shapes and symbols on the page refer to. If the composer bothered putting it down, it’s probably important! To demonstrate this, let’s look at a simple example where I’ve highlighted all the different types of markings:

Orange: Composers often put a simple word or phrase in the top left-hand corner to describe the emotion feeling the piece should have, in this case “Lively”. Often there will also be a specific tempo marking in this corner.

Red: The treble clef sign appears at the beginning of every line of violin music. Treble clef tells you which line the note G is on. All violin music is written only in this clef (sorry violists!).

Blue: The key signature consists of either sharps or flats (never both). If the piece is in C Major or A Minor, there will be nothing marked in the key signature. Don’t worry, this will make more sense when we discuss keys and accidentals further down. Knowing your key signatures is very important for putting your fingers in the right place.

Pink: Measure lines divide music into equally-sized boxes, making it easier to read and count.
Green: The time signature shows how many beats are in each measure. The top number shows how many beats there are, and the bottom number shows what type of note (half, quarter, eighth, etc.) gets the beat. We will discuss this more in the section on rhythms. In more advanced sheet music, the time signature (and/or key signature) may change in the middle of the piece.

Yellow: A double bar line with two dots is a repeat sign, meaning to play the preceding section over again. In the second half of this piece, you can see repeat signs at the beginning of the third line and the end of the fourth line, indicating the exact section to be repeated.

Grey, Purple, Lime Green: Any other special markings you see on the page are technique markings. In this case, there are slurs, staccato marks, and accent marks. Advanced pieces, such as the Sibelius violin concerto, have tons of very specific technique marks! Always look up ones you aren’t familiar with.

Now that we’ve been through the basics of what you’ll see in music, let’s get to the fun part: reading notes!

Reading Notes in Violin Music

The first notes you will learn on violin are the open strings: G, D, A, E.

open violin strings sheet music

Below is how the open strings sound, so you can recognize them. Always make sure your violin is tuned. You can use my free online violin tuner with microphone and tuning notes for that.

Now before we jump in to reading all the notes in first position, let’s go over some key signatures. Sharps # raise the note a half step, flats b lower the note a half step. Every piece of classical music has a key signature, and every key signature goes with its own major and minor scales. The most common beginner violin scales are A Major, D Major, G Major, and C Major. If you want to get in some practice on these scales, check out the article Violin Scales: Learn the Most Common Scales on Violin.

If you have tapes on your violin, those tapes correspond to these notes (from low to high):
Open G A B C D
Open D E F# G A
Open A B C# D E
Open E F# G# A B

If your violin does not have tapes, watch this clip to see how the fingers are placed:

Every finger, but especially the second finger, can be placed on the fingerboard in “low” or “high” position. Just remember that this does NOT always correspond to sharp and flat. Playing a series of half steps is called chromaticism. Check out this clip to see how the fingers move from low to high and the corresponding notes:

Now that you are comfortable with reading the notes of first position (you’ve been practicing those scales, right?) It is time to see how they fit together in pieces. This is where rhythm becomes very important. Rhythm is how long or short notes are in relation to each other. So what does that mean?

How to Read Time Signatures

Measures of music are divided into beats. The beat stays steady, even if the rhythm is changing over it. Beat and rhythm are not the same thing! The beat of the music is more formally called the meter. There are two types: simple meter and compound meter. Simple meter is when the beats divide into twos, and compound meter is when the beats divide into threes. 2/4 and 4/4, and 3/4 are all examples of simple time, while 6/8 and 6/4 are examples of compound meter.

Let’s quickly review how to read time signatures

Time signatures are made up of two numbers. The top number indicates how many beats are in each measure and the bottom number indicates which note is equivalent to a beat. For example, in the time signature ¾, the top number 3 tells us there are 3 beats in the measure, and the bottom number 4 tells us the quarter note gets the beat. If you were to see a 2 on the bottom, that indicates the half note gets the beat, an 8 indicates that the eighth note gets the beat, and a 16 indicates that the sixteenth note gets the beat. You can think of the beat as one metronome click.

The standard rhythm is 4/4. If you see a big “C” in front of the music where the measure usually is, the measure is 4/4. A waltz is usually a 3/4 measure. A tango is often a 2/4 measure.

Rhythms let us know when a note should be played and how long a note should be held for. Here are some of the most common rhythms and how many beats they get in a 4/4 measure.
A whole note gets four beats
A half note gets two beats
A quarter note gets one beat
An eighth note gets half a beat (two eighth notes equal one beat)
A sixteenth note gets one-quarter of a beat (four sixteenth notes equal one beat)

rhythm notation music chart

Dotted Rhythms

Whenever you see a dot next to a note (directly next to it, not under or over it as that means something else entirely), it tells us to add half of that note’s value to that note. Let’s use a dotted half note as an example. A half note gets two beats- half of two is one, so I add one beat to the note getting a total duration of three beats.

dotted rhythm chart

Reading Rests in Violin Sheet Music

For every note value, there is also a rest of the same length. Rests can also be combined into different lengths by using dots. Here is a chart of all the symbols for notes and rests:

note value chart

How to know how fast you should play?

We’ve covered a lot around rhythm, but you might have noticed that this covers how fast the notes are in relation to another. We haven’t covered how to know in which tempo, how many beat per minute (BPM) a quarter note should be for example. That’s because there’s no fixed BPM for a quarter note or any other note value. It’s indicated by tempo markings. You can find a list of the most common tempo markings and their corresponding BPM right here.

Other symbols: Dynamics, Technique Markings, Etc.

We will talk a little bit about the other “stuff” you see on violin music, because when there’s a lot of it it can be overwhelming!

Dynamic Markings

Dynamic markings show how loud or soft to play a passage. Dynamics come from italian words: piano means “soft”, mezzo means “medium”, and forte means “strong”. To make something even softer or louder, you add more of the same letter. The dynamics in order of softest to loudest are ppp, pp, p, mp, mf, f, ff, fff, and (very occasionally) ffff. (Is it just me, or should there be an mmm dynamic?)
Composers also use words like crescendo or diminuendo to indicate changes in dynamic level. “Hairpins” like this are also used.

Technique Markings

Technique markings can be either symbols or words. They might also be in french, italian, or german! Symbols you’ll see include slurs, staccato dots (over or under the notes) accents, fermatas, trills, codas and repeat signs. I invite you to do a little more research into this as you feel moved. As for words, composers put all kinds of things in music these days! It is best to look it up on a case by case basis if you’ve never seen it before. It is tempting to ignore things written into the part, but that is what brings life to the notes.

Now that you have a basic idea of what everything on your sheet music means, don’t hesitate to open up your next piece! The only real way to learn music reading is by doing it consistently. Even if it is slow at first, through repetition and dedication you will grow more and more fluent.

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

BONUS: How to Read Violin Notes in High Positions

If you have already mastered reading notes in first position and want a challenge, it is time to move on to the higher positions! Shifting is an essay in itself, so here we will simply talk about how to read all those crazy leger lines that you see in super high violin melodies. For example, here’s an excerpt from the Tchaikovsky Concerto:

Aside from the fact these are all sixteenth notes, how do you even know what notes those are!? Advanced violin music frequently incorporates leger lines to play notes far above the staff. The challenge is remembering which note goes where! Just remember the pattern is the same. The very top line of the treble clef staff is an F, so the next note is a G and the first leger line is an A, etc.

Often you will have to quickly figure out what a note is by counting the leger lines. It is very important to memorize the notes on the leger lines in the right order. This is A, C, E, G, B, etc. Sometimes composers make this easier by using an 8va sign (see fourth line of Tchaikovsky). There’s fewer leger lines so it’s easier to read the note, but it’s actually an octave higher than that!

Learning to read music fluently takes time, but it is possible for everyone. If the sheet music looks overwhelming just take it slow, look up symbols, and learn one step at a time.

10 Most Famous Sad Violin Pieces

Sad violin music that will make you cry

Schindler’s List, Tschaikovsky concerto, Barber’s Adagio, Melodie from Orfeo and more

As the author Aldous Huxley once said, “After silence, that which comes closest to expressing the inexpressible is music.” Mankind has been expressing powerful emotions through music for thousands of years, and often the most emotional music is the most memorable. Violin music is no exception. These ten famous violin pieces have stood the test of time and helped countless people find meaning in grief, loss, and suffering. For most of them I have free sheet music downloads for you.

#1 Theme from Schindler’s List by John Williams

In less than four minutes, the theme from Schindler’s List encapsulates one of the greatest human tragedies of all time. Although John Williams did not experience the Holocaust, his music conveys bleak hopelessness, but also the inherent meaning and purpose of human life. Few of us face sorrows as painful as the Jews’ imprisonment, but his music helps all of us to find hope in our suffering.

Click here to download the free violin sheet music.

#2 Canzonetta from Tchaikovsky’s Violin Concerto

The two outer movements of this concerto are exceptionally famous and revered, but the middle movement shouldn’t be overlooked either. Compared to the other movements it is surprisingly simple on the surface but no less moving. “Canzonetta” means a short, light vocal piece. Tchaikovsky’s Canzonetta really does sound as though it was created for the human voice. The opening theme is hauntingly wistful, spilling over into a joyfully reminiscent melody. The climax of the short piece is dramatic but never quite comes to a final resolution, instead reverting to the sad opening melody.

Click here to download the free violin sheet music.

#3 Samuel Barber’s Adagio

Barber’s Adagio has taken many forms. Originally, it was the second movement of his String Quartet in B Minor. Shortly after he arranged it for string orchestra under its famous title, Adagio for Strings. Now versions exist for many combinations of instruments, including solo violin. The long sustained lines and extended phrases make this a beautiful piece for practicing legato.

Click here to buy the sheet music.

#4 Melodie from Orfeo et Euridice by Gluck/Kreisler

Orfeo ed Euridice is one of the saddest Greek tragedies, which Gluck turned into a very famous opera. The opera opens with Orfeo mourning the sudden death of his beautiful wife Euridice. The god of love takes pity on him and gives him permission to travel to Hades and bring her back to life, but on one condition: he cannot look at her face until they have reached the land of the living. As they ascend from the underworld, Euridice cannot understand why Orfeo will not look at her, and begs him to do so. Her pleas are too much for Orfeo, and just before they reach the top of the tunnel he turns around. Instantly Euridice is lost to him. In Gluck’s opera version (but not the original story), Cupid has pity on Orfeo and returns his wife to him as a reward for his love.

Click here to buy the sheet music.

#5 Adagio from Bach’s Solo Violin Sonata No. 1

Similarly to Orfeo, J.S. Bach also experienced great tragedy when his first wife, Maria Barbara, died unexpectedly in 1720. This is the same time Bach began writing his famous solo violin sonatas. Sonata No. 1 in G Minor is a beautiful expression of loss, reflection, and healing. The 1st movement, Adagio, is particularly moving and shows Bach’s introspective character.

Click here to download the free violin sheet music.

#6 Nocturne by Lili Boulanger

Composed in 1911 by an 18-year-old Lili Boulanger, this hidden gem is starting to be more widely appreciated. It exhibits very strong influences from French impressionists like Claude Debussy (see if you can catch a moment in the piano that sounds exactly like Afternoon of a Fawn). This piece is not tragic, but it is definitely nostalgic. It is perhaps foreshadowing also, when you learn that Lili died only six years later.

Click here to download the free violin sheet music.

#7 Romance No. 2 in F Major by Beethoven

One of Beethoven’s easier pieces for solo violin, it is nonetheless packed with emotion and drama. It begins simply with a pastoral theme. In the B section, conflict arises. Before it gets to intense, Beethoven deftly slides back into the original melody. Although there are definitely undertones of grief and difficulties, the music is ultimately hopeful.

Click here to download the free violin sheet music.

#8 Chaconne by J.S. Bach

It is difficult to describe this piece in only a paragraph. Some musical scholars view it as the revelation of Bach’s deepest emotions, sufferings and joys, and the most intentionally profound piece ever written. Others shun the idea that Bach could have been so romantic, countering that he composed it only out of a sense of religious and civil duty. However, this monumental work is so compelling an extraordinary that it is difficult to see it merely as one of Bach’s work requirements. He clearly poured everything he knew into this piece. Brahms described it well in a letter to Clara Schumann: “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.”

Click here to download the free violin sheet music.

#9 Méditation de Thaïs by Jules Massenet

This is the most memorable part of the otherwise little-known opera Thaȉs by Jules Massanet. Set during the rule of the Roman Empire over Egypt, the opera follows two seemingly opposite characters: the ravishingly beautiful pagan cortesan Thaȉs, and the Christian monk who seeks to convince her to reform her life. At first Thaȉs scoffs at him, but after awhile she begins to realize that her reckless life of pleasure is empty and unfulfilling. After a long moment of reflection (cue the violin soloist) she agrees to follow the monk into the desert despite anger and disdain from her former friends.
Meditation is one of the few moments in opera where the turning point of the story does not appear in a dramatic aria or action-packed scene, but in the eloquent reflections of a single instrument.

Click here to download the free violin sheet music.

Hi! I'm Zlata

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

#10 Danny Boy

This beloved poem was one of the most popular folk songs of the early twentieth century. There are many different stories regarding is origins, but the lyrics were most likely written by the English lawyer Frederic Weatherly and set to the tune Londonderry Air. Danny Boy was popularized by the famous english soprano Elsie Griffin, who entertained troops during WWI. There are now arrangements of Danny Boy for many ensembles and instruments, including solo violin. The soulful melody and sincere lyrics preserve this folk song as one of the most enduring.

Click here to download the free violin sheet music.

30 Most Famous Violinists of Past and Present

Who is the most famous violinist in the world?

Top 30 greatest violinist of all time:

Paganini, Sarasate, Auer, Kreisler, Jascha Heifetz, Hilary Hahn and more

Violins have been around for over three hundred years. Thousands of people have learned to play this beautiful instrument, but very few achieve lasting fame. Even the greatest are often forgotten. In this list of 30 of the greatest violinists past and present, you’ll see some familiar names while also discovering new incredible artists.

Nicolo Paganini (1782-1840)

After reading the title of this article, Paganini is probably the first name that came to your mind. This Italian violinist and composer set Europe on fire with his talent and dramatic personality. He wrote and performed many pieces for violin, including six concertos. His most famous pieces are the 24 Caprices for Solo Violin, particularly the 24th caprice. Few people know that Paganini was also a virtuoso guitarist. Through his guitar technique, he revolutionized violin technique and greatly expanded the possibilities of the instrument. Although his flamboyant personality and lifestyle were controversial, he inspired many other composers including Rachmaninov, Brahms, and Liszt.

Karol Lipinski (1790-1861)

Raised in Poland by a musical father, Lipinski also had the benefit of some generous patrons, and became proficient at both violin and cello. He accredited his deep, singing tone on violin to the techniques he learned from playing cello. A contemporary of Paganini, the two met and played together on more than one occasion. Their relationship was in fact friendly, but the over-dramatic press would argue over who was the greater violinist. The Stradivarius violin Lipinski played on is named after him and still used today. His compositions are not as widely known as Paganini’s, his concertos and a few of his solo caprices have been recorded.

Joseph Joachim (1831-1907)

Non-violinists, even if they are music lovers, rarely know the name of Hungarian violinist Joseph Joachim. However, he moved in very famous musical circles (Brahms was one of his closest friends) and he was crucial to the reviving and developing some of the greatest violin repertoire. For example, he revived Beethoven’s violin concerto and Bach’s solo sonatas and partitas. He studied Mendelssohn’s violin concerto with the composer himself. Brahms, Bruch, and Dvořák wrote their concertos with him in mind. Joachim also wrote now-standard cadenzas for many concerots including Mozart’s, Brahms’s, and Beethoven’s. An accomplished teacher, he is part of the lineage of many of today’s greatest musicians.

Henryk Wieniawski (1835-1880)

His music is timeless, but the story of Polish native Henryk Wieniawski is brief and tragic. He entered the Paris Conservatoire at only eight years old. He began touring after graduation and became internationally famous, performing his own extensive compositions. Audiences loved his brilliant performances, but the stress of constant travel and work eventually wore him down. He died of a heart attack while touring Russia in 1880. 

Wieniawski wrote two violin concertos that are both standard repertoire. His Études-Caprices are incredibly difficult but still performed. Other famous works include Légende, Scherzo-Tarantelle, and Polonaise Brilliante. The Henryk Wieniawski Violin Competition, held every five years, is one of the preeminent violin competitions in the world. 

Pablo de Sarasate (1844-1908)

You may be noticing a pattern by this point: the great violinists of the 19th century not only performed but also wrote their own music. Born in Spain just four years after Paganini’s death, Sarasate followed his legacy. He was a prolific composer, especially of flashy encore pieces. Spanish-flavored classical music was all the rage at the time, so Sarasate had no shortage of admirers and collaborators. Like Wieniawski, he studied at the Paris Conservatoire before launching on international tours. His charming spanish encore pieces became very popular, along with his more extensive works such as Zigeunerweisen and Carmen Fantasy. He wrote over fifty pieces in all, all for violin, many of which still have a high place in the repertoire.

Leopold Auer (1845-1930)

Leopold Auer is perhaps better remembered for his teaching than his performing, but in his day he excelled at both. According to the Leopold Auer Society, his talent from a young age earned him a scholarship to study in Vienna. When he was thirteen the money ran out, and he began giving concerts so that he and his father could survive off the proceeds. Eventually he was able to to spend a few years studying with Joseph Joachim, who he hailed as “an inspiration”. In 1868 he moved to St. Petersburg where he served as concertmaster of numerous orchestras. He also wrote his own ten-book pedagogical method, which progresses from open strings to Paganini caprices. A gifted teacher, his influence extends well into the modern players of today.

Eugène Ysaÿe (1858-1931)

The composer of some of the most difficult violin music, Ysaÿe’s peers called him the “king” of the violin. Born in Belgium, he learned a good foundation of violin from his father before studying with Désiré Heynberg, Henryk Wieniawski, and Henri Vieuxtemps. He became concertmaster of “Bilse’s Band”, which eventually developed into the Berlin Philharmonic. At only twenty-eight years old, he became a teacher at the Brussels Conservatoire. His students included Joseph Gingold, William Primrose, Nathan Milstein, and Louis Persinger, all of whom became incredibly influential teachers in their own rights. One of the most beloved violin sonatas, Franck’s Violin Sonata in A Major, was written for Ysaÿe’s wedding. The solo violin sonatas Ysaÿe wrote are among the hardest pieces in the repertoire, and the Queen Elizabeth Violin Competition held in his honor is one of the most prestigious in the world.

Maud Powell (1867-1920)

Maud Powell was not only one of the very first famous women violinists, but she was also the first internationally successful American violinist. She was born in tiny Peru, Illinois and started her musical study in the Chicago suburbs. Her parents eventually sold their home so she could continue her studies. This enabled her to go to Europe, where she studied with Joseph Joachim and performed the Bruch concerto with the Berlin Philharmonic. She gave the American premiers of the Tchaikovsky, Sibelius, and Dvořák concertos, the latter with Dvořák present. She is partially responsible for making the Sibelius a valued part of the repertoire. In addition to promoting these major concertos, she also championed music by American composers. Her success is largely due to the advent of recording technology, as her records sold internationally. Sadly, she died of a heart attack while touring Pennsylvania in 1920. Many organizations since have sought to honor her valuable contributions to classical music, and she was posthumously given the GRAMMY Lifetime Achievement Award in 2014.

Fritz Kreisler (1875-1962)

 Maud Powell spread classical music across America, but Vienna was still its headquarters. Fritz Kreisler captured the spirit of Austria in his playing and compositions and carried that all across the world. He too greatly benefitted from recordings to the point that Fritz Kreisler was a household name. He studied at the Vienna Conservatory and the Paris Conservatoire. He toured extensively but settled permanently in the United States in the 1940s. He died of old age in New York City in 1962.

Kreisler is best-known for his delightful encore pieces. He is also known for writing pieces “in the style” of other composers and affirming that they were the ones who had actually written them. Some musicologists were actually fooled and became angry when they discovered that these pieces were Kreisler’s original works.

Jascha Heifetz (1901-1987)

Remember how we talked about Leopold Auer being an exceptional teacher? Jascha Heifetz was one of his students. Heifetz is known for setting the standard of 20th-century violin playing. He moved to America from Russia as a teenager and performed in Carnegie Hall to great enthusiasm. Fritz Kreisler apparently once said, “We might as well take our fiddles and break them across our knees.” He performances were rapturously received as being the best anyone had heard. Some critics certainly complained, claiming that his vibrato was too fast or his on-stage demeanor too reserved. However, his exceptionally clean technique and emotional sound never failed to wow audiences.

After having shoulder surgery, Heifetz focused on teaching. He taught at the University of California Los Angeles and the University of Southern California. His televised master classes are still available and provide great insight into his teaching style.

Erika Morini (1904-1995)

Born in Vienna, Erika Morini learned violin from her father and at the Vienna Conservatory. She debuted with the Berlin Philharmonic at age twelve and made her debut with the New York Philharmonic when she was seventeen. She was the first violinist and the first woman to record with the Chicago Symphony Orchestra. She had brilliant, clean technique and an incredibly successful career. She passed away at an old age in New York and her name is all but forgotten now, except for the tragic incident that occurred around her death. One of the violins she had owned, the Davidoff Strad, went missing from her apartment shortly after she had been taken to the hospital. The theft was discovered before her death, but she was never informed. An excellent 2021 documentary entitled “Stolen: The Unsolved Theft of a $3,000,000 Violin” seeks to shed light on the continued mystery.

David Oistrakh (1908-1974)

David Oistrakh was a violinist’s violinist who inspired many of the great soloists of the next generation. Shostakovich and Kachaturian dedicated their violin concertos to him. He was the preeminent violinist in Soviet Russia.The Soviet government closely supervised his entire career, so he was not allowed to star touring internationally until after WWII. He collaborated with other great violinists including Nathan Milstein and  Yehudi Menuhin. Later in life he also became a conductor. A few fun facts about Oistrakh’s life: he apparently ate ice cream after every concert, he played a public chess match against Sergei Prokofiev, and he and his son have an asteroid named after them.

Yehudi Menhuin (1916-1999)

Menuhin spent most of his career in Britain, but he was actually from America. By age twelve he had soloed with the Berlin Philharmonic. While a teenager his family moved to Paris, and he was able to study with George Ensescu, the greatest Romanian violinist. During WWII he performed for Allied soldiers and concentration camp survivors. As an act of reconciliation, he was the first Jew to solo with the Berlin Philharmonic after the Holocaust.

Dedicated to teaching, he founded the Yehudi Menuhin School in England, which still thrives today. He also founded the Yehudi Menuhin International Competition for Young Violinists. He received numerous honors for service and performance throughout his life, including twenty honorary doctorates.

Dorothy Delay (1917-2002)

Known as a pedagogue rather than as a performer, Dorothy Delay is perhaps the best-loved violin teacher of them all. A talented young woman from Kansas, she attended Juilliard as a grad student and founded a successful piano trio with her sister. However, she decided against a life-long performing career because she wanted to be present for her children. Instead, she began teaching beginners in New York and fell in love with it. Her ability grew rapidly, and she became Galamian’s assistant at Juilliard in 1948. This meant that she and Galamian shared the same students, but when the two had a disagreement and split studios in 1970, several students, including Itzhak Perlman, chose Delay. She continued to gain recognition and has the most star-studded roster of former students the violin world has ever seen. For an incredible glimpse into Delay’s daily life, studio, and personality, I highly recommend reading Teaching Genius: Dorothy Delay and the Making of a Musician.

Itzhak Perlman (1945-)

Itzhak Perlman’s inspiring story is one of tenacity and determination. As a toddler, he contracted polio which left him crippled. His parents did not believe him capable of learning the violin due to weakness, but he was so determined that he played on a toy violin for a year until they agreed to have him taught. He became a child prodigy in Israel and started winning competitions. In 1958, American television host Ed Sullivan came to Israel to recruit for a program featuring Israeli entertainers. The young violinist fascinated him, and so Itzhak was able to move to New York to study with Dorothy Delay. At age eighteen he won the Levintritt Prize, and with that recognition and monetary support he was able to launch his career. His warmth, gentleness, humanity, and captivating stage presence has made him the best-loved violinist still living. After Delay’s death Perlman inherited her teaching position at Juilliard.

Pinchas Zukerman (1948-)

Pinchas Zukerman is another Isreali violinist only three years younger than Perlman. Similarly, to Perlman, the violinist Isaac Stern discovered his talent while in Israel and brought him back to the United States. Zukerman studied at Juilliard with Stern, Galamian and Delay. He won the Levintritt Prize in 1967 and collaborated with many great musicians including Leonard Bernstein. He now teaches at the Manhattan School of Music and gives in-person and online masterclasses around the world. He is known for his love of storytelling and his strong sense of humor.

Anne-Sophie Mutter (1963-)

German violinist Anne-Sophie Mutter collaborated with John Williams to perform violin arrangements of some of his famous movie themes. She stopped attending school as a girl to focus on music, and her single-mindedness paid off when Herbert von Karajan, conductor of the Berlin Philharmonic, invited her to perform with the orchestra. In addition to collaborations with John Williams, she has also been awarded several Grammy’s. Mutter supports young musicians through her foundation and strives to remind them that they must be complete human beings in order to be complete musicians.

Joshua Bell (1967-)

Joshua Bell grew up in the small town of Bloomington, IN during a very eventful time. An exceptional violin teacher named Mimi Zweig had just opened a string academy for children as part of Indiana University’s music school, and little Joshua joined her first class. He learned quickly and eventually studied with Joseph Gingold, the famed violin professor there who had studied with Eugène Ysaÿe. He stayed at Indiana University to study violin and science. According to his website, he has now soloed with virtually every major orchestra in the world. He is known for his unique performance style of “dancing” with the flow of the music. This is particularly apparent when he is playing and conducting simultaneously.

Anne Akiko Meyers (1970-)

Anne Akiko Meyers is another shining example of the Dorothy Delay legacy. Anne grew up in southern California, where her mother would drive her 8 hours round trip to take lessons at the Colburn School. She then moved to Indiana to study with Joseph Gingold. At age 14 she was invited to join the Juilliard pre-college division to study with Delay. Today she is an active concert artist and collaborator. She has appeared on numerous television and news shows. Her warm, cheerful personality motivates young players to strive to be their best.

Gil Shaham (1971-)

Imagine you’re sitting in your high school classroom in New York, when suddenly someone comes in to tell you that you’ve been asked to fill in for an ailing Itzhak Perlman by playing the Bruch and Sibelius concertos with the London Symphony Orchestra. What would you say? Young Gil Shaham jumped at the chance, and it greatly furthered his career. 

He was born in Illinois, but his parents moved back to their native Israel when he was two. He began violin lessons at age 7 (late compared to some musicians on this list!) and eventually won a scholarship to come to the Juilliard School. His connection with Dorothy Delay is what gave him the opportunity to fill in for Perlman and launched an international career that led to multiple awards. He still lives in New York with his wife and children.

Midori (1971-)

Midori’s mother, a professional violinist in Osaka, would often take her along to rehearsals. At age three Midori received her own tiny violin for her third birthday, with her mother as her first teacher. When she was eleven she and her mother moved to New York to study with Delay. 

Midori has given many legendary performances, but one in particular made her famous. In 1986, she appeared at the Tanglewood Music Festival playing Leonard Bernstein’s Serenade with Bernstein conducting. Her violin’s E string broke mid-performance, so she switched to the concertmaster’s violin. That E string promptly broke also, so she finished on the associate concertmaster’s violin. The crowd went wild, and the New York Times featured it as a front-page story.

Rachel Barton Pine (1974-)

Rachel grew up in Chicago, and by age five determined that she would be a professional violinist. She practiced so much that her schoolteacher told her parents they should homeschool her. She practiced 8 hours a day, but explains that being homeschooled allowed her to still have time for other activities. She studied with Chicago’s foremost teachers, Roland and Almita Vamos, and debuted with the Chicago Symphony at age 10. At 14 she became concertmaster of the Civic Orchestra of Chicago, a premier pre-professional training orchestra usually only open to young adults. 

In 1995, she suffered a traumatic train accident and did not perform for two years. Remarkably, she recovered and continued her dedication to the violin, and today is still one of Chicago’s most beloved native musicians. Her unconquerable cheerfulness shows that optimism is possible in the face of everything.

Janine Jansen (1978-)

Janine Jansen is a Dutch violinist from a family of musicians. She competed in the Menuhin Junior Violin Competition and in 2005 had the honor of opening the BBC Proms. Cherished by audiences, her performances are frequently sold out. She starred in the 2021 documentary Falling for Stradivari, where she goes on a quest to record an album on twelve different Stradivari violins. If you would like to sample her recordings, I recommend checking out the Ravel sonata she recorded with pianist Itamar Golan.

Hilary Hahn (1979-)

Hilary Hahn is one of the most remarkable and sought-after soloists currently performing. She began her violin studies in the Suzuki program at the Peabody Conservatory. At ten years old she enrolled at the Curtis Institute of Music to study with Jascha Brodsky. By age fifteen she was already performing the most difficult violin repertoire, including Beethoven’s violin concerto. She says she has played Bach more than any other composer, playing his solo sonatas and partitas since she was eight. She has recorded the sonatas and partitas in two separate albums. Several of today’s most prominent composers wrote pieces for her, including Jennifer Higdon whose concerto won the Pulitzer Prize in Music. She commissioned 26 living composers to write short encores for her, which she performed and recorded. Her presence on stage is fiery and intensely focused, but her demeanor in person is gentle, supportive and humorous.

Sarah Chang (1980-)

Sarah Chang is a rare example of a blazing child prodigy who through careful mentoring managed to sustain her natural gifts through a professional career. Her parents, originally from Korea, moved to New Jersey so her father Min-Soo Chang, also an accomplished violinist, could study at Temple University. Min-Soo taught violin to his young daughter, but brought her to Juilliard when she was five to study with Hyo Kang and Delay. Both worked tirelessly with Sarah to make sure she learned what she needed but that she also had room to be a child. In 1988, Riccardo Muti and Zubin Mehta (the conductors of the Chicago Symphony and New York Philharmonic respectively) immediately offered her performances when they heard her play. This launched a meteoic rise to success, playing up to 150 concerts per year. Remarkably, she did not become exhausted and has maintained a steady solo presence ever since.

Augustin Hadelich (1984-)

Augustin grew up on a farm in Italy, where he and his brothers took music lessons from their father, an amateur cellist. His career as a violinist and pianist had already begun to take shape when, in 1999, a fire on his family’s farm left him severely injured. He did not play violin for a over a year, and credits the experience with helping him realize his true love for music. Augustin later earned a Graduate Diploma and an Artist’s Diploma from Juilliard. He won the International Violin Competition of Indianapolis in 2006 and since has appeared with many major orchestras.

Ray Chen (1989-)

If you’re into following classical violinists on social media, then you’ve heard of Ray Chen. He has a wonderful ability to relate to his audience and make jokes about the soloist life. During lockdowns, he created an online Discord community where thousands of music nerds shared stories, practice clips, and inspiration. He recorded his 2020 album Solace from his apartment. In 2019, he initiated the “Play with Ray” project, where he encouraged amateur violinists from around the world to submit videos of themselves playing Bach’s Concerto for Two Violins. The winner performed the piece with Ray and the Los Angeles Philharmonic at the Hollywood Bowl.

Raised in Australia, Ray Chen moved to Philadelphia in 2005 to study at the Curtis Institute. He won the Menuhin Competition and the Queen Elizabeth Competition. Today he continues to solo around the world while also making vlogs and comedic videos about his travels.

Roman Kim (1991-)

We have a new nationality on the list: Kazakhstan. Roman Kim began winning International Competitions after only two years of violin studies. He studied at the Central Music School in Moscow and the Cologne University of Music. He is best known for his incredible solo transcriptions of works for full orchestra including Beethoven’s Symphony No. 5, Eine Kleine Nachtmusik, and Air on the G String. His complex transcriptions involve using the thumb to stop the G string. He also plays his own original violin compositions.

Chloe Chua (2007-)

The young Singaporean violinist wins audiences with her talent and her charm. She came to international prominence after winning first prize in the 2018 Menuhin’s junior division. Her technique is fully fledged, and her extensive repertoire includes the most difficult pieces. She collaborates regularly with her native Singapore Symphony and ensembles around the world, performing classical and baroque concerts. She is also a regular guest on Two Set Violin’s channel. They filmed a video of her teaching them how to play Paganiniana. Her 2022-23 season features her playing Mozart and Bruch in Singapore.

 

Christian Li (2007-)

Just nine months younger than Chloe, Christian Li shared the 2018 Menuhin first prize with her, becoming the competition’s youngest ever first-prize winner. The young Australian violinist already has an impressive international following. Although still a student, he is the youngest artist ever on the roster of Decca Classics. He recently recorded Vivaldi’s Four Seasons with the Melbourne Symphony Orchestra. According to his website, he enjoys swimming, reading, and biking in his free time.

Obviously, this is not an exhaustive list of history’s greatest violinists. If your favorite artist is not on the list, mention who it is in the comments! 

 

Why is the Violin so Hard to Play?!?

You might think it’s because the lack of frets, but the true difficulty lies in the precision of the bow strokes

Just a tiny change in angle, speed, contact point or pressure, might make the violin scratch and squeak

The combination between the bowing and the exact placement of the left hand fingers on the strings, being two totally different techniques, makes the violin one of the hardest instruments to learn.

Every year, thousands of people around the world, of every age, decide to start the violin

At first, they feel curiosity, motivation, and enthusiasm. Sadly, very few will continue to play in the years to come. Why is it that so many people quit the violin just a few years (or less) after starting? What challenges do they face, and what are some ways they can work with their teachers to puch through these obstacles and continue making music?

Many of the factors that make volin difficult are not unique to this instrument alone. Violins, violas, cellos, and basses have many similar challenges.

For example, none of these instruments have frets, which are small ridges places along the fingerboard exactly where each note should go. Instead string players must memorize the precise location of every pitch, on every string, in every position. This would be daunting for anyone, particularly because the size between the intervals changes as you go into higher positions, so instead of just repeating the exact same pattern, the hand has to make minute adjustments as it goes up. This is why teachers prescribe scales and arpeggios from the very beginning, but many students neglect practicing them, become frustrated, and wonder why they can’t learn the notes or play in tune.

There isn’t a way around this challenge, but there is a way through it.The main moral of my story is…practice your scales!!

Seriously though, you will be amazed at how much your pieces will “automatically” improve when you take fingering and intonation exercises seriously. Shifting books like Sevcik are great for learning every position. The other trick most beginners use is putting thin tapes on the fingerboard to visualize each note’s location. This is an excellent way to start learning the patterns, but just make sure you get someone knowledgable to do it for you so you’re not teaching yourself to play out of tune!

Most musical instruments require the hands to be independent from each other. This is particularly difficult on string instruments because you are not only doing two different things, but holding two different things!

Beginners often feel that either the left hand is accurate or the right hand, but never both. The insecurity of trying to keep track of so many movements at once causes tension, and discomfort causes us to give up.

Spend a little time every day working on the hands independently. Bow open strings and do right hand bow exercises, then focus on left hand play playing pizzicato. Staying balanced along your spine and grounded in the floor also helps your limbs work independently.

The most challenging thing about playing the violin is just making sound!

This is sad because so many people hear the violin’s gorgeous tone, decide they want to try, and quit because nothing they play comes close to what they heard.

Violins work according to complex physics, and there are many factors at play. How you move, how your left hand strikes the string, and your bowing technique all play a part. How close is your bow to the bridge? Are your fingers working together or getting in each other’s way? Is your arm flexible? How fast is your bow? How much pressure should you use? Would the tip or the frog work better? The sum of all these questions is never the same for any two pieces, and everyone has their own preferences. Violinists cannot change the laws of physics, but we can experiment with different combinations of speed, weight, and bow placement to get a complete palette of tones.

For beginners, the best way is to practice open strings for a deep, full sound along the whole bow. Once you get into it, you will find bow technique fascinating.

Since bowing is so difficult, violinists like to joke that they should have been pianists because all you do is hit a key. That certainly is a nice change of pace, but is piano really easier? At first it seems so because all the notes are lined up in front of you and both your hands are doing similar things. It is a very good instrument to start with and learn musical basics and vocabulary. In the advanced stages, violin and piano are equally difficult. Pianists have to read two staves, often with giant chords in both hands. They rapidly move their hands up and down the keyboard without time to think about the next notes. The life of a pianist is very busy because not only do they have to prepare their own solo repertoire, but they usually also play chamber music, collaborate with other performers and work as music directors. They always have a million things to practice on very short deadlines.

At a high level, every instrument is hard in its own way.

Oboists and basoonists spend hours each week carefully preparing their own reeds. Wind players are constantly working on their ambouchures to create better tone. Percussionists have to learn not only timpani, drums, and mallets, but also dozens of smaller instruments, most of which I guarantee you’ve never heard of.

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The common theme across all these challenges is practice, practice, practice.

Even for very dedicated students, violin takes years to learn. When they become professionals, many violinists have been playing for fifteen to twenty years or more. Fortunately, violin is also one of the best instruments to start at a very young age because it comes in tiny sizes. When done well with a mindful teacher, starting early helps lay a good foundation of correct habits. But if you didn’t start when you were three, that’s no reason to be discouraged! Whether you aspire to teach, perform, or enjoy playing whenever you feel like it, focus and determination counts for much more than how long you’ve been playing. For example, Dr. Suzuki, the creator of the world-famous Suzuki method, never touched a violin until he was a young adult. He became one of the most knowledgable and influential pedagogues in history. Learning of any kind is a life-long endeavor, and master violinists will be the first to tell you that they learn new things every day. It is easy for us as people to get discouraged, frustrated and jealous. But if every time you practice violin you are able to simply say, “I am better than I was yesterday,” you are on the road to becoming a better violinist and, more importantly, a better human being.

More resources you’ll love:

[Video] How long does it take to learn violin?

[Video] How long should you practice the violin?

12 Violin Bowing Techniques with Intermediate Examples

12 Different violin bow techniques with easy examples from well known student concertos, pieces and etudes

If you want to take your violin playing to the next level, nothing will get you there faster than improving your bow technique

However, as a player with already some experience it can be very difficult and frustrating to try to find pieces that include bowing techniques that will challenge you while also not being part insanely difficult concertos! Fortunately, many of these techniques are indeed hidden within beautiful intermediate repertoire. Working on these pieces and learning to identify the different techniques they contain will help prepare you to tackle major showpieces in the future with confidence!

1. Detaché

A simple detaché is the default way of bowing. There are no special markings in the sheet music. You play one bow stroke for each note, play the notes in their full length and make seamless bow changes.

Detaché can take many shapes and forms: from long notes with a full and deep sound to clearly articulated fast runs.

Obviously, this is the most common bow stroke in violin music. See it here in the opening of Bach’s concerto in D Minor for Two Violins, played by two great violinists. Notice how they both use a full, broad bow stroke and use the same amount for every note to create an even sound. This is just one example of many, so try finding detaché passages in your other pieces.

2. Legato

As a bowing technique legato refers to playing multiple notes on one smooth bow stroke. You hear fluent transitions between the notes. In sheet music you see a slur above the notes. As an articulation legato refers to smooth transitions between the notes and can also refer to notes that are connected by seamless bow changes. A slur in sheet music can sometimes indicate a phrase and not one bow stroke.

There are a few main difficulties students face when learning legato. The first is keeping a straight bow at an even bow speed, and the second is having a full sound at the tip. Practice first doing long bows on open strings, adding a little pressure as you get to the tip to maintain the sound and watching that you are parallel to the bridge.

The Rieding concerto is a great for using legato in your repertoire. The notes do not go beyond first position, and the melody is heartwarming. Can you play the legato slurs with the whole bow?

3. Portato

Portato is similar to legato as you play multiple notes on one bow stroke, but you stop your bow between the notes without adding accents or weight. It sounds a bit similar to detaché and is usually applied to several same notes.

For a portato example, I have chosen Telemann’s Concerto for Four Violins in G Major. All four parts are suitable for intermediate violinists. In the beginning, the lower three parts come in one at a time with portato quarter notes before the first violin soloist enters on top. I want to point out that the recording below does not use the portato bow stroke, but it is notated portato here in Telemann’s original score. Sometimes bowings are a matter of taste and can be changed.

4. Tremolo

Tremolo are very short fast bow strokes at the tip of the bow. Usually they are played on one long note. In essence this is a nuance of detaché. These can be in a random tempo or measured.

It is very rare to find tremolo in solo violin music, as it is mostly an orchestral technique. However, Jenkinson’s Elfentanz is a good example of measured tremolo. Do you see all the diagonal lines through the stems of the notes? One line cuts the note value in half, two lines cuts it in fourths, etc. So a quarter note with one line through it is played as two eighths, and a half note with four lines through it is played as four eighths. Think of it as a more advanced version of Suzuki’s Perpetual Motion.

5. Martele/Staccato

Staccato simply means that the notes are separated and not played in their full length. On the violin this means that you stop the bow between the notes. Usually staccato refers to several of those notes on one bow stroke. We call this up-bow, slurred or linked staccato (see next).

You see a standard or simple staccato where one note is one bow stroke a lot in the Suzuki books and in tango music.

In the accented martelé we catch the string by putting pressure on the bow with the index finger. In the beginning of the bow stroke we release this and let the 

bow travel. This creates a bow stroke that starts with a ‘click’ or a ‘bite’ and ends almost silent. This is the standard most well known type of martelé.

You can change the sound by making the accent more pronounced (accented martelé), less pronounced (marcato) or by sustaining the sound throughout the bow stroke (sustained martelé).

Like detaché, examples abound. The first movement of Vivaldi’s Violin Concerto in A Minor uses both martele and staccato. Can you tell the difference? Martele uses more bow than staccato. Listen closely to the ending of the phrase at 0:25. In the Suzuki edition, the first two eighths are marked with a martele accent, and the second two with staccato dots. Making those articulations intentionally different creates variety and style.

6. Solid Staccato

Multiple staccato notes on one bow stroke. Fast up-bow staccato runs can be very spectacular. The bow doesn’t leave the string. The index finger makes inflections to articulate and/or the bow makes little stops. Usually it’s on an up-bow and in a fast tempo. 

The bow doesn’t leave the string (otherwise it’s called flying staccato). The index finger makes inflections to articulate and separate the notes.

Solid staccato is a very challenging and intimidating bow stroke, especially in something like Rondo Cappriccioso or the Wieniawski concerto. The inside secret to learning this elusive technique is…Kreutzer Etude No. 4! You can use this etude to practice upbow or downbow slurred staccato. The trick is to keep a loose right hand thumb at the frog, and always to have the bow in strong, complete contact with the string. Create the staccato with the weight of your arm through the bow, not by squeezing your fingers. Start very slowly and gradually increase the tempo while maintaining ease.

7. Hooked Bowing 

A hooked bowing is like a regular slur, but you stop the bow in the middle of the slur before playing the second note to create separation. Sometimes one or both notes are accented, or have a staccato dot. 

The opening theme of Seitz’s Violin Concerto No. 2, a fantastic student piece, uses hooked bowing.

8. Collé

Collé is a technique where the fingers and wrist make a circular motion resulting in an active off-the-string bow stroke with a firm sound.

In the third movement of the same Seitz concerto, at 0:38, notice how he plays those two eighth notes near the frog with a small circular motion of the wrist. Collé should start from on the string for a firm, accented attack.

9. Bounced Spiccato

Spiccato is a semi-passive bow technique, in which you work with the energy of the violin bow. The finger action gives an impulse and the bow bounces on it’s own. The bow is off the string at the bow changes. This works best at the balance point of the bow or a bit above depending on the tempo.

In a fast tempo, the bow fully bounces on its own and we call it sautillé. This is executed in the middle of the bow.

Two or more spiccato bow strokes all played up-bow on one spot of the bow is called flying spiccato. If you play multiple spiccato notes in the same direction, but let the bow travel, this is called flying staccato.

I highly recommend studying the Accolay concerto, which includes many of the techniques already discussed such as legato and hooked bowing. It also has a very fun spiccato section in the middle. It is an easier spiccato example because the tempo is not extremely fast. The trick is to find the spot in your bow where it bounces the best. This is slightly below the middle for most people, although in slower tempos you can go a little closer to the frog.

10. Flying Staccato

This can be seen as multiple spiccato notes on one bow stroke where the bow travels. It’s a solid staccato, but with jumps between the notes. 

Kreisler’s Tempo di Minuetto is not a very well-known piece compared to some of his other works, but it is still a charming little encore. It alternates between a joyous, outgoing theme and a lighter, mischievous inner section. This section includes flying staccato on one continuous note. The danger here is clipping the notes and not letting them speak. Make sure your bow bites into the string a little bit on each note before releasing. In this particular example, there is also a crescendo through the flying staccato which happens naturally as you approach the frog.

11. Sautillé

Sautillé is similar to spiccato, but this is higher up the bow and at a higher speed. It’s a passive bow technique: the bow bounces on it’s own and the hand doesn’t control the full movement. The fingers just give impulses.

Monti’s Czardas is a classic and infamous example of sautillé. For many students it is their first introduction to the technique. The challenge of the sautillé in the main theme is coupled with the challenges of fast string crossing and changing positions. Again, the main trick is: don’t overthink! Find where your bow bounces best on just open strings with a very loose left hand thumb. A tight thumb will kill the bounce. It may feel unnatural at first, but doing bounce techniques will teach you to trust your bow.

12. Ricochet

After one impulse, the bow can bounce from two to perhaps twenty times. This is a passive bow stroke usually performed on a down-bow. The pressure of the index finger and height of the bounce can determine the tempo.

When this is executed on an arpeggio over three or four strings, we call it jumping arpeggio.

It is difficult to find examples of ricochet in easy violin repertoire because it is an advanced technique that often comes up in big showpieces. But it’s still the perfect time to start practicing for those pieces someday! Rossini’s William Tell Overture is a very famous example of ricochet used to imitate galloping hooves. Below is the original version and also a simpler version of the melody.

Here’s a good way to practice ricochet: First, only use the top half of the bow. With a single impulse, drop the bow onto the string and let it bounce twice down and twice up. Don’t worry about the size of the bounce right now. Then do the same thing bouncing three times, four times, two downbows and an upbow, etc. When you can allow your bow to do this, do the same thing on an A major scale. Now you’re read to try William Tell with the original bowing!

After reading this, is it easier for you to identify techniques and markings you see on your music? Which piece would you like to try learning first? New bow techniques are nothing to be afraid of if you approach them in a logical, patient manner.

 

Hi! I'm Zlata

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