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How long does it take to learn the violin?

What makes you fast learner on the violin, what pieces can you play after one, two or five years and when do you start vibrato?

In this article I’ll start by explaining what determines your progress on the violin and how fast you’ll likely learn. After that I will go into what you learn in the first few months on the violin and what you can (on average) expect after a few years. I will list the pieces and let you know how much you should practice at each level.

‘How long does it take to learn to play the violin?’

Ah what a simple question, that unfortunately does not have a simple answer! The truth of the matter is that everyone learns at a different pace and everyone’s struggles are different, so the answer to this question will be different for everyone.

Additionally, is anyone ever truly done learning an instrument? I have been playing for over 20 years and I am still learning every day! Pablo Casals (a world-famous cellist) said it best. When asked why he continued to practice after dozens of years of experience, he stated, “because I think I am making progress.”

First I will go into the factors that determine how fast you will learn the violin. After that I will give you an average timeline of learning the violin.

Although it is impossible to say how long it will take you to master the instrument, here are a few important factors that can greatly impact your rate of progress:

  • How much you practice
  • Quality of your practice
  • Quality of your violin lessons and teacher
  • Age with which you started

Let’s go a bit deeper into each of them:

How much you practice the violin daily

This is most likely the biggest contributor to your progress (or lack thereof). When it comes to practice, consistency is key. When practicing, you are developing your muscle memory; and unfortunately, if you are not actively working to build this up, you are losing it. Have you ever practiced something and felt really good with the results, only to come back to it a few days later and be back at square one? Yeah, me too. One really good practice session is not enough to build up muscle memory, and if you take a few days off without training your muscles in the same way, all of that work will have been for naught.

So how long should you be practicing the violin per day?

That completely depends on your goals, your playing level, and how much time you have. Since we know that consistency is key, we can conclude that it is better to practice every day for 30 minutes than every other day for an hour. For absolute beginners, 30 minutes per day is plenty. You are training your body to move in a completely new way and you don’t want to overdo it. For late beginner and intermediate players, an hour to an hour and a half a day is a solid amount of time to see progress. Advanced players should be practicing for at least two hours per day, and those wishing to pursue a career in music should be practicing between three and five hours per day. I’ve included more detailed recommendations for practice time based on skill level and experience below.

With all this being said, life happens. We don’t always practice as much as we’d like, things come up and we have to take unplanned days off, and that’s totally okay. Please don’t beat yourself up about it; just get right back on track.

The quality of your violin practice

Have you ever driven somewhere, gotten to your destination, and had no memory of how you got there? (Because same). Similarly, have you ever finished a practice session and couldn’t remember a single thing you got done?! I definitely have, it is a frustrating feeling. It’s so easy for us to go on “auto-pilot” during practice, which is why we must actively work to keep our minds engaged at all times. Why spend your precious time practicing if you aren’t going to see results? If you practice mindlessly, you may as well not have practiced at all! Here are a few tools to help keep your mind engaged and make sure that your practice time is as efficient as possible.

Set clear goals

Before the beginning of your practice session, decide on goals for each passage you’re working on. I recommend writing them down. These goals should be specific and clearly measurable.
Example of a good goal: Improve intonation in measures 1-8. This tells you exactly what to work on and where. You can easily measure this goal by recording yourself at the beginning of the session and at the end of the session to see if the intonation improved.
Example of a bad goal: Work on page 2. Work on what exactly!? This goal is way too vague, and a whole page is most likely too broad of a section to focus on.

Use the right violin practice tools

Once you have identified your goals, write out a list of practice techniques (or “tools”) that you can use to help with the specific problem. Try all of them out, and take note of which ones work the best for you. Additionally, when tackling any passage, only focus on one problem at a time so you won’t get overwhelmed.

Not sure what violin practice tools to use? I’ve got you covered! Here’s a list of some common issues with practice techniques.

Intonation practice tools: Listening to the resonance of your instrument, practicing with a tuner, practicing with a drone, checking with your open strings

Speed practice tools: Practicing in rhythms, gradually speeding the piece up with the metronome

Memorization practice tools: Listening to the piece frequently, playing short sections with the music

String crossing practice tools: Practice the passage on open strings, practice stopping before each string crossing

Do not use mindless repetition

Yes, repetition is an important part of practicing; however, it should be done in a very calculated way. You only want to repeat a passage in the exact way you would like to play it. Think about it this way. If you play a passage incorrectly nine times, and finally get it right on the tenth time, are you more likely to play it correctly or incorrectly the next time you come to it? Incorrectly! In order for your odds to increase, after you play the passage correctly, you need to practice it nine more times to even have a 50/50 shot of playing it right on the next go around.

Measure your goals

At the end of your practice session, evaluate yourself. Ask yourself things like:

  • Did I accomplish my goals?
  • What went well today?
  • What could I have done better today?

Some like to keep a practice journal in which you write the goals before you start practicing and you write an evaluation at the end of your practice session. Also you can make notes of the things you practiced and your to-do list for the next day.

Record yourself

This is a great, unbiased method for measuring your goals and tracking your progress. Quite often, your playing sounds different under your ear than it does to the audience. Recording yourself at the beginning and end of each practice session will help you be able to more clearly tell if your goals were accomplished.

The quality of your instruction

Simply put, your instruction can make or break your violin journey. It’s important not only to receive high-quality information, but also to receive targeted feedback, advice on practice techniques, and moral support when you’re stuck in a rut. This is why having a great instructor is so important.

Is it possible to learn the violin on your own?

Of course, it is. However, it is going to take much more time, effort, and frustration. The biggest downside to learning on your own is not receiving direct feedback on your progress. You may have access to all of the best information in the world (which you do thanks to the internet), but even though you know how to do things in theory, putting them into practice is a whole different story. Questions are bound to come up. You may not understand why something just doesn’t sound right or feel right. Even if weekly lessons are not possible, checking in with a teacher monthly (or even bi-monthly!) will make a world of difference.

The age at which you started

I do want to make one thing clear: you can learn to play the violin at a very high level, regardless of the age you started. However, the age at which you started does have an impact on how fast you will be able to progress. Children’s brains were literally made for learning, so it’s only natural that someone who started when they were a child will progress faster than someone who started when they were an adult. In my teaching experience, I’ve found a significant difference between adult learners who played for a bit as a child and those who had no prior musical experience. The students who had played as a child (even only briefly) are able to progress faster. So, if you’re an adult learner with no prior musical experience, be prepared for a slightly longer road (but remember, it is very possible!)

Timeline how long it takes to learn violin

Remember that this is only a rough guideline, so please don’t worry if you find yourself ahead or behind these suggestions.

Month One

Welcome to the violin world! In your first month of learning to play the violin, you should be getting familiar with the parts of the instrument, how to take care of it, how to hold the bow and the violin, and how to tune the violin. You may also be learning how to draw long, sustained bows on open strings. You may be discovering that the instrument is a lot more challenging than you think (who knew it took so much effort and knowledge to be able to maintain a perfectly straight bow?!) If you’re also learning how to read music for the first time, you’re getting familiar with the basics such as note values, key signatures, and time signatures.

Sample pieces: open string practice

Recommended practice time: 20-30 minutes per day.

Month Two

In month two, you have a clear idea of proper posture, but you most likely will still find yourself adjusting frequently (why won’t our pinkies just stay curved?!) You’re learning how to play on two strings (most likely A and E strings), learning how to switch between those strings, and learning how to use fingers one, two, and three, with a half step in between your second and third fingers. You’re also learning to read the notes of the tunes that you’re playing.

Sample pieces: Twinkle Twinkle Little Star, Three Blind Mice, Hot Cross Buns

Recommended practice time: 20-30 minutes per day.

Months Three through Six

In months three through six, you will learn how to play on all four strings, how to use your fourth finger, and work on slurs. You’ll expand your note-reading knowledge by learning where all of the notes in first position lie on the staff, but it might still take you a minute to figure out what each note is. At this point, you should be relatively comfortable with holding the bow, and may even start to work on loosening your bow hand up. You should be able to maintain a straight bow and solid contact point, thus producing a solid, pleasing sound.

Sample pieces: Amazing Grace, Ode to Joy, Happy Birthday

Recommended practice time: 30-45 minutes per day.

Months Seven through Twelve

You will be learning a lot of new finger positions, including the low second finger, low first finger, low fourth finger, and high third finger. These finger positions will allow you to play a much wider range of pieces. You may begin to learn about resonant intonation and start to peel away those finger tapes (if you were using them in the first place). At the end of month twelve, you should feel comfortable reading all of the notes in first position at sight, as well as all the basic rhythms such as quarter notes, half notes, whole notes, eighth notes, sixteenth notes, and their corresponding rests.

Sample pieces: Minuets 1, 2, 3, Canon in D

Recommended practice time: 45 minutes per day.

Months Thirteen through Eighteen

At this point, you are more than likely so pleased with the progress you’ve made in just a year. You remember thinking you’d never be able to sound decent, and now you’re discovering that not only is it possible, but you’ve done it! At this point, you feel comfortable playing and reading music in first position, and you may begin working with more complicated rhythms, such as dotted notes, ties, and syncopations. You will be working a lot on bow technique; specifically how to create dynamics, different bow strokes such as up-bow staccato, and lifting the bow off of the string.

Sample pieces: Boccherini Minuet, Swan Lake

Recommended practice time: 45 minutes-1 hour per day.

Months Nineteen to Twenty-Four

Now comes the fun part-shifting! When you begin learning this technique, you are officially out of the beginner stage and into the intermediate. Shifting can be a bit of a mind-bender as you’ll learn that you can play the same note in a couple of different ways on the violin. You’ll also discover that the spacing of the fingers is different in third position, so you’ll have to retrain your fingers to sit a little closer together than you’re used to. You’ll be getting used to reading notes in third position as well.
Sample pieces: Rieding Violin Concerto in B Minor, Kuchler Violin Concerto in G Major
Recommended practice time: 1 to 1.5 hours per day.

Year Three

In the first few months of year three, you’ll more than likely be learning vibrato. In my opinion, it only takes a few months to cultivate a basic vibrato but up to two years to develop a vibrato you love (so trust the process). You’ll be getting more comfortable with shifting and using it more frequently within your pieces. You’ll also be diving into double stops and chords, as well as beginning to learn three-octave scales. At this point, your note reading should be fluent through first and third positions, and you should begin familiarizing yourself with notes up through sixth position.

Sample pieces: Seitz Concerto in D Major, Vivaldi Concerto in A Minor, Bach Double

Recommended practice time: 1.5 hours per day

Year Four

Now the real fun begins! You’ve developed all of the foundational techniques you need, and now you’ll continue to refine them and dive into more advanced techniques. You’ll become comfortable with using vibrato in your pieces, work on off the string bow strokes such as spiccato and sautille, and learn to read notes higher than third position more fluently.

Sample pieces: Czardas, Schindler’s List

Recommended practice time: 1.5-2 hours per day

Year Five and beyond

Now that you have several years of experience under your belt, you can focus less on technique and more on artistry. You will begin to play major violin concertos, vary your vibrato to aid in expression, and hopefully perform with others.

Sample pieces: Accolay Violin Concerto, Mozart Violin Concerto, Beethoven Spring Sonata

Recommended practice time: 2+ hours per day

How long does it take to learn violin #violinlessons #learnviolin #violinist #violin Share on X

Hi! I'm Zlata

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

READ MORE

Learning the violin is like a road trip; sure, you’re excited to get to your final destination, but you’re also enjoying the view along the way. Celebrate the little wins and know that they ultimately build to great progress.

How long did you take to learn the violin?

What do you feel ‘I can play the violin’ means? To play a simple tune or to master all Paganini caprices? Or something in between?

What’s your goal on the violin? What’s your dream piece? Can you already play it?

I’d love to read all about YOU in the comments below!

Violin Bow Parts: anatomy, function and bow division

Parts of the violin explained: frog, tip, screw, stick, hair, winding etc.

Also we’ll cover which part of the violin to play: upper half, at the frog, spiccato spot etc

In this article, I’ll not only discuss the parts of the violin bow, including its physical characteristics. I’ll also explain parts of the violin bow as referenced for bow division, the optimal bow placement and bow usage for common bow strokes, and how to use the bow to create dynamics.

First we’ll go through all the different parts of the violin bow and their function. After that I’ll cover the terms you see in sheet music, like at the frog and upper half. Also we’ll go through on which part of the violin bow hair we play different violin bowing techniques.

Overview of the violin bow parts

 

violin bow parts

The violin bow is used to draw the sound out of the violin

Violin Bow Stick

The stick of the bow is most often made out of either wood or carbon fiber, and it’s function is to hold the hair of the bow in place. Bow sticks should always maintain a convex (downward) curve. If the stick is straight across or curving outwards, the bow is too tight and needs to be loosened.

Violin Bow Hair

The bow hair is generally made out of horse hair. The hair is used to glide across the strings, thus making the strings vibrate and create a sound. Avoid touching the hair as much as possible to protect it from harmful oils found in your skin, which will “slicken” the hair and cause it not to grab the strings as well, thus leading to the need for a rehair.

Rehair your Violin Bow

A rehair is when you take your bow to the luthier and have them swap out your old bow hair for new, clean horse hair. This should be done every 6 months to several years, depending on how much you play and how intensively you play. You’ve probably seen videos of soloists where the horse hair flies around during a concert. They may need a rehair pretty soon!

Help! My violin bow doesn’t make sound…

If you get your bow back from the luthier and it doesn’t seem to make a sound, apply a hefty coat of rosin to the bow. This goes also for new violin bows.

Also make sure you have good quality rosin. If you bought a really cheap violin online, the rosin might not be functional. I personally use Pirastro Evah Pirazzi Gold rosin and highly recommend it. 

So interesting to read all about the parts of of the violin and what part of the hair to play #violinbow #violinist #violin Share on X
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Myth: the horse hair has little hooks

There’s myth even seasoned violin players and teachers still believe: the horse hair should contain little hooks that draw the sound of the violin.

If you look at violin bow hair under a microscope you’ll see that the hair is absolutely smooth.

We know the hooks are a myth, because without rosin a violin bow can’t draw sound out of the violin.

It’s the rosin that makes the horse hair sticky. It can ‘pull’ the strings and make a continuous sound while bowing on the violin.

Money saver: don't rehair your bow too soon

A lot of violin players rehair their bow every few months, which costs $ 70 to $ 100 every time. The reason why they go for a rehair is that the bow hair doesn’t draw a good sound and seems slippery. Rosining doesn’t seem to help, so a violinist takes his/her bow to the luthier.

However, maybe the violin bow hair is fine, but it’s just dirty. In that case you can clean your violin bow like I show in this video. It’s easy to do at home.

When the hair is really worn down and the violin bow has lost some hairs, then it’s really time for a rehair.

Frog and Tip

Violin Bow Frog Parts

The handle of the violin bow is called the frog. Here’s an overview with all the parts you find in the lower half of the bow:

violin bow frog parts

Violin Bow Tip Parts

The end of the violin bow is called the tip. Here’s a detailed image of the violin bow tip. The tip plate can be of nickel, silver, ivory or gold.

violin bow tip parts
There are two spots where the bow hair and the bow stick meet: the tip and the frog.

The tip is located at the uppermost point of the bow, and it usually has a curved, pointed shape. The hair is attached to the stick at the tip through the tip plate. Be careful with where you wave your tip, as it is quite easy to damage. I once hit the tip of my bow on a music stand and the point fell off!

The frog lies on the opposite end of the bow, at the bottom, is made of ebony (a dark-colored wood from a tropical climate tree), and is used to house the mechanism that tightens and loosens the bow.

The frog is comprised of many smaller parts, including the ferrule, side, eye, and throat

The ferrule is a removable plate of metal used to protect the place where the hair attaches to the frog. Although the ferrule can be removed in order to change the bow hair, do not try to remove it yourself! Take it to a trusted luthier.

The side of the frog is the portion that lies directly underneath the ferrule. The side can either be made of ebony or in some cases, mother of pearl, which gives it a more decorative look.

The eye of the frog is another ornamental part of the bow; it is the circle on the side of the frog. Not all bows have an eye, so if yours doesn’t, don’t worry! It is just there for decoration.

The throat of the bow is the curved portion of the frog, directly across from the ferrule. Most players place their thumb in or directly above the throat.

At the very bottom of the bow lies the metal screw, which is used to tighten and loosen the bow hair.

How to tighten your violin bow hair?

Before playing, turn the screw to the right to tighten the bow hair. It should be tight enough for a pencil to fit through at its smallest point (around the middle of the bow). Before putting the violin away for the day, turn the screw to the left to loosen the bow hair. It shouldn’t be so loose that the hair becomes stringy. To remember which way to turn the screw, I like to say the phrase ‘righty tighty lefty loosy.’ The reason we loosen the bow hair is to help the hair maintain its tension.

Above the frog lies the grip (or pad), which is most often made out of leather, which is why some call it thumb leather. The grip helps the player maintain solid contact with the bow, especially when their hands get sweaty!

The winding (or lapping) is the wrapping located right above the grip. The winding helps add a bit of weight to the bow which in turn adjusts the balance point. The winding can be made out of a variety of materials, including wire (nickel, silver, gold), faux whalebone, and silk. The winding can look very different for different violin bows and the silk can have a variety of colors.

My teacher said to play in the upper half! What does that mean?

Great question! We have covered the physical make-up of the violin, but now we will dive into bow division, which tells us what part of and how much bow to use for certain bow strokes and for creating dynamics.

Bow Division

What part of the violin bow to use when bowing?

We bow with the hair, but it makes a lot of difference which part of the hair you use: the whole bow, upper half, at the frog, spiccato spot…

You can see the bow hair and the bow division while bowing as the breath of a singer. It’s crucial to play music well and is a tool of expression.

Violin Bow Division Terms Overview

Here are the violin bow parts that might be mentioned by your teacher:

violin bow division parts chart
The tip is the upper third of the bow, nearest to the tip. 

The upper half is the top half of the bow, nearest to the tip.

The middle is the exact middle part of the bow, about 2 inches in length. 

The lower middle is the portion of the bow halfway between the middle and the frog, near the balance point.

The balance point is the place on the bow where each side of the bow weighs the same. The exact spot of the balance point varies from bow to bow, but you can find it by trying to balance the bow on your index finger. If you’ve found the proper balance point, the bow should be able to balance on your finger without help from your other hand.

The lower half is the bottom half of the bow, between the middle and the frog.

The frog is the lowermost part of the bow, near the winding, grip, and ferrule. This is usually the hardest part of the bow to play in because it is much heavier than the rest, and therefore requires a lot of counterbalance with the pinky (pinky strength, anyone?!)

The whole bow is the entire length of the bow from frog to tip.

But how do I know which part of the violin bow to use?!

That’s a great question! To easily figure out which part of the bow to use, remember my six rules of bow division.

6 rules of bow division

  1. The length of the bow is the length of the note. This means that longer notes like half and whole notes get more bow, and shorter notes like eighth and sixteenth notes get less bow.
  2. Use more bow for louder notes and less bow for softer notes. This is the easiest way to create dynamics.
  3. Play on the string bow techniques on the upper half and bouncing bow techniques on the lower half or in the middle of the bow. 
  4. The faster the bounce, the higher up the bow you play (until the middle). The slower the bounce, the closer to the frog you play. When the bow bounce is slower, it requires more control, which is easier near the frog. 
  5. The least active bowing technique determines the place on the bow. Least active simply means that instead of you doing the work, the bow does the work for you!
  6. The least active bowing technique determines the length of the bow strokes. Passive bow strokes generally use small amounts of bow.

Are you thinking ‘huh, active and passive bow technique? What’s this all about?’ Read all about different violin bowing techniques and terms right here. 

Improve your violin bowing technique

Enjoy my FREE mini Masterclass 5 Bowing Secrets to Create a Professional Sound on the Violin

Go to Mini Masterclass

Bow Stroke Guide

Where on the bow should I perform different violin bowing techniques?

Below, I’ve listed 14 standard bow strokes with their optimal bow placement.

Detaché is the most basic violin bow stroke, implying separate, smooth bows. Detaché can be done in any place on the bow and with any amount of bow. 

Staccato is simply stopping the bow between each note. This creates a slight space or separation between each bow stroke. Staccato can be done in any place on the bow and with any amount of bow, but is most commonly done in the middle or lower middle with small amounts of bow.

Slurred Staccato is a series of many short, staccato notes in a row on one bow. This can be done with any amount of bow and in any part of the bow. For fast slurred staccato, I find it easiest to perform in the upper half of the bow.

Legato is when two or more notes are slurred, or played on the same bow. Slurs can be done in any place on the bow and with any amount of bow.

Martelé is used to create accents (martelé literally means “hammered” in Italian!). To perform martelé, press the bow into the string with you index finger, and then instantaneously release the pressure as you draw the bow. This technique creates an accent followed by a beautiful ringing tone. Martelé can be done in any place on the bow and with any amount of bow. 

Brush Stroke is done when the player actively bounces the bow off of the string in between each bow stroke. This should be performed in the lower half of the bow, and with just about an inch or two of bow.

Spiccato is when the bow passively bounces off the string between each note. Passively means that the bow does most of the work with minimal effort from the player. Our bows were made to bounce! The angle of the hair and proximity to the string determines the speed of your spiccato (and of any bouncing bow stroke!). Spiccato should be done in the middle or lower-middle of the bow.

Flying spiccato is the same bow stroke as spiccato except the bows are all going the same direction (either all up or all down). This should be done in the lower ⅔ of the bow.

Ricochet is when the player throws the bow onto the string and the residual bounces create the bow stroke ricochet. This should be done in the upper half of the bow.

Sautillé is a bow stroke where the hair stays completely on the string while the stick bounces up and down. This should be performed in the lower middle part of the bow.

Tremolo is a very fast detaché stroke, usually written to create an effect. Tremolo should be performed in the upper half of the bow.

Portato is varying the bow speed between slurred notes, which creates a slight separation for each note. Portato can be done in any part of the bow and with any amount of bow.

Hooked Bowing is not a specific bow stroke, but a form of linked bowing most often applied to dotted figures, allowing the player to maintain the location of the bow and avoid unwanted accents. This can be done in any part of the bow and with any amount of bow.

Collé is a finger stroke that is most often used as a finger flexibility exercise. To perform a down bow using collé, straighten your fingers out and allow the bow to come off the string. To perform an up bow using collé, curl your fingers back in and again allow your bow to come off of the string. While this bow stroke can be done in any part of the bow, it is most common in the lower half.

Learn more about violin bowing technique

Some of the violin bowing techniques mentioned above might be new to you. Don’t worry, I’ve got you covered. In this video I explain all violin bowing techniques and terms with how to play them, sheet music notation and examples.

How to use your bow to create dynamics

The bow is the main tool available to violinists to create dynamics and phrasing. Vibrato most definitely can help, but the majority of phrasing is done with the bow. There are four elements that you can change to create dynamics: the amount of bow you use, the bow speed, the contact point, and the weight.

Changing the amount of bow you use is the easiest way to create dynamics, and the one that I suggest all students start out with at the beginning. Use more bow to play louder and less bow to play softer.

Changing your bow speed is another effective way to change your sound. Which one do you think will be louder, a faster bow or a slower bow? Take a second to come up with an answer before reading on.

Generally, a slower bow will give you a fuller, louder sound. Were you surprised?! Think about it this way-if you wanted to sustain (or hold) a loud note for a long time, would you use a fast or slow bow? A slow one. 

Varying your contact point is another great way to create dynamics. Your contact point is where your bow comes in contact with the violin. If you move your bow closer to the bridge, your sound will be louder, and if you move your bow closer to the fingerboard, your sound will be softer.

Finally, you can change your sound by manipulating the amount of arm weight you put into the bow. This is generally the last technique that I suggest to students, because of two big traps that are easy to fall into: 1. Using pressure and not weight 2. Taking too much weight out of the bow that the sound quality becomes poor. 

In order for our violin to sound louder, we want it to resonate, or ring, more. If you press the bow into the string, you suppress that resonant and end up with a scratchy, unpleasing sound. 

On the other side of the coin is taking so much weight out of the bow that it sounds wispy. Even when playing softly, players need to maintain a healthy contact with the string in order to emit a solid sound.

Ultimately, effective phrasing and dynamics come from combining 2 or more of these elements to create the sound you desire. This is your opportunity to get creative and have fun playing around with these four elements! 

Want to learn more? Check out my video on 7 ways to play dynamics on the violin right here.

Hi! I'm Zlata

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

READ MORE

I hope you enjoyed learning all about violin bow parts

You just learned:

  • all the parts of the violin from frog to tip, their names and function
  • how to maintain your violin bow and when to rehair
  • the parts of the violin bow you use when while playing and what the difference is
  • 6 rules for bow division, so you can use your bowing as the breath of a singer
  • 14 common bow strokes and where on the bow you play them
  • 4 ways to play dynamics with your violin bow

Violin parts

Read all about the parts of your violin inside out right here.

Share your biggest insight or fun fact in the comments below:

36 Best Violin Solos of All Time (played by 36 different violinist soloists)

Listen to the most beautiful violin solo pieces ever written

We cover centuries of violin music with examples from the greatest violinists

What is a violin solo?

A violin solo is simply any time one violinist is the featured performer. After the piano, violin is the most commonly featured solo instrument in classical music, due to its singing tone, wide range, and the many different effects the player can create.

Violin solos do not have to be any set length, and range anywhere from three minutes to an hour. In classical music, they are traditionally divided into three main categories: solo violin with orchestra, where the featured violinist stands in front of the orchestra next to the conductor; solo violin with piano; and unaccompanied violin, where no other performer or instrument is included.

The following list of 36 pieces contains some of the best classical violin solos from all three categories. All violin solo performances are by different violin soloists, so you get to know some of the greatest violinists of the past and present.

Best violin concertos

(or “concerti,” if you want to get technical about it)

The first violin concertos were written at the end of the 1600s, and the art form has been developing ever since. In most classical violin concertos, the soloist is accompanied by either a string orchestra (violins, violas, cellos, and double basses) or by a symphony orchestra (strings plus woodwinds, brass, and sometimes percussion). Other combinations exist however, such as Lou Harrison’s Concerto for Violin and Percussion Orchestra. Concertos are typically divided into three movements, alternating fast-slow-fast. The major concertos listed below are considered some of the most demanding pieces in classical violin repertoire because of the technical ability and stamina required.

#1 Violin Concerto by Samuel Barber

I was too impatient to save the best for last, so had to start this list off with my absolute favorite violin concerto. American composer Samuel Barber wrote this gorgeous concerto in 1939, and the piece reflects the uncertainty of the times. The lush, romantic first two movements are filled with nostalgia and unanswered questions. The frantic third movement, which Barber added later, is an incredible challenge to both soloist and orchestra. Listen to it here played by Anne Akiko-Meyers, who has performed it over 1,000 times.

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#2 Violin Concerto No. 1 in G Minor by Max Bruch

This concerto has long been a favorite among audiences. In fact, Bruch was envied and insulted by fellow composers during his life because of this work’s popularity. His detractors were ultimately ignored, however, as it still remains a concert hall staple and mandatory repertoire for serious students.

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#3 Violin Concerto in D Major by Ludwig Van Beethoven

Clocking in at a cool 45 minutes long, the Beethoven Concerto is considered one of the most challenging in the repertoire, and a major accomplishment for anyone who learns it. In the beginning, the orchestra plays an intro lasting over two minutes, which gives the soloist plenty of time to stand there in front of the audience wondering if his or her entrance will sound good. In this recording by violin super-star Hilary Hahn, however, you probably won’t notice her worrying. After you watch this recording, check out her Germany debut where she played the same piece at the age of fifteen (!).

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#4 Violin Concerto in D Major by Johannes Brahms

Like the Beethoven Concerto, the opening of this piece sounds as though Brahms started writing a symphony and then suddenly remembered he was supposed to be writing a violin concerto. When the soloist finally does come in, he does it in style with some fiery runs and perfectly tuned double-stops (playing more than one string at once). It may not be as melodic or violin-centered as Beethoven’s but the sheer amount of energy in the work is breathtaking.

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#5 Violin Concerto in D Minor by Jean Sibelius

When Sibelius premiered the original version of this piece in his native Finland in 1904, he had just finished writing it. Although Sibelius had enough time, unfortunately the violinist performing it didn’t, and the debut was a disaster. Sibelius revised the concerto to make it “easier,” and this new version was performed much more successfully in 1905. It is still one of the most difficult concertos, which is perhaps why it requires special permission from the Sibelius family to play the original harder version.

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#6 Violin Concerto in D Major by Piotr Ilyich Tchaikovsky

Okay, I know you’re wondering at this point why so many violin concertos are in the key of D, but maybe that’s a subject for another article. Tchaikovsky wrote this concerto while trying to recover from depression, and it is heart-on-your-sleeve, alternating between deep reflection and unrestrained joy.

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#7 Violin Concerto in E Minor by Felix Mendelssohn

Classical music lovers can debate endlessly about what the four greatest violin concertos are, but you can be sure Mendelssohn’s will be on the list. Written in 1844, it incorporates the best of both traditional classical styles and Mendelssohn’s budding romanticism. And in case you were wondering, Mendelssohn also wrote a little-known Violin Concerto in D Minor earlier that is also worth a listen.

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#8 Violin Concerto in G Major by W. A. Mozart

Most of the warhorse concertos listed here are from the Romantic era (beginning in the late 18th century) but Mozart’s violin concertos are the most famous of the earlier Classical era. Although he wrote five, only the later three are frequently performed.  His third one is not the most challenging, but it has a playful, childlike charm and memorable themes.

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#9 Violin Concerto in A Minor by Antonin Dvorak

This concerto is not as familiar to the general concert audience as Bruch or Mendelssohn, but it is certainly on equal footing musically. Dvorak wrote the piece in 1879 after meeting Joseph Joachim, who was one of the most prominent violinists of his day. Sadly, Joachim didn’t like some parts of the piece, and so Dvorak never heard him perform it in public. Fortunately, soloists now realize that it is an important and deserving work.

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#10 Symphonie Espagnole by Edouard Lalo

This one is different: violin concertos traditionally have three movements, but this has five. The first one is the most famous. This work started a period where Spanish-themed music was all the rage, and it inspired Tchaikovksy to create his own violin concerto.

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#11 The Four Seasons by Antonio Vivaldi

Do you know how many violin concertos Vivaldi wrote? That’s right, two hundred and thirty. He’s credited with making the concerto form popular, and his work is still popular three hundred years later. The Four Seasons is actually a set of four complete violin concertos, each with three movements. Every movement describes a particular country scene Vivaldi would have witnessed in his native Italy as the seasons changed.

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Best violin performance pieces

Concertos are divided into three movements and follow a very specific form. Performance pieces (or showpieces), on the other hand, are a single movement, and can be in whatever form the composer chooses. They usually contain lots of technical fireworks that show off the soloist’s skill. Many soloists play one as an encore after finishing a concerto, since performance pieces are generally shorter. These pieces are played either with full orchestral accompaniment or with piano only.

#1 The Lark Ascending by Ralph Vaughan Williams

This piece is very different from any other on this list. It is inspired by an 1881 poem by English poet George Meredith, an ode to the beauty and symbolism of the skylark. In this contemplative and transcendent piece, the violin trills and soars above the orchestra, raising the listener’s soul with it.

Click here to download the free violin sheet music.

#1 The Lark Ascending by Ralph Vaughan Williams

This piece is very different from any other on this list. It is inspired by an 1881 poem by English poet George Meredith, an ode to the beauty and symbolism of the skylark. In this contemplative and transcendent piece, the violin trills and soars above the orchestra, raising the listener’s soul with it.

Click here to download the free violin sheet music.

#3 Zigeunerweisen by Pablo de Sarasate

Pablo de Sarasate was one of the most beloved violinists of the early 20th century. Like many violin soloists of that time (including Fritz Kreisler and Henryk Wieniawski) he wrote many of the pieces he performed. “Zigeunerweisen” means “gypsy meadows,” which is exactly what the piece sounds like. If you enjoy this work, you will love diving into the world of Sarasate’s fiery compositions.

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#4 Czardas by V. Monti

This is one of the first showpieces every violin student learns. This is a fun piece to perform because it is perfectly fine to improvise the solo part a little bit to fit the spirit of the piece. It is also wonderful for practicing spiccato bowing, which involves playing very fast separate sixteenth notes while letting the bow bounce off the string. If you can master that technique, this work is a great introduction to showpieces.

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#5 Tzigane by Maurice Ravel

Originally composed just for violin and piano, this work is now often performed with full orchestra. “Tzigane” is derived from the generic European term for “gypsy,” which is the style Ravel strove to imitate in this piece. It is not as melodic or catchy as Czardas, but it is incredibly virtuosic and has a powerful emotional effect in the hands of a master. Listen here to a vintage recording by the great Jascha Heifetz.

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#6 La Ronde Des Lutins by Antonio Bazzini

Antonio Ba-who? Almost no-one has ever heard of this Italian composer, even though he was one of the most eminent violinists of the 19th century. Today he is only remembered by the few very advanced violinists who can even play his flashy encore Dance of the Goblins. Even if you’ve never heard of Bazzini, you’ve probably heard of the violinist playing in this recording.

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#7 Polonaise in D Major by Henryk Wieniawski

Wieniawski was another 19th-century violinist-composer who wowed audiences in both Europe and America. Although he died at the age of 45, the intense power of his compositions lives on. This is a particularly exuberant recording of his Polonaise in D Major. Additionally, Wieniawski wrote several other showpieces, a collection of challenging caprices, and two major violin concertos.

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#8 Introduction and Rondo Capriccioso by Camille Saint-Saens

Saint-Saens dedicated this work to Pablo de Sarasate. It has a distinct Spanish flavor; you can almost see the bullfighters strutting in during the main theme. Incredibly dramatic and evocative, it is a favorite among advanced students and major soloists. The recording below is performed by Christian Li, a world-famous soloist who is currently thirteen years old. His performance really brings out the energy and joy in the piece.

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#9 Carmen Fantasy by Sarasate

Another work by Sarasate, this piece contains plenty of familiar tunes (with a fancy violinistic twist) if you love the opera Carmen. After listening to it, compare it to the Carmen Fantasie by Franz Waxman, who composed his own version for the 1946 movie Humoresque.

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Best violin sonatas

The main difference between a sonata and a concerto is that the concerto is accompanied by an orchestra, while the sonata is accompanied by just one instrument (usually piano) or unaccompanied. All the sonatas listed here are for violin and piano, so keep reading for the best unaccompanied violin sonatas later on.

#1 Violin Sonata in G Minor “The Devil’s Trill” by Giuseppe Tartini

Although stylistically very different from the later Romantic sonatas, it still includes many challenges, such as double-stop trills. The story behind this piece is almost as interesting as the piece itself. Here, violinist Frank Almond explains the history of the piece and plays some excerpts. Oh yeah, and he’s playing it on the Stradivarius once owned by Tartini.

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#2 Sonata No. 3 in D Minor by Johannes Brahms

If you don’t feel ready for the intensity of Brahms’s violin concerto, his three violin sonatas are a good way to get a feel for his style. His third sonata is extremely lyrical in the first two movements. In the third movement the pianist gets a chance to shine, and it closes with a virtuosic final movement.

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#3 Violin Sonata in A Major by Cesar Franck

Belgian composer Cesar Franck composed this in 1886 as a wedding present for the young violin virtuoso Eugene Ysaye. Franck was not at the wedding, but a friend of his presented the piece to Ysaye the morning of. After one quick rehearsal with his new sister-in-law, Ysaye performed the piece for his guests, and kept it in his repertoire for the next forty years.

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#4 Violin Sonata in G Minor by Claude Debussy

You’ve probably heard of Debussy,or at least you’ve heard of his most popular work, Clair de Lune. This violin sonata is the last piece he wrote, and a wonderful example of impressionism, a style that explores color changes, chromaticism, and unusual effects.

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#5 Violin Sonata No. 9 in A Major “Kreutzer” by Beethoven

It’s really too bad that Beethoven only wrote one violin concerto, but he made up for that by writing ten violin sonatas. Although his ninth sonata is dedicated to violinist Rudolphe Kreutzer, Kreutzer never performed the work and called it “outrageously unintelligible.” It is, however, frequently performed today, despite its technical difficulty and unusual length. Beethoven’s other two most famous violin sonatas are No. 5 nicknamed the “Spring” sonata, and No. 8 in G Major.

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#6 Violin Sonata No. 2 in D Major by Sergei Prokofiev

Originally a flute sonata, Prokofiev composed a violin version in 1944 at the request of his friend David Oistrakh. It contains the grace and lyricism of a flute sonata with the technical flair of a great solo violin piece. Prokofiev also wrote another violin sonata and a violin concerto.

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#7 Violin Sonata in D Major by George F. Händel

Handel wrote sonatas for many instruments including violin, flute, oboe, and recorder, but this sonata is his last piece of chamber music. Less challenging than some of the other works on this list, it is a good sonata for anyone who loves Baroque music.

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#8 Violin Sonata No. 1 in A Major by Gabriel Fauré

Fauré’s sparkling Violin Sonata in A Major marked a turning point in his compositional career. The first performance was very well received, and it remains his most popular chamber music work. It is elegant and refined while also being energetic and uplifting.

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Unaccompanied Violin Solos

A violin solo means that the violinist is the featured performer in a piece. In accompanied violin solos, the violinist plays together with an orchestra, piano or other instrument, but has the leading role. Unaccompanied violin solos on the other hand are pieces just played by the violin and no other instruments. Most of them are technically very challenging with lots of double stops and chords to make the music sound full even if it’s only played by one violinist.

#1 Twelve Fantasias for Violin Solo by Georg Philip Telemann

Telemann was a contemporary and friend of J.S. Bach. During his life, he was the most acclaimed composer in Germany, and much more celebrated than his colleague Johann Sebastian. He was also incredibly prolific, composing over three thousand complete works (Bach only did, like, twelve hundred). His solo violin fantasias are a charming example of the improvisational baroque style.

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#2 Six Sonatas and Partitas for Solo Violin by J.S. Bach

Okay, now to be fair, Bach also wrote an entire book for solo violin, which has become firmly rooted in the mandatory violin repertoire. His Six Sonatas and Partitas (a partita is any work that is based on baroque dance forms) were at first considered good only for technical exercises. In the late 19th century, violinists began to rediscover their musical value also, and now solo Bach movements are required at violin competitions and auditions around the world. Many of the greatest soloists play some of these movements every day to keep their creative juices flowing and to work on basics like intonation and phrasing. 

Below is just a single movement from Partita No. 2 in D Minor. This movement, the Chaconne, is a solid fifteen minutes long, and roundly considered one of the most astonishing violin works ever composed. Also let’s just appreciate the fact that this guy memorized it.

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#3 24 Caprices for Solo Violin by Nicolo Paganini

If Bach’s Sonatas and Partitas are the most important solo violin works of the 18th century, then the Paganini caprices are the most important works of the 19th century. Paganini is a classical music legend, both because of his larger-than-life personality and his larger-than-your-finger-width technical abilities. You’ve probably heard of the last caprice, so here’s one you maybe haven’t heard:

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#4 Sonatas for Solo Violin by Eugene Ysaye

Remember Belgian violinist Eugene Ysaye, a.k.a. Elvis on a violin, the guy who performed a brand-new violin sonata for his wedding? Turns out he was not only a towering performer (musically and literally) but also an incredible composer. His solo violin sonatas are dramatic, powerful, and electrifying. And if that’s not enough to get you excited, listen to a movement played by a fifteen-year-old girl.

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Best modern violin solos

Reading this article, it may seem like every great violin piece was written at least 100 years ago. Actually, great new pieces are being composed every year, and only time will tell what magnificent violin works the 21st century will bring. For now though, check out just a few of the best violin solos composed within the past few decades.

#1 Theme from Schindler’s List by John Williams

This timeless movie about the man who saved over one thousand Jews from the Holocaust features Itzhak Perlman playing the main theme composed by the equally famous John Williams. It is one of the most memorable movie scores ever composed, and Oscar Schindler certainly deserves such a beautiful piece in his honor. John Williams also composed a suite for solo violin that contains two other themes from this film.

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#2 Merry-go-round of Life by Joe Hiasashi

If you love anime, then you probably love the Studio Ghibli classic Howl’s Moving Castle.  Based on a British fantasy novel, the whimsical plot follows an eighteen-year-old girl, Sophie, who is cursed into an old lady by a witch. To break the curse, the plucky Sophie goes on an incredible journey with a mysterious and handsome wizard named Howl in his flying castle.

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#3 Ashokan Farewell by Jay Ungar

This fiddle tune became famous as the main theme for Ken Burns’ documentary about the American Civil War. It is the only tune in that film that was not written during the 1800s. Fiddler Jay Ungar wrote it in 1982 in honor of the Ashokan Fiddle and Dance Camp he ran with his wife. The sentimental words tell about good times together and the hope of more to come.

Click here to get the sheet music in the Tomplay app.

#4 Violin Concerto in G Minor

British composer, pianist, and violinist Alma Deutscher is sixteen years old and already studying conducting at the University of Music and Performing Arts in Vienna. A prodigy in the best sense of the word, she harnessed her natural creativity from an early age to create spectacular classical compositions. Her operas, concertos, and orchestra pieces have been performed worldwide. I hope you find joy in this beautiful recording of the young composer herself performing her own violin concerto in her Carnegie Hall debut.

Bonus: Not-really-violin-solos

(and what they actually are)

It may shock you to know that some of the pieces most associated with the violin were actually written either for orchestra or for other solo instruments. Of course, they still sound beautiful on violin and make great solo pieces, but it is helpful to know the full background of why pieces were written in order to appreciate them better.

#1 Por Una Cabeza by Carlos Gardel

Written in 1935 as a vocal piece, this tango was later adapted for violin and piano, among other instrumentations. Violinist Nicola Benedetti also played an arrangement on her album The Silver Violin.

Click here to get the sheet music in the Tomplay app.

#2 Flight of the Bumblebee by Nikolai Rimsky-Korsakov

Like Meditation de Thais, this notorious piece is also from an opera, The Tale of Tzar Saltan.  It’s from the scene where a magic swan changes the prince into an insect so he can go visit his father. It’s originally for cello, but at this point it’s been played on some pretty weird instruments so if you want to play it as a violin solo, knock yourself out.

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#3 Canon in D Major by Pachelbel

I know you may not know you know this piece, but you know this piece. It is a standard at parties and weddings throughout the western world. Of course, there can be too much of a good thing and variety doesn’t hurt. This recording of what Pachelbel’s Canon may have sounded like when he wrote it will give you a fresh perspective.

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#4 My Heart Will Go On by James Horner

Genius film-composer James Horner, who also wrote the scores for movies such as Field of Dreams, Braveheart, and Apollo 13, composed this piece as the tear-jerking main theme of the romantic tragedy Titanic. The original movie scoring is for flute and voice with orchestral accompaniment.

Click here to get the sheet music in the Tomplay app.

#5 The Godfather Theme by Nino Rota

The theme for this classic film is originally for string orchestra, but if you volunteer to play this as a solo for someone, you’ll be making an offer they can’t refuse.

Click here to get the sheet music in the Tomplay app.

#6 He’s a Pirate by Klaus Badelt

This swashbuckling theme makes a great solo, but is also super fun if you ever get a chance to play it in orchestra, as in the original version.

Click here to get the sheet music in the Tomplay app.

#7 Game of Thrones Theme by Ramin Djewadi

This is another famous film piece that has been adopted by violinists even though it was written for cello and string background.

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#8 The Swan by Camille Saint-Saens

I know, the cellists are really stealing our thunder here. Another popular piece for weddings and other sentimental occasions, this poignant piece would sound beautiful on almost any instrument, so feel free to play it on violin. 

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.

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What’s your favorite violin solo piece?

I hope you’ve enjoyed getting to know my top 36 violin solo pieces and you learned a new piece or got to know a new violin soloist you love.

Have you played some of these violin solos?

Let’s continue our conversation with like-minded violin players in the comments underneath and share the most beautiful violin solo pieces with each other. Will you start with your favorite violin solo?

About Hilary Hahn’s pinky… (because it’s practical)

Do you follow TwoSet Violin and seen the episodes with Hilary Hahn?

If not probably you’ve seen Hilary Hahn playing the Mendelssohn concerto. If not, do so now and just watch her fingering in the first measures.

Doesn’t that freak you out? All those fourth fingers? What? Even shifting with four four.

‘Because it’s practical’ she explains. Brett and Eddy freak out. That phrase has become a meme since, but let’s explore it a bit further…

In her masterclasses Hilary Hahn often stresses how important it is for reliable intonation to have a strong and arched  pinky

Sure, you train this with practicing a lot, but most violin players take a detour. A collapsed pinky is an issue many of Hahn’s high level masterclass participants have despite of a lot of practice.

Here’s the problem:

The limitation of practicing scales and Schradieck for left hand technique: with scales fingered 12 12 or 123 123 for shifts and Schradieck exercises fingered 1232 2343 you mainly train the strong part of your hand and don’t train the weaker third finger and pinky. Also your left hand posture moves to a position that mainly facilitates the first and second finger.

If you look at Hilary Hahn’s left hand, you’ll see that the knuckles are nice and aligned with the neck of the violin and that it facilitates the pinky to be placed in a secure way. Also her pinky is strong and flexible enough to be placed beautifully arched.

The fastest way to practice a strong pinky is left hand pizzicato

With left hand pizzicato you train MOSTLY the weaker part of your hand as you pluck with the fourth and third finger. It’s autocorrection for your posture as with a collapsed pinky you can’t pluck. Just as with the right hand, you need to curl the finger and use a bit of strength to pluck. In my Instagram live some time ago I give some exercises that will get you result in a few minutes a day.

What also helps a ton to train a strong pinky are stretches

Sometimes students play out of tune, not because they don’t hear, but because their fingers can’t really reach the notes. Stretches widen the knuckles a bit. Also by playing stretches with an arched pinky, playing repertoire with an arched pinky suddenly feels easy.

The goal of exercises is that they are so difficult that they increase your level, so that your repertoire will feel easy… even with lots of fourth fingers.

This should be taught right at the start and not, like for Hilary Hahn’s masterclass participants, very far in their violin journey.

Hi! I'm Zlata

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

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In my brand new program Paganini’s Secret my teacher Vivien Hoffman teaches concepts like left hand pizzicato and stretches on all levels: beginner, intermediate and advanced.

I just started practicing ‘Paganini style’ some weeks ago and I realized that I could have saved thousands of hours becoming a professional violinist or could have achieved a higher level much earlier in my career.

Are you interested to learn Paganini’s Secret?

Click here to read more and join when the program is open for enrollment.

No more pinky problems!

Paganini’s Secret has been a blessing to my journey in playing the violin. My fourth finger has always struggled to make it far enough to have good intonation without sliding my entire hand which just made it less accurate so I would have to adjust for intonation anyway.

The Paganini style exercises I have learned so far have really improved my flexibility between each of my other left-hand fingers and my pinky. One amazing struggle I have overcome is going down on a scale and transitioning from first finger on the higher string and playing pinky on the next string instead of the open string. Now I can keep my first finger down and place my pinky on the lower string in the correct position for a much smoother scale.

Another thing I have started to improve is placing my left-hand fingers in a bent position that doesn’t touch the other strings, especially on the G-string. This has enabled me to have an easier time playing double stops.

All in all, my left-hand feels much more relaxed and in control. It’s a great compliment to Bow Like a Pro because it really tackles all the left-hand technique issues for the whole package.

I can’t wait to get to the next modules and I am super excited to learn how to play Paganini’s 24th caprice. What an accomplishment that will be!

Blessings,

Jenn Reynolds (USA)

after just 6 weeks in Paganini's Secret

Learn more about Paganini's Secret

Sheet music download 107 Beautiful Intermediate Violin Concertos

Hi! I'm Zlata

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

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Here’s your free sheet music download for 107 intermediate violin concertos

Let’s start with my five favorites:

Küchler op 15 Concertino in the style of Vivaldi

Vivaldi RV310 Concert in G Major

Rieding op 21 Concertino in Hungarian style

Seitz Op 15 Student concerto nr 4

Accolay Concerto in a minor

See below for much more. 

Happy practicing!

38 Student violin concertos in the 1st position

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34 Student violin concertos in the 1st to 3rd position

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10 Student violin concertos in the 1st to 5th position

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25 Student violin concertos in the 1st to 7th position

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