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Violin vs Viola: 7 Differences, Pros and Cons

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

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

7 Differences between the violin and the viola

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

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

#1 Size and shape

Violin vs viola size

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

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

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

Violin vs viola shape

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

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

#2 Weight

Violin vs viola weight

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

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

#3 Tuning, sound and playing range

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

Differences and similarities of violin vs viola tuning

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

Playing range of the violin vs the viola

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

#4 Violin vs Viola clef

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

Violin clef

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

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

Viola clef

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

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

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

Summary of Clef Differences

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

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

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

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

#5 Violin vs Viola Bow

Violinists and violists use different type of bows.

4 Differences Between the Violin Bow and the Viola Bow

#1 Frog shape

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

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

#2 Size

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

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

#3 Stick Shape

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

#4 Weight

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

Other Considerations

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

Impact on Playing

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

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

# 6 Role in an ensemble or orchestra

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

Violin in an Ensemble or Orchestra

1. Melody and Lead Parts

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

2. Upper Harmony and Texture

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

3. Orchestral Tuning

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

Viola in an Ensemble or Orchestra

1. Inner Voices and Harmony

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

2. Complementing and Balancing

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

3. Orchestral Tuning

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

Summary of Roles

Violin:

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

Viola:

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

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

#7 Playing technique

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

1. Instrument Size and Position

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

2. Finger Spacing and Stretch

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

3. Bow Technique

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

4. Left-Hand Technique

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

5. Tuning and Intonation

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

6. Repertoire and Technique Requirements

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

7. Physical Demands and Ergonomics

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

Summary

Violin:

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

Viola:

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

 

Pros and cons of the violin vs the viola

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

Pros and Cons of the Violin

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

Pros and Cons of the Viola

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

Is it harder to play violin vs viola?

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

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

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

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

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

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

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

Hi! I'm Zlata

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

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

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

Is a violin more expensive than a viola?

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

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

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

Historical Development

Origins of the Violin and Viola

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

The Violin’s Development

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

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

The Viola’s Development

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

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

Viola jokes…

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

Closing note

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

Do well-behaved children make music or does music make well-behaved children?

How music lessons can help children better regulate their nervous systems, so they can thrive in life

In my lessons I notice that in the safe environment of a music lesson and in a playful way children learn to anticipate, grow patience, take turns, work together, overcome difficulties, gain confidence and process the emotions around that, so they develop the skills to tackle challenges in ‘real life’.

While sometimes we’re focussed on how music lessons improve IQ scores and academic results, I’d love to dive into the impact of music education on the more ‘softer’ skills and development of the person and overall behavior.

What’s a well-behaved child anyway?

Before we discuss if music education can help your child regulate herself better, let’s get on the same page what we mean by ‘well-behaved’.

What’s expected of children depends on lots of factors. Imagine being in a restaurant and a child is screaming and throwing food. Is this child behaving badly? When this child is eight months old your judgment might differ from when this child would be five years old… or twelve. My husband is from Togo and I’m half Czech and half Dutch myself. Behavior that would be perfectly acceptable in Holland (for example interrupting an adult to say something) is absolutely unacceptable in Togo. In a playground different behavior is expected than in a church.

Depending on where we come from and what the circumstances are, you and I might have very different ideas about what a well-behaved child makes. However, to function and thrive in a social environment, a child needs to develop the following:

  • Sense of safety
  • Attention span (concentration and focus)
  • Inhibition control (including impulse control)
  • Skill of resolving cognitive and emotional conflict

Let’s take a look if music lessons can improve these skills.

Sense of safety

A lot of ‘bad’ behavior comes from a child not feeling safe enough to be able to regulate their nervous system. An overly-compliant child might seem easy, but emotionally they could be in a bad scary place which obviously we don’t want for the child and is problematic in the future. To thrive, grow and develop, a child needs to feel safe and connected.

Songs help a child feel part of family or tribe and it is the language that soothes them to sleep.

Music is the first language of safety, security and love

Growing up with music from birth (and before) lays the foundation for a child to develop all the skills that we will discuss later in this article.

A stressed or scared child generally doesn’t behave and develop well. This lack of connection and security can fundamentally affect a child’s cognitive development.

Making music through singing increases some brain chemicals like dopamine and reduces cortisol (a stress hormone). Music does this incredibly quickly and almost acts like a circuit breaker for the production of cortisol in our bodies.

There are incredible positive changes on the behavior and academic results of children in schools located in socio-economic challenging neighborhoods if a music program is introduced. Music won’t solve all their problems obviously, but can ‘fix’ some of the delay and difference in neural development these children might have had from birth.

Attention span

‘Why can’t you just pay attention?’

Not paying attention can come across as rude behavior. Certainly at a young age in most cases this is not deliberate disrespect, but a lack of concentration skill.

Being able to concentrate is a skill that develops over time and is, to a great extent, a learned one. Like many skills we learn through modeling by people around us, direct instructions (‘listen up’) and our own predisposition.

How does music learning help? Instructed and sequential music learning activities in early childhood are basically a bootcamp for the development of young children’s attention skills.

A three-minute music learning activity will engage multiple senses. It might involve a child moving his body while listening to a song or beat, watching out for when the song stops and then performing a new movement like turning around.

Music activities require hyper attention across multiple senses, following varied instructions without any warning while working within a group and couched as a game so the child is having fun and stays engaged.

In a Colourstrings kindergarten music class this happens with babies and toddlers. Every few minutes there’s a new activity, a new prop, a new movement and a new song. This rapid change is great for attention development, because the child has to adjust her attention to a new activity, new expectations, new movement, and a new set of concepts to watch out for. At the surface this might look like ‘just’ play, but under the surface the little kid’s brains are doing a full workout.

A bit on ‘just play’: Developmentally appropriate play with parents and peers is a singular opportunity to promote the social-emotional, cognitive, language, and self-regulation skills that build executive function and a prosocial brain. Play is how kids learn and develop.

Besides that we can learn the skill of concentration, it’s also nature. Some kids just can’t help their attention floating away. My four year old boy/girl twins are very different despite having about the same nurture. My son sits behind his piano many moments throughout the day and finds joy in focussing hard to learn a new difficult song. My daughter plays violin, but I can see that her brain just gets tired after focusing for even a few minutes. Certainly when things are difficult, she wants to avoid them. By mixing their instrumental learning with Colourstrings music learning, I train her musicianship and her attention skills, which will help her learn a complex instrument like the violin (or anything).

Inhibition control

Controlling reactions and interacting positively with others around you can be a challenge for young children. One of the skills that children need is inhibitory control, which helps inhibit the desire to go with a natural or habitual response. It helps a child maintain attention in a class, when they would rather pull someone’s ponytail.

Strong inhibitory control is developed through delayed gratification. This skill is more than just following the rules: It has a profound effect on children’s ability to make solid and positive friendships that could last a lifetime.

Music learning activities are a great tool to teach the ‘wait your turn’ skill. Watch any circle game and you will see children waiting their turn for what seems to them like an eternity. Flexing the ‘wait your turn’ muscle transfers to the ‘my turn to speak’ and ‘don’t strike out when you get angry’ muscle.

Musically trained children have been found to have particularly high inhibitory control

You can imagine that learning an instrument, including voice, takes lots of discipline. You have to get it wrong again and again before you get it right. Even then, you might get it right in your practice at home, but not be able to play it in your concert.

Inhibition control can be very helpful in the teenage years when handling emerging challenges such as taking calculated risks, managing stress effectively and avoiding addictions.

In a Colourstrings music kindergarten class children develop the skill of inhibitory control before they even start learning an instrument. They take turns returning the shakers and have to wait for their color. They have to wait for the teacher to sing their name in the ‘hello’ and ‘goodbye’ song before they respond. There are passing games where they have to wait for the interesting prop to come their way only to separate from it a wee moment later.

My third child found it very hard to share toys when he was two years old. This can be quite challenging in a family of seven. Doing singing games where a rose is passed or a guiro is played in turns trains his inhibition control to be able to accept the short disappointment when a toy goes away. (that and hiding his favorite dinos for his curious one year old sisters)

As simple as it sounds, keeping a beat is almost the perfect training ground for inhibitory control

Music is learned in groups, and groups provide positive peer pressure, meaning you keep going because you are in a group. Think of group fitness versus individual fitness: which one requires more effort to remain on task? Keeping a beat is a discipline, but after a while it becomes automatic, meaning we don’t use too much of our conscious brain to continue doing it.

In a Colourstrings music kindergarten class beat keeping is a theme throughout the whole lesson. First babies are tapped on the beat and bounced while listening to music. Later toddlers learn to keep the beat themselves with a shaker or while moving a lycra as a group.

Developing inhibition control not only positively impacts behavior, but transfers to overall intelligence. Through music learning children improve executive function abilities and planning, which transfer to improved academic results.

Resolving cognitive and emotional conflict

The music rehearsal and performance environment is a perfect place to help children form multiple ideas of what contribution might look like to the musical team. For playing in an orchestra a big set of executive functions is needed, one of which is the skill of resolving cognitive and emotional conflict. In simple words this is ‘think before you speak’. For example when you want to give someone your honest take about something from a place of emotion, but you’re aware that this might not get the reaction you want and hold your tongue.

In early childhood there might be no rehearsals yet, but there’s waiting your turn to play a very interesting percussion instrument. The child might want to have it earlier and grab it, but needs to control herself and wait for her turn. In passing games the child might not want to pass on the prop and keep it to herself and take it home. However, the child needs to control this urge and pass it on to the next child.

Music is teamwork

When my four year old son knows a piece well, he likes to challenge himself to play it faster and faster. I can’t blame him as even some adult concert pianists think this way, haha! However, when he plays together with his violin playing twin sister, he has to play really sloooooowly. A simple melody isn’t that easily played on the violin as it is on the piano (not at all to say piano is easier overall). His emotional urge might be to rush, however his cognitive response is to listen to and follow his sister.

It’s getting harder…

In today’s world it’s getting harder and harder to develop skills of attention span and inhibition control. Technology made many wonderful things possible and has definitely improved our lives. However, with screens all over the place, attention is difficult even for adults. With everything under a button, delayed gratification is less challenged.

How many times have you looked at your phone notifications while reading this article? (I’m not assuming anything, don’t worry, I just know myself)

Our world has never been as noisy as it is now

From birth (and before) children learn to absorb sounds and distinguish their elements. This is how we learn to understand language, to speak and to eventually read and write. In school we first learn to read and then read to learn.

The environmental noise our auditory processing network has to continually process is far beyond what it was built for. Consequently, the ability to pay attention or maintain our attentional control on what we want or need to focus on is getting harder.

Some people complain about how today’s children behave. Isn’t there more than ‘failing’ modern pedagogy? What if it’s just a lot harder these days to develop the skills needed to behave well and regulate one’s nervous system?

We are often asking our children’s brains to learn even more than we did in school while, often unwittingly, placing even more auditory distractions around them. Unfortunately, at the same time, in many school settings children are getting not more but less access to the very activity that hones their auditory processing network: music learning!

Start young!

In order for your child to thrive in a world filled with noise, we should start music lessons at the same age we start the noise… from birth!

For the best cognitive benefits of music education one can best start before the age of seven

Of course one can benefit from music at any age, but if your young child can experience musical games, sound-to-symbol activities and moving to music just once a week, you’re way ahead. Music learning before the age of seven helps with auditory, visual and motor cortices’ connectivity and helps the brain’s hemispheres and cerebellum communicate through corpus callosum (helps the left and right half of the brain transfer information).

Besides starting before seven years old, the recipe for permanent positive brain development also includes:

  • Singing, moving and playing an instrument outside our bodies
  • Learning in both individual and group environment
  • Age-appropriate music notation reading
  • Performance
  • Formal, sequential and expertly led classes

Music learning enhances our executive function skills, so we can problem-solve, manage stress, communicate effectively (even without words) and grow into the best version of ourselves. Making music together encourages us to be emphatic, kind and productive. How’s that for a definition of well-behaved?

Hi! I'm Zlata

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

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Please make music for music

Take music lessons to learn music and develop musicianship. A math teacher never has to explain what wonderful side effects math lessons have (and there are many, prompts my mathematician husband at the kitchen table). In the first place you learn math to calculate stuff, not to get better at analyzing Bach fugues. Math classes aren’t just reserved for those expected to be excellent mathematicians in the future. No, we think each child benefits from math, even if they’re not talented (or especially).

In the same way you can take music lessons for the purpose of music. In my opinion we sometimes tend to focus too much on the side effects of music lessons like they have no inherent value. Learning a child to enjoy, make and appreciate music is a very enriching and precious gift in and of itself that they can enjoy for their entire life.

Interested to become an early years music teacher?

I wrote this article as part of my Colourstrings early years music teacher training, which is why I mentioned the method a couple of times. If you’re looking to become a certified Colourstrings early years music teacher, check them out here. I can highly recommend their training.

Sources

Raising Kids with Big, Baffling Behaviors: Brain-Body-Sensory Strategies That Really Work – Robyn Gobbel

The Music Advantage: How Music Helps Your Child Develop, Learn, and Thrive – Anita Collins

The Power of Play: A Pediatric Role in Enhancing Development in Young Children

Bariolage Violin Bowing Technique Explained with Examples

What does “Bariolage” mean?

Bariolage comes from a French word that means “to streak with several colors.” Bariolage is a technique that involves going very quickly back and forth between two adjacent strings, usually playing a melody on one string and a bass drone on the other. This creates the “several colors” described by the term. It was a very popular effect in the Baroque era and has remained important ever since.

What does bariolage look like in sheet music?

How do you recognize a bariolage passage in actual music? Unlike other bowing techniques, you are not going to see the word “bariolage” written into the music. However, it will be very obvious from the notes themselves. First, it will almost always be a passage of sixteenth or thirty-second notes. It might be eighth notes if the tempo is very fast. Secondly, the notes go back and forth between two strings. Check out the examples below to learn to recognize this violin bowing technique.

How do I practice bariolage on the violin?

We will go through some examples of bariolage in a moment. But first, let’s talk about how to practice the bariolage technique.

A common mistake is making the angle between the two strings too wide. What do I mean? If you rest your bow on the A string, you’ll notice that by raising or lowering your arm you can make the hair closer to the D string or E string without touching them. If you’re changing strings quickly, minimize arm movement and change the angle as little as possible. This will create a smoother sound and enable faster speed. Use detaché with a little bit of bite in it to catch the string.

There’s a rule of thumb in violin bowing technique, which says: the faster the movement, the less of your arm and the more of your wrist and fingers you use. Slower string crossings are made with the upper arm, but with faster string crossings you might be able to position your upper arm between the strings and barely move it. The string crossing motion can come fully from your wrist and fingers. Give this a try by putting your bow on two strings at the same time, find a good position for your upper arm and try to cross strings (without making bow strokes) just by moving your wrist and fingers.

The left hand here is also so important. Avoid lifting fingers unnecessarily. Practice slowly to make sure you place fingers down just before the bow. It can help to think of the music as chords instead of individual notes.

Think about which notes you want to emphasize. Traditionally, this would be the bass note. Practice using more bow on the downbeats of each measure to add emphasis and shape. The amount of bow you use will also affect dynamics.

Learning bariolage can be tricky because it is so fast and you’re thinking about bow technique and lots of notes at once. Learn the note by playing them as double-stops with simple martelé strokes. When you add the real bowing, the notes won’t be so difficult!

My last tip is to keep a loose, flexible wrist and fingers so you do not get tired in long bariolage passages.

Bariolage in Vivaldi’s Summer

Let’s look at a few of the most famous bariolage passages in the repertoire. Our first excerpt is from Vivaldi’s Summer. This is a straight-forward classic bariolage example. The melody is in the top voice, and you can hear the emphasis at the beginning of each measure. I’ve included both a score video and a live performance so you can hear and see how it is played:

Bariolage in Bach’s E Major Partita

This is an equally famous but more complex example. This has a rare three-string bariolage, which creates a stunning effect but is very difficult to play! The trick here lies in the arm movements. Practice slowly in a mirror, trying to find a level for your upper arm where you can move it the least. Loose fingers and wrist do most of the work. See if you can catch other more typical bariolage in the piece as well.

Bariolage in Kreisler’s Praeludium and Allegro

Now for our most complex example yet. This is technically a two-string bariolage, but the intervening open e strings make the bowing pattern much trickier. Thus my first practice tip is to practice it without the open strings. Then you’ll notice that the entire passage is just major and minor sixths. Practice these sixths as double-stops, memorizing the spacing between the fingers. By dividing it up, you can also see that it forms a repeating pattern, making it easier to memorize in sections. Emphasizing the first note of every sequence will help keep your bow from going crazy! Don’t rush learning this passage, it definitely requires lots of slow practice.

As you can see, there are several types of bariolage, although most will be the simple form as in Summer. Regardless, the basic technique remains the same: Emphasize the moving line, lift fingers as little as possible, and keep the bow close to both strings. Bariolage is an incredibly fun violin technique and will never fail to wow your listeners! What is your favorite bariolage passage?

Hi! I'm Zlata

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

READ MORE

Improve your violin bowing technique with these lessons and articles:

Do you want to know every possible bowing technique on the violin? Watch this video with 102 violin bowing techniques. The basis for all bowing techniques is to bow smoothly. This video lesson will help you with that. A proper and relaxed violin bow hold will help a lot improving your bowing technique and sound. Read this article.

Take bowing technique lessons with Zlata

Join my Violin Bowing Bootcamp to build a great basic technique, make a beautiful sound and learn the most common bow strokes. Join Bow like a Pro for an extensive curriculum all things bowing.

Collé violin bow stroke explained + 3 exercises

What is collé bowing on the violin?

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. It most frequently done near the frog.

Collé vs Spiccato

Since it is a short off-the-string stroke, collé is sometimes confused with spiccato. There are similar techniques involved, but collé is usually for slower tempos or articulating individual notes, whereas spiccato is for faster and longer passages. Go here to read more about spiccato violin bowing.

Why should you practice collé bowing on the violin?

Collé bowing and the exercises that lead to it described later in this article are not only useful for playing collé in repertoire. Collé is great to improve your bow hand flexibility, bow control and smooth bowing. Practicing collé will improve your overall violin bowing technique and tone.

Collé sheet music notation

violin bowing techniques - staccatoIn sheet music, you will see staccato dots above the note but you probably won’t find the word collé written into the part. Rather, it is stylistically implied or might be an artistic choice. The finger/wrist action in collé gives a very strong articulation to the beginning of a short note so that it doesn’t get lost in the texture.

Collé can be described as “bowed pizzicato”

This describes how short the contact should be, and that in a sense the bow “plucks” the string. The bow must always start from the string with flat hair. If the bow is not into the string, the articulation will not be loud enough for the note to pop.

How to learn collé bowing on the violin?

Collé might feel awkward and difficult at first because it requires a high level of hand flexibility. It is helpful to start learning difficult techniques away from the violin at first to lower frustration levels.

3 collé exercises

Here is a progressive sequence of exercises you can do to learn collé:

  1. Put your fingers together as if you were holding an invisible bow. Without dropping the “bow”, curve your fingers in towards your lowest row of knuckles, then straighten them down away from your palm. This should be a very active motion, but allow your tendons to be relaxed. Do this several times every day to increase dexterity, and then try doing it while holding a pencil in bow position.
  2. Now try the same thing with your bow, but without the violin. Balance the tip of your bow on your other hand. Can you do the motion fluidly without dropping the bow? (Hint: don’t grip tightly.) Is your thumb rounded in the up position?
  3. Place your bow on an open string at the frog. Now here’s an important detail: If you’re about to do an upbow, your fingers should be straight. If you’re about to do a downbow, your fingers should be curved. The wrist will move through the stroke as well. For example, if you firmly set the frog on the string in the fingers curled position, quickly shoot your fingers down, lifting the bow from the string as you do so. The goal is to get a clear but very short and slightly percussive sound. Do this very slowly on open strings only at first, watching in a mirror to see if your bow stays straight.

Another great exercise for bow hand flexibility is the Thibaud exercise you can find here.

Collé doesn’t get talked about much, but it is a vital part of the violinist’s toolkit. Facilitating finger/wrist dexterity makes it possible to play fast with clarity. For example, listen to this passage from Lalo’s Symphonie Espagnole. The short, strong up bows at the frog are collé.

Hi! I'm Zlata

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

READ MORE

Improve your violin bowing technique with these lessons and articles:

Do you want to know every possible bowing technique on the violin? Watch this video with 102 violin bowing techniques.

The basis for all bowing techniques is to bow smoothly. This video lesson will help you with that.

A proper and relaxed violin bow hold will help a lot improving your bowing technique and sound. Read this article.

Take bowing technique lessons with Zlata

Join my Violin Bowing Bootcamp to build a great basic technique, make a beautiful sound and learn the most common bow strokes.

Join Bow like a Pro for an extensive curriculum all things bowing.

Top 20 Violin and Cello Duets

Discover the most beautiful pieces for violin and cello duo

They are ranked from easy to hard, so there’s something for everyone

In the world of string instrument chamber music, standard combinations like string quartets or piano trios always seem to get pride of place. But what if you only have to string players? They can’t play the magnificent string quartets of Beethoven or Haydn by themselves, so what do they have to choose from? There are certainly many fantastic pieces written for duet instruments. Previously, we’ve done articles one the best duets for two violins and the best violin and piano pieces. Now it’s time for the cellists to take the spotlight.

Here are twenty beautiful pieces composed or arranged for violin and cello

#1 Easy Traditional Duets for Violin and Cello by Amanda and Jemima Oosthuizen

If you’re a beginner looking for violin and cello duets, it is a good idea to find an entire book so you can try out several short pieces. Amanda and Jemima Oosthuizen are a mother/daughter duo who compiled several collections of violin and cello duos (not to mention combinations for other instruments.) These thirty-two easy traditional duets are written clearly with simple rhythms and all in first position. Pieces in this book include Christmas songs such as Away in a Manger, Deck the Halls, and Jingle Bells, as well as general traditional songs like Yankee Doodle.

Check it out here on Amazon: Easy Traditional Duets (First Position)

#2 Easy Classical Violin and Cello Duets arr. Javier Marcó

This volume is very similar to the previous one, except that as the title implies it is entirely arrangements of classical pieces. Most of them are very well-known, such as Dance of the Flowers, Für Elise, and 1812 Overture. Several of the titles are written in German, but even if you don’t immediately recognize the titles you will most likely recognize the tune.

Check it out here on Amazon: Easy Classical Duets

#3 10 Romantic Easy Duets arr. Francesco Leone

If you’re a beginner looking specifically for the most beautiful classical pieces arranged for violin and cello, this book is for you. There is something very unusual but helpful about these arrangements: every single piece is written three times, each in a different key. This means that you can choose whichever key is the most comfortable for you. You can also practice all three versions to get used to different scales.

Check it out here on Amazon: Easy Romantic Duets

#4 Easy Duets from Around the World for Violin and Cello by Amanda and Jemima Oosthuizen

These 26 pieces are also mostly in first position and simple rhythms. Given the title, this book has a wide array of pieces but there is a high percentage of British and Scottish tunes.

Check it out here on Amazon: Duets From Around the World

#5 Big Book of Violin and Cello Duets arr. Fulvia Mancini and Massimiliano Martinelli

This 80-page book is excellent because there are so many songs and the repertoire is so diverse. Whether you are looking for pop tunes, movie themes, or classical favorites, there is something in here for you. The pieces are mostly, but not entirely, in first position, but the rhythms are much more complex than in the books listed above. However, if you are familiar with the tunes that will help you decipher the rhythms and play them accurately.

Check it out here on Amazon: Big Book of Duets

#6 Intermediate Classic Duets for Violin and Cello by Amanda and Jemima Oosthuizen

These arrangements are well done and contain more musical expression markings. They are lovely simple arrangements of beautiful classical tunes that every developing musician should learn to recognize. These arrangements are advertised as “mostly in first position and mostly easy keys”. Tunes in this collection include The Swan, Holst’s Jupiter, and Loch Lomond.

Check it out here on Amazon: Intermediate Classic Duets

#7 Salut d’Amour by Edward Elgar

Elgar wrote this touching short love song for the woman he married. The original is for solo violin with piano or orchestra, but there are a few different violin and cello arrangements, which works really well for this piece. It is not too challenging but does require competent shifting skill and legato phrasing.

Click here to download the free sheet music.

#8 Hungarian Dance No. 5 by Johannes Brahms

During the late 19th century, European composers loved writing pieces based on eastern European Brahms wrote a set of twenty-one short Hungarian dances originally for two pianos. Brahms’s audience enjoyed these pieces so much that there have been many arrangements done for other instruments. Hungarian Dance No. 5 is very popular for solo violin, but I love this fiery arrangement for violin and cello.

Sheet Music can be found here: Brahms Hungarian Dance 

#9 Duo by Boccherini

Boccherini is one of the underappreciated Baroque composers. He is very well-known to cellists because he was a virtuoso cellist himself, so he has a lot of compositions for that instrument. He spent most of his life working for the Spanish royalty. This arrangement is an excerpt from his string quintet Night Music in the Streets of Madrid. This fun, spirited piece sounds like fiddle music! It is a very famous excerpt because it was used in the movie Master and Commander.

Sheet Music Can be found here: Boccherini Arrangement

 

#10 3 Duets for Violin and Cello by Ludwig van Beethoven

Have you heard Beethoven’s famous triple concerto? If you’re looking for a violin/cello piece that’s more manageable by the same composer, these three duos should do the trick. The duo in C Major, for example, is only ten minutes long and split into three movements. It is a cheerful piece that is quite doable for student players but is still impressive. This is a great Beethoven chamber music option if you are looking for something other than his sonatas or string quartets.

Sheet Music Can be found here: Beethoven Duos

 

#11 Concerto for Violin and Cello in B-flat Major by Antonio Vivaldi

This is only one of Vivaldi’s five hundred concertos. It is equally fun for both the violinist and the cellist, and the accompaniment is a blast to play as well. The word “concerto” may sound intimidating because it makes us think of huge technical works, so you should remember that concertos were very different in Vivaldi’s day. This one is only ten minutes long and roughly equivalent to other popular Vivaldi concertos that students learn.

Click here to download the free sheet music.

 

#12 Duo for Violin and Cello by Josef Haydn

It seems that we’ve lost appreciation for a lot of the smaller classical chamber works. Haydn’s cello concerto and his violin concertos are performance staples, so obviously a duet between the two would be the bet of both worlds, right? This seven-minute piece is similar in difficulty to the concertos and string quartets. In fact, it may be helpful to learn this duo before diving into the famous Haydn string quartets to practice string ensemble skills on a smaller level.

Click here to download the free sheet music.

 

#13 6 Duos for Violin and Cello by Ignaz Pleyel

Ignaz who? After listing composers like Beethoven, Vivaldi, and Haydn, this name may seem out of place. Ignaz Pleyel was actually a prolific 18th-century Austrian composer whose fame at the time even spread to America. He wrote dozens of string quartets and symphonies, as well as operas. He also had a large output of chamber music for other combinations as well. If you are looking for pieces for two violinists instead of cello, check out his violin duets. They are quite lovely and much simpler than this piece.

Click here to download the free sheet music.

 

#14 3 Duos for Violin and Cello by Alexander Rolla

You’ve certainly heard of Paganini, but do you know who his teacher was? Alexander Rolla, who actually was the first one to introduce some of the crazy techniques that Paganini became known for. Needless to say, Rolla was a virtuoso in his own right. He had an incredibly successful career as a composer, pedagogue, performer, and conductor. These sprightly duos are a good example of his charming yet innovative compositional style.

Click here to download the free sheet music.

 

#15 Aubade by Benjamin Godard

Benjamin Godard lived a short but musically rich life. Born in Paris in 1849, he showed wonderful talent from an early age. He studied violin with Henry Vieuxtemps at the Paris Conservatoire, where he later became a professor. He was a contemporary to the greatest Romantic era composers and had a vast compositional output. This includes eight operas, five symphonies, sonatas, concertos, and string quartets. Aubade contains both a slow, harmonically lush first movement and a faster second movement that sounds like a joyful country dance. If you want to hear more of Godard’s work, I recommend the very chromatic Oriental Symphony.

Click here to download the free sheet music.

 

#16 Danse Macabre by Saint-Saens arr. Cicely Parnas

This is an arrangement of a famous piece originally written for orchestra and solo violin. It is Saint-Saens’s musical presentation of a very strange bit of folklore. You probably recognize the theme of this piece from scary Halloween movies or commercials, but you may have no idea what it’s about. The solo violin represents death playing his fiddle and calling all the skeletons to come dance with him. There are many symbolic elements, such as the Dies Irae chant and the harp playing the twelve strokes of midnight. This is a difficult arrangement since it boils a whole orchestra down to two instruments, but it is a great duet showpiece.

Sheet Music Can be found here: Danse Macabre by Saint-Saens arr. Cicely Parnas

 

#17 Passacaglia by Handel/Halvorsen

This is the classic example of an ideal violin/cello combination. It is also what could be called a posthumous collaboration. Halvorsen based it off a theme from Handel’s Suite No. 7 in G Minor for Harpsichord, but then spins into technical fireworks of his own making. It is still his best-known work, and probably the most-played violin and cello duet. Although I’m also a particular fan of his piece that’s intriguingly titled Norway’s Greeting to Theodore Roosevelt.

Click here to download the free sheet music.

 

Hi! I'm Zlata

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

READ MORE

#18 8 Pieces for Violin and Cello by Rheinhold Gliere

When Sergei Prokofiev was eleven years old, he began studying with Rheinhold Gliere. Gliere was a more old-school Russian composer, and one of the few who managed to keep his artistic endeavors relatively unaffected by the Soviets. Born in Kiev, he later taught at the Moscow Conservatory and won many prizes for his compositions, the most famous of which is probably Russian Sailor’s Dance. Most of these eight very short duets are suitable for intermediate players, addressing things such as double stops, unusual intervals and chromatic patterns, and many different time signatures. I recommend starting with Gavotte or Canzonetta.

Click here to download the free sheet music.

 

#19 Duo for Violin and Cello by Zoltán Kodály

Zoltán Kodály should be talked about more. He is best-known for his reformation of the Hungarian music education system, and composed many works for children. Although he did not officially write his own method, just a set of principles, his work became known as the “Kodaly Method.” However, he did not only write pedagogical music. He spent years collecting authentic Hungarian folksongs to use in his music. He mentored Bela Bartok. Duo for Violin and Cello, Op. 7, is complex, a fusion of many compositional elements. It is a challenging but eye-opening exploration of 20th-century music from an under-appreciated composer.
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Sheet Music Can be found here: Kodaly Duet

 

#20 Sonata for Violin and Cello by Maurice Ravel

Ravel was a 20th-century composer whose fame has been maintained. He was a contemporary with Debussy, and both are often called “impressionist” composers. He did not write as many pieces as his contemporaries because he liked to work slowly, but he was a fantastic orchestrator. Bolero is a great example of this, where he takes a single theme and weaves it out for fifteen minutes. I put this duet last because it’s not as traditionally melodic as most of the other pieces. Its ethereal arpeggiating patterns in the first movement keep the tonal center ambiguous. This piece is best for very advanced or professional players.
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Sheet Music Can be found here: Ravel Sonata Violin and Cello

 

Do you have experience playing violin and cello repertoire? What is the best duet you’ve discovered? Leave it in the comments!