Select Page

10 Types of Baroque Dances in Violin Music with Examples

Discover how the allemande, minuet, gavotte and sarabande that you play in baroque partitas and suites were danced and how they differ:

In the Baroque era, music was inseparably linked to dance.

Many musical forms that now stand on their own such as minuets, allemandes, and gavottes originally developed alongside dance forms.

Most violinists have played these forms ever since they first started, but are you able to tell the difference between them? Moreover, how much do you know about the dance forms themselves? Why are loures slower than gigues? How can you tell the difference between chaconnes and passacaglias? In this article we’ll discuss how you can understand these questions and appreciate the history behind your baroque repertoire.

#1 Allemande

Let’s start with the dignified allemande, one of the most popular baroque dances. The French are responsible for its courtly development, but they derived it from a 16th century German dance. (“Allemande” is simply the French word for Germany.) It is a stately couple dance in 4/4 time. As you will hear in the attached Bach example, an allemande is almost entirely sixteenth note patterns throughout. There is one specific thing that makes it easy to tell whether a piece is an allemande. It will always have a pickup at the beginning, either an eighth note or three sixteenth notes. Can you hear the pickup in Bach’s allemande below?

If you listen to a lot of Mozart and Beethoven, you may have heard allemandes in ¾ time and been confused. This is a completely different musical form that started around that time. Traditional baroque dance allemandes were always in 4/4

#2 Minuet

“Minuet” comes from the French word for “small”. Minuet movements have a very specific form. They are always in ¾ or sometimes ⅜ time. Minuets have two main sections: the minuet and the trio. The trio is actually a second minuet inside the first one, because traditionally they would alternate between two minuets. The pattern for performing minuet is always the same: the first half contains two phrases that are both repeated. Then you play the trio, which has another two phrases, each repeated. Then you go back to the top and play the first half again but without repeats. It’s hard to explain in writing, so see if you can hear what I mean in the famous minuet below.

#3 Gavotte

Faster and livelier than the allemande, the gavotte was popular in 17th century France and England. Like many baroque dances, it was adopted from a peasant dance and changed slightly for the sake of elegance. For example, the peasant dance would end with couples giving each other a kiss, but that was later changed into exchanging flowers. Gavottes involve more skipping, bouncy steps, and are danced in a round or in fours instead of with just one couple.

#4 Sarabande

The Sarabande has a fascinating history. It originated in 16th century Spain as a lively dance with castanets. However, it was not considered a civilized dance and was actively repressed. It later spread through Italy to France where once again they turned it into a slow, elegant dance. It remained popular in France and is often included in Baroque dance suites. One of the musical traits of the sarabande is that the emphasis is on the second beat.

#5 Gigue

This is one of the fastest, most upbeat dance types. There are different forms of this dance, as Italian gigues are faster than French ones. The word “jig” derives from this form, although like all baroque dances it is elegant and complex. Gigues are always in a compound meter such as 12/8 or 6/8. When performed without dancers, musicians will often play gigues much faster than they could be danced. Check out Hilary Hahn playing Bach below, then compared to the dance example.

#6 Courante

Courantes often follow allemandes in a Baroque suite. This dance in particular has several steps that you may recognize from classical ballet. “Courante” literally means “running”. The renaissance form of this dance was very fast with small, jumping steps, but in the French baroque court it was the slowest dance of them all. The Italian form of this dance is much faster. Bach wrote pieces in both forms and used the words “courante” and “corrente” in the music to differentiate between the two and mark the tempo. This distinction has largely been lost in translation over the years; the second movement of Bach’s Partita No. 2 in D Minor was originally marked by Bach as “corrente”, but most violinists now call it a courante.

#7 Rigaudon

This lively, duple meter dance also originated in France. It is quick with many small, hopping steps. It was popular in both France and England, but the minuet replaced it by the end of the 18th century. The dancing video below gives a good idea of the original steps. Kreisler’s Sicilienne and Rigaudon is a flashy showpiece that is based on the rigaudon form but is not at all meant to be danced to.

#8 Loure

This dance gets its name from a type of bagpipe native to Normandy. Despite this apparent connection to the French countryside, composers often marked loures as Spanish dances, and Johann Mattheson, a 17th century German musician and music theorist, stated that the Spaniards loved the loure. Thus, it is difficult to pin down the dance’s origin for certain. The loure is a member of the gigue family, but in a moderate tempo. Loures may be in either 3/4 or 6/4 time and utilize hemiolas. (A hemiola is a rhythmic device where you can shift the metric pulse by changing where the downbeats are felt. For example, a normal 6/4 measure would have two groups of three-quarter notes, but a hemiola would have three groups of two quarter notes.) The loure had two forms at the French court: a stately symmetrical couple dance, or a more difficult version performed solo.

#9 Chaconne

A chaconne consists of several variations on a short, repeated bassline in ¾ time. The bassline usually descends from the tonic to the dominant of the scale. (For example, if you are in d minor the bassline could go D, C#, Bb, A.) The chaconne has an interesting history, and unlike some of the forms listed here it changed dramatically over the years. The most famous chaconne for violin is the fifth movement of J.S. Bach’s Partita in D Minor. You have most likely heard this piece: it is solemn, elaborate, and heartbreaking. This is vastly different from the chaconne’s origin. It started as a lively, mischievous dance in 16th-century dance. The song often had jolly, sometimes irreverent lyrics. The dance was disparaged by Spain’s moral authorities. In the 17th-century it came to France, where they made it appropriate for courtly consumption. Rameau and Lully frequently used it in stage dances. Our dance example comes from the final act of Rameau’s opera Les Indes Galantes, hence the unusual costumes.

#10 Passacaglia

On first listen passacaglias sound very similar to chaconnes because they are both comprised of variations over a repeating bassline. So, what are the differences? Like the chaconne, passacaglias or “street songs” also originate from Spain. Tradition says that guitarists would go from house to house improvising over short chordal patterns. Chaconnes, especially those used for dancing, can be in the major mode, but passacaglias, being more somber and introspective, are usually in minor keys. The repeating pattern in passacaglias can appear in any voice; for chaconnes, it can only be in the bass. My favorite passacaglia is the final movement of Franz Ignaz Biber’s Rosary Sonatas. It is not only a beautiful example of this form, but it is also one of the earliest known compositions for solo violin.

The Baroque era provided us with a cultural richness that is still echoing through the artistry of today. Do you have a favorite baroque dance or musical form? This is not an exhaustive list; what other forms are you interested in? Leave any questions and thoughts in the comments!

10 Types of Violin Pieces with Examples

What’s a violin concerto, caprice, etude or sonata?

Discover different types of violin music with examples

Even if you’ve been playing the violin for fifty years, you’re probably always on the lookout for new pieces because there’s just SO much to choose from. You can spend hours going down the IMSLP rabbit hole, take it from me… But what if you want to play a particular kind of piece? What if you want something just for violin and piano and not orchestra? Are you looking for light background music, or a flashy piece to end your recital?

In this article, we go through the different compositional genres of classical violin repertoire and why they’re different

Most of these sections contain pieces at almost every level, so you can find something to fit your needs.

#1 Concerto

A full violin concerto is typically three movements (although there are exceptions) for solo violin with accompaniment. The accompaniment is usually orchestra (full orchestra, strings, or some other combination) although there are concertos with only a piano accompaniment written. Concertos are what the top violin soloists spend most of their time playing. In fact, top soloists often play just one or two concertos per season and travel around to different orchestras.

#2 Concertino

A concertino is similar to but shorter than a concerto. Many concertinos are written for young students who are not yet ready for full concertos. For that reason, most concertinos are only scored for violin and piano.

There are concertos for each playing level, even beginner(ish) violin players. Go here to discover over a hundred (!) violin student concertos and concertinos with free sheet music.

#3 Sonata

The violin sonata started in the baroque era. At the time it was not very standardized, almost anything with a solo instrument and accompaniment could be called a sonata. However, during the classical era patterns and rules began to develop and a standard form emerged. Sonatas are usually three or four movements with the first and last movements being fast. The first movement sets up the main themes that are sometimes reused in the following movements. The sonata form you might have heard of applies to the first movement. Next to concertos, the sonata is the most standardized and important genres of repertoire for serious violinists.

#4 Sonatina

Like concertinos, this is just a shorter sonata that’s usually easier to play. Also they’re often less than four movements and the first movement doesn’t always follow the classical sonata form. These are great to play for intermediate violin players:

#5 Etude

If you have any aspirations of playing concertos and sonatas someday, you will want to prepare with lots and lots of etudes! Etudes are relatively short pieces that focus on specific aspects of technique so that when you see those in a piece you can tackle them easily. There is no better way to learn the trickiest aspects of violin-playing than to play a piece that makes you do the same technique over and over again. Etudes come in all different shapes and sizes, whether you are a beginner or a seasoned professional there are etude books for you.

#6 Caprice

A caprice is essentially a very complex, advanced etude. The most famous violin caprices are the ones by Paganini, Wieniawski, Lipinski, etc. They were all insanely talented violinists who wrote their own pieces to show off. Violinists learn caprices after playing many levels of etudes.

#7 Showpiece

A showpiece does not fit into the stricter categories of concerto or sonata, but this is still a huge genre. They vary greatly in length and style but are always meant to show off what a soloist can do. Showpieces are most often used as encores or recital pieces.

#8 Baroque Dance Suites

Perhaps not everyone agrees that this should be a separate category, but I think there is enough baroque dance music to justify it. This was the primary from of secular music in the baroque era, the stuff you would play for all the emperors and dukes and such. Later composers continued to write pieces based on these forms. We could write a whole other article about the differences between allemandes, minuets, and gavottes, but basically this section includes anything that was used for baroque court dancing and entertainment.

Hi! I'm Zlata

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

READ MORE

#9 Fantasy

A fantasy is a very free, improvisationally based piece. For example, Sarasate’s famous Carmen Fantasy is a fresh take on the classic Bizet opera, weaving several well-known melodies into violinistic fireworks with blazing spontaneity. It is certainly a type of showpiece, but I put it in a separate category because so many pieces are just called. “Fantasies”.

#10 Rondos

Many violin pieces are based on this structure. Saint-Saens’ Rondo Capriccioso is a famous example. A rondo form is A-B-A-C-A. What do all these letters mean? A rondo begins with a main theme. It then presents a contrasting theme, returns to the main theme, presents yet another new section, returns to the theme, etc. This happens as many times as the composer’s heart desires. Many concertos and sonatas contain rondo movements, such as the Beethoven, Mendelssohn, and Mozart concertos. However, there are also several stand-alone rondo pieces worth being performed.

There’s our list of different genres of classical violin repertoire. Did I miss any? What’s your favorite genre to choose from?

How to play musical ornaments on the violin

Sheet music symbols and how to play the most common musical ornaments, trills and mordents on the violin

You’ve probably seen a tr sign or other weird little twirls above or below the notes. What should you do? Most of the times they refer to musical ornaments. This means that you can embellish the note for an elegant sound.

The way you play these differ per musical era, per country and even per composer. It’s possible to write a book on this, but to help you out quickly, I’ve written this reference guide.

For practical use on your music stand I’ve made a one page PDF cheat sheet, which you can download down below this article.

Grace notes on the violin

Grace notes are small notes before the original note. In sheet music the symbol is a smaller note in front of the original note. There are two types of grace notes on the violin: one with a line through it and one without. The first is an acciaccature and the other an appoggiatura. Let’s discuss them both.

Acciaccatura

Before the note, you see a small note with a line through it. Just imagine your violin fingerboard is hot and you accidentally touch the string with your finger, one note above the original note. Auch! And away. You play this grace note very quickly. It’s before the beat and it doesn’t take away the value of the original note.

Appoggiatura

The sheet music symbol is the same, but there’s no line through the smaller note. Certainly in classical era music (for example Mozart) we usually play this as two notes of equal value, the first on on the beat. This grace notes ‘eats’ half of the value of the note. Depending on the length of the note and the musical context the grace note can be played shorter.

Upper mordent

Pay the note, then the note above and then the original note again. In Bach’s music the meaning is different and we play a ‘trillo’. In this example we would play D C D C D C. More on that in this article about trills.

Lower mordent

Most ornaments go above the note, but this one is the opposite of the upper mordent and goes below the note. The rhythm can be slower than shown below, depending on the musical context.

Turn

This is a four note pattern: upper mordent, original note, lower mordent and original note. This is a beautiful embellishment popular in Baroque and Romantic music, but also folk music. There’s an inverted version as well with a line through the S. 

Trill

This is a fast alteration of the original note and the note above. Usually it starts on the note above. How many alternations depends on the length of the note, the musical context and your personal taste. 

Trills are great left hand exercises in themselves. Start slowly and practice them with a metronome. Read more about trills on the violin in this article.

Arpeggio

If a violinist plays a chord of four notes, it’s not possible to play these notes all at once. You can choose to break the chord, meaning you play the lower two notes and then the higher two notes as double stops. You can also choose to play the notes of the chord one by one. We call this an arpeggio. Read more about arpeggios on the violin right here.

Music ornamentation on the violin

I hope this guide has given you some clarity on ornamentation symbols in violin sheet music. As I totally understand that you won’t remember this all right away, I’ve created a one page PDF cheat sheet with all ornaments we’ve discussed. Go to the right (or below on mobile) to download it.

Musical ornaments are a great way to embellish your violin playing. They can make your music very expressive, personal and allow you some creativity.

Whatever style of music play, ornaments are something you will encounter and I hope this guide is a great first step for you to go and explore them.

Download the PDF

Cheat sheet for musical ornaments

What if your toddler doesn’t stick to the violin?

You want to share your own passion for the violin with your child and they are all enthusiastic until… they see a flute, or a piano, or a guitar

We are told to start an instrument as young as possible and you want your child to enjoy music as well.

A violin teacher from Vienna e-mailed me that her son was so enthusiastic about the violin from the early age of just one year old. He took his 1/64 violin everywhere, even to the playground. They just couldn’t be separated.

This was until at two years old he went to a kindergarten event where the teachers played… guitar.

Now he doesn’t want the violin under his chin anymore. He just wants guitar. If he does something with the violin, he plays it like a guitar. ‘I feel playing the violin or at least a bowed instrument is ‘his’, but it doesn’t work anymore’.

How to get your toddler’s motivation back for the violin?

Why was the child so enthusiastic about the violin in the first place? Children love to imitate, which is how they learn, and they love to share in your joy. You play violin and so will your child.

Does this really mean that the violin is their instrument? It can… but it also cannot. Did your son choose the violin, because he likes the timbre or the way of playing better than other instruments? Or is it just because he’s not exposed to other instruments? Or is it just too early to tell?

Bright shiny objects

Every instrument a child sees for the first time is new and exciting. They want to explore how it works and are amazed by this new timbre they hear. The fact that a child wants to explore something at this moment in time, doesn’t tell you anything about what instrument they would play for their whole life. You will see that if he ever sees a trumpet, he will want to play that, and a grand piano etc etc.

It’s all ok to explore those things. Also playing the violin like a guitar… why not? It might just revive his enthusiasm to see that you can also strum a violin.

This is age is all about getting them engaged in music and having joyful experiences

How to bring back the attention to the violin?

Play violin for him. He will want to do it just like you. Or have him hear the difference in sound… that the violin sings beautifully with the bow and that plucking is a bit dull. Let him just soak it in and he might want to get back to the bow.

Also accept that he might not and perhaps the violin isn’t ‘his’ at this point. Sing for him throughout the day. Listen to music together. This age is all about experience and soaking in different tonal and rhythmic patterns.

It could also be a matter of comfort… the violin on the collarbone and against the neck can seem hard. I’ve made a soft cushion myself that covers the chinrest, the brackets and underneath the violin (no shoulder rest), so the violin is nice and soft to cuddle and inviting to place against the neck. My daughter never wanted the violin against her neck until I discovered that the brackets of the chinrest were too hard. A Tido pad or something is a done-for-you option.

What I’m loving for violin for young kids is Stringosaurus resources, which is fun, but also teaches them great basic technique and develops musicianship.

At this age building musicianship might be most important no matter what instrument they’ll pick

At two years old the fine motor skills might not be very much developed yet, but you can develop inner hearing anytime. This will ‘pay off’ much more in the future, whatever instrument he picks.

As a violin player you probably know that no muscle memory can compensate for not knowing if you’re in tune or how a note should sound.

Learn to teach music as a teacher, parent or carer

As a violin teacher we quickly move to teaching the mechanics of our instrument, while for this age it makes much more sense to teach music. Even if they choose to learn violin in the future, this will go much faster.

I’ve used the book Music Play (and done a teacher training for it at GIML) which is based on the music learning theory by Gordon. In the books there are games and the children learn different keys and modes, tonal and rhythmic patterns. I like to mix this method in, but I was missing some connection to familiar melodies that speak to the child’s imagination and culture. This is what brought me to Kodaly.

At the moment I’m doing a Colour Strings kindergarten teacher training online, that is excellent if you want to teach young ones. The great thing is that it’s based on Kodály, so good to build musicianship and train their ears. The songs match the songs in the ColourStrings violin method (and the same methods for flute, piano and guitar), so you can use them side by side.

You can also see if there are Kodály inspired early childhood classes near you (or other early childhood music classes). Being in a class with a teacher and fellow toddlers can be lots of fun.

Sing to your child

When you can sing it, you can play it. You can learn the mechanics of an instrument, but won’t get far if your ear isn’t developed.

Combine singing with movement. Children learn with their whole bodies. Think of rocking, swaying, tapping, walking, stomping, jumping and bouncing. This teaches the pulse and steady beat of the music. You can also use Orff percussion instruments. A simple shaker is already lots of fun. Scarves are also excellent as you can move more in flow with them

Look for songs that teach:

  • different ranges (from a second to an octave)
  • high and low (pitch)
  • fast and slow
  • loud and soft
  • different rhythmic patterns
  • different keys: major, minor, pentatonic, maybe modes like dorian or locrian

Don’t worry too much about it

Two years old is still very young and the pleasure in music is crushed all too easily. I was taking it too seriously in the past, while kids just want to play and go back and forth instruments.

With singing and movement, you can develop their musicianship. My twins have just started school and it already stands out to the teachers that they’re having so much fun when the class sings and they have a good singing voice. Also they learn new songs very quickly, because they’ve been exposed to so many different tonal and rhythmic patterns from the womb to where they are now.

Lots of kids learn mainly ‘Are you sleeping’ and ‘Twinkle twinkle’, which are excellent songs, but if you’re learning the same melodies with different texts, you are mainly developing speech. Listen to different kinds of music together and teach your child lots of different songs.

My 4 year old twins (in the picture 16 months old with their first violins) are just now getting a bit more serious in terms of daily practicing and choosing an instrument.

How my own kids chose their instruments

My twins got their first violins at 16 months and in between our general music learning, they’ve played them back and forth.

Louise stills enjoys playing the violin. Now she’s four she’s playing almost each day and we’re in Colourstrings book B. We started out with lots of harmonics and left hand pizzicato to teach a good left hand set up and intonation (harmonics can’t be out of tune). She doesn’t have stickers on the fingerboard and she hears when something is out of tune.

It’s all still extremely playful and she can’t focus for long, so our practice sessions are very short. However we do spend lots of time singing, with text and with solfa and Kodaly hand signs.

She does have a piano accompanist already though… her brother Victor was mesmerized when I bought a real piano for in our living room. He hasn’t touched his violin since and is very serious about learning. He says he wants to be a pianist when he grows up. I started him on the Kodaly based piano method ColourKeys.

My kids now have the same songs in the Singing Rascals books (Colourstrings kindergarten music lessons) as they have in their violin and piano books. They already know the songs they are about to play on their instruments. For us this is a combination that works very well.

What works for you?

Share in the comments how you’ve introduced your little ones to music and also feel free to ask questions.

20 Beginner Violin Myths Busted

Busting the Top 20 Myths About Your Child’s String Instrument Journey

Guest author Laura Carr, amazing violin teacher specialized in teaching very young violinists and creator of Stringosaurus resources hub, will bust some very sticky beginner violin myths to set your child up for success (and lots of fun) on the violin.

How we wish you knew!

Allow me to introduce myself, I’m Laura Carr—an experienced and highly respected violin educator, renowned for creating a bespoke library of early childhood teaching materials (Stringosaurus), and sought-after as an international presenter and clinician.

Throughout my global connections with string teachers, I’ve discovered something crucial: there are THINGS THEY DESPERATELY WANT YOU TO KNOW. However, the constraints of time and resources often prevent them from communicating all these valuable insights to you.

In this article, I’ve compiled everything we wish you knew. Consider it a treasure trove of knowledge that can be a real game-changer, enriching your child’s musical journey and making it a lifelong passion!

Busting the Top 20 Myths

About Your Child’s String Instrument Journey!

1. Myth: Any cheap instrument will work well enough for a beginner

Unfortunately, a poorly set up, poorly sized, and poorly crafted instrument will turn your child’s learning journey into a miserable experience.

E.g. Particularly cheap violins don’t stay in tune, have an awful sound, and are notoriously difficult if not impossible to play on, even for a professional, as they are made using poor workmanship, dimensions and materials.

Solution:

Rent a good student instrument from a reputable music shop. Take your child in and measure them up so they have the correct size for their build. Having a size too big can create injuries and ultimately, an uncomfortable child won’t enjoy their learning.

Let’s ensure a correct set-up from the start so your child can thoroughly LOVE learning!

If you still want to purchase an instrument, be sure to chat with your child’s teacher first. Get the best you can afford with their guidance.

2. Myth: Doing Countless Numbers of Activities Won’t Affect Learning

It’s natural to want to expose your child to a variety of activities. However, it’s essential to consider how these activities may impact their learning.
Finding a balance between extracurriculars and music practice is key. While exploring diverse interests is valuable, overloading schedules might lead to fatigue and hinder progress in their musical journey.

Solution:

Consider a manageable schedule that allows adequate time for focused and enjoyable practice. By striking this balance, your child can flourish in both their music learning and other activities without feeling overwhelmed.

3. Myth: Screechy Starts? Not Necessarily!

Who said it has to sound screechy and horrible at the beginning? Let’s break the myth! Once you understand the science of playing, allowing the wood and strings to resonate freely, beautiful sounds can be created.

Solution:

Some teachers ask for children to seek out all the nasty noises they can on their instruments, because if they know how to make them, it’s easier to know how to not make them!

With the right kind of guided practice, listening carefully to your child’s teacher, and having a good instrument, your child can avoid cat howling noises and make pleasant sounds in no time!

The key to a beautiful sound is to practice with your child, supporting them and following their teacher’s direction.

4. Myth: Children will remember to just go and get their instruments out without being reminded, especially if they love learning

When I was little, I ADORED learning the violin. However, my mum still needed to remind me and gently encourage me to get my violin out on most days.

5. The Myth of Independent Practice -Unlocking the Power of Together

Life can get hectic, and as teachers/parents/carers, we understand the juggling act all too well. Balancing multiple commitments can feel like a high-wire act without a safety net. In the midst of it all, it’s easy to forget that our younger children are still learning and growing, and most do not yet have the ability to know how and what to practice on their own.

Solution:

Your presence is the secret sauce to your child’s enjoyment and progress! Young musicians rely on their adults to be fully engaged during practice time. By embracing this precious time together, you become the guiding hand that nurtures their musical journey. This may feel daunting, but just wanting to help and support your child is the first step towards their success.

Discuss with your child’s teacher how you can best be an advocate and support in their musical journey.

6. Myth: Penciling in Practice = Practice Happens

Penciling in practice is the first step to creating a time to practice, BUT more importantly, practice needs to be PRIORITISED.

Sometimes, we feel overwhelmed, our child seems exhausted, so even if practice is pencilled in, we may not prioritise it and then that moment is missed.

Don’t feel bad or guilty. You’re trying your best. One missed practice isn’t an issue, but two or three may become a habit. Just prioritise the next practice.

Solution:

Regular small bursts of practice that are joyful and fun are better than the odd long sporadic practice. Children are developing muscle memory, so small amounts of practice are ideal to avoid tension and muscle fatigue.

Practicing little and often is key. Prioritize practice and make it as joyful as possible. Empower your child by giving time.

7. Myth: Learning “Just for Fun” Doesn’t Entail Work Outside of Lessons

Remember those days in school when you struggled with a subject? Did you find yourself loving it even more or growing anxious and disliking the idea of having to do it?

Stringed instruments are renowned for being challenging, so the only way to get a deep satisfaction of learning and a feeling of proficiency and fun is to practise outside of lessons.

8. Myth: Improvement is Linear

Improvement will be happening in proportion to practice but not necessarily be audible until several skills are improved.

9. Myth: Almost Everybody Underestimates How Slow “Progress” is at the Start

Non-teaching grownups may have different perceptions of progress and may be confused as to why they can’t see big improvements. All those little milestones that we celebrate as teachers don’t necessarily translate to the parent’s/carer’s or player’s ears, especially in the early days.

10. Myth: Playing a String Instrument is Just an “Activity” for 30 mins of Lesson Time

In order to progress daily/regular quality practice is essential.

Just like in snakes and ladders, progress involves ups and downs on your journey. Keep going!
-Laura Carr

11. Myth: Taking 3 Months Off Over the Summer Won’t Affect Progress

We completely understand that summer break is a much-needed time for relaxation, fun, and family bonding. Taking a break from the routine is essential for rejuvenation. However, we’d like to share some insights about the impact of an extended break from learning their stringed instrument. When a three-month hiatus occurs, it’s natural for some of the progress achieved during the school year to fade away. Learning an instrument is a skill that benefits from consistent practice, and an extended break may result in some loss of proficiency.

Solution:

  • Shorter, Consistent Practice: Instead of daily long practice sessions, consider shorter, more frequent sessions during the summer. This way, your child can maintain their skills without it feeling overwhelming.
  • Fun Musical Activities: Encourage your child to engage in fun musical activities during the break. They can explore playing familiar tunes, experimenting with creative improvisation, or even composing their melodies. This keeps the joy of music alive!
  • Music Camps or Workshops: Look for summer music camps or workshops in your area. These can be a great way for your child to continue learning in a fun and supportive environment while making new friends.
  • Instrument Exploration: Summer can also be an opportunity to explore different aspects of their instrument, such as its history, famous musicians, or the physics of sound. This enriches their musical knowledge.
  • Setting Goals: Before the break, set achievable musical goals together with your child. It can be learning a new piece or mastering a challenging technique. Having goals will keep them motivated and focussed.

12. Myth: Hiring a Teenager to Teach a Beginner is a Great Way to Start

We understand that there might be a belief that hiring a teenager to teach a young beginner in strings could be a viable option, especially if they have some musical knowledge. However, we’d like to shed light on why experience plays a crucial role in a child’s early musical education.

Teaching a beginner is a delicate process that requires not only musical expertise but also a deep understanding of child development and effective teaching methods.

Experienced teachers possess the knowledge and skills to tailor lessons to the individual needs and learning styles of young students, fostering a strong foundation for their musical journey.

Solution/Ideas to Ponder:

  1. Pedagogical Expertise: Experienced teachers have dedicated years to mastering the art of teaching. They can employ various techniques and approaches that engage young minds and nurture their musical growth.
  2. Patience and Encouragement: Teaching young beginners requires exceptional patience and encouragement. Experienced teachers have honed these qualities, creating a positive and supportive learning environment.
  3. Technical Knowledge: Learning a string instrument demands precise techniques for proper posture, hand position, and bow control. Seasoned teachers can guide students with accuracy and finesse.
  4. Long-term Vision: While a teenager with some musical knowledge might be enthusiastic and helpful, they may lack the comprehensive understanding of a child’s long-term musical journey.
  5. Safe Learning Environment: Experienced teachers ensure that young beginners develop correct playing habits, preventing potential physical strain or injuries in the future.

Our intention is not to pass judgment but to emphasize the significance of expertise in shaping a child’s musical experience. Engaging an experienced teacher from the outset can lay a strong foundation for your child’s musical growth and instill a lifelong love for strings. We believe that investing in quality education early on will set the stage for a remarkable musical adventure!

13. Myth: Only Naturally Talented Students Will Succeed

As parents/carers, we naturally wonder about our child’s potential and talent. When it comes to learning a stringed instrument, it’s essential to understand that talent is only a tiny fraction (if any) of the equation. Most talent that I’ve seen is created by environmental factors and dedication.

Here’s how we can foster a growth mindset and create the right environment for success:

  1. Encouraging Effort: Emphasize that effort and dedication are far more critical than innate talent. With consistent practice and perseverance, any child can make remarkable progress.
  2. Cultivating Curiosity: Encourage curiosity and exploration of music. Let your child experiment with various instruments and genres, allowing them to discover their passion.
  3. Celebrating Progress: Acknowledge and celebrate every milestone achieved. Progress might be gradual, but it’s a testament to their hard work and commitment.
  4. Setting Realistic Goals: Help your child set achievable goals, both short-term and long-term. Celebrate their accomplishments, no matter how small.
  5. Nurturing a Love for Music: Create a supportive and nurturing musical environment at home. Listen to music together, attend concerts, and share the joy together.
  6. Seeking Guidance: Enroll your child with a skilled and experienced teacher who can provide proper guidance and support in their musical journey.
  7. Encouraging Exploration: Let your child explore different aspects of music, such as composition, improvisation, and music theory. This broadens their understanding and passion for music.
  8. Emphasising Practice: Explain that regular practice is the key to improvement. Encourage them to view practice as a positive and enjoyable process.
  9. Fostering Perseverance: Remind your child that even the greatest musicians faced challenges and setbacks. Encourage them to persevere through difficult times.
  10. Celebrating Effort, Not Perfection: Praise the effort they put into practice and learning, rather than solely focusing on perfect performances.

Remember, every child’s musical journey is unique. By providing a nurturing environment, celebrating their efforts, and promoting a growth mindset, you’re laying the groundwork for a lifelong love for music. With the right attitude and dedication, they can achieve greatness beyond what they might have initially thought possible.

14. Myth: Your Young Child Needs a Violin to get Started

No Violin, No Problem! Start with a DIY Practice Setup
Younger children can kick off their musical journey without a physical violin. Create a homemade box violin or foam violin and use a dowel or pencil as the bow. It’s a fun and playful way to begin practicing essential techniques before diving into the real instrument!

15. Myth: It Won’t Take Long to Play Songs/Pieces We Know and Love

It’s essential to understand that your child’s musical journey takes time and patience. At the beginning stages, they might not play a whole song right away, and that’s perfectly normal.

Expect them to focus on open string pieces, where they’ll learn crucial foundational skills like proper bowing and instrument placement.

Just like building a sturdy house requires a strong foundation, learning a stringed instrument demands mastering these basic techniques. Embrace this process, as it sets the stage for their future melodic masterpieces.

Learning a simple song/piece of music on a stringed instrument takes much longer than most people realize.
Trust that it will all fall into place and be patient.

16. Myth: Easy on One, Easy on All? Not Quite!

Learning a stringed instrument takes more time and effort initially compared to piano, flute, or recorder. Unlike these instruments that produce immediate melodies, strings have a gradual and challenging learning curve. Patience and dedication are required to build the foundational skills for beautiful melodies. The initial journey may take longer, but the rewards of mastering a stringed instrument are truly remarkable.

17. Myth: Private Lessons and Talent

It’s crucial to debunk the myth that suggesting private lessons means your child lacks talent or can’t succeed in group classes. Private lessons offer unique benefits that complement and enhance the group learning experience.

Here’s why:

  1. Personalized Attention: In private lessons, your child receives focused, one-on-one guidance. The teacher tailors the instruction to their specific needs, accelerating progress.
  2. Addressing Weaknesses: Private lessons help target and address individual challenges, turning them into strengths. It’s like a customised musical roadmap for success.
  3. Building Confidence: With personalised support, your child gains confidence in their abilities, positively impacting their performance in group settings.
  4. Extra Support, Not Lack of Talent: Private lessons act as a supplemental boost, not an admission of inadequacy. They provide extra help to maximise potential, even for the most dedicated students.
  5. Amplifying Group Learning: The combination of private lessons and group classes creates a well-rounded musical education, fostering both technical prowess and collaborative skills.

So, let’s reframe the narrative. Suggesting private lessons is a testament to your belief in your child’s potential and commitment to their musical growth.

Embrace this harmony of learning options and watch your child’s musical journey flourish in ways you never thought possible!

18. Myth: The Instrument, the Teacher, and the Community Culture Surrounding the Child Aren’t All Inevitably Essential

It’s important to know that the instrument, teacher, and community culture are essential elements of your child’s learning journey, not forgetting that the MOST important element in this process is your child.

  1. Instrument Choices: While selecting a suitable instrument is crucial, it doesn’t mean there’s only one right choice. Exploring options and finding what resonates with your child’s passion is key.
  2. Teacher Impact: A skilled teacher can make a significant difference, but different teachers can bring unique approaches. Finding one who connects with your child’s learning style is beneficial.
  3. Community Support: An encouraging musical community is valuable, but it can take various forms and will always start with you! It takes a village to raise a child and it takes an even stronger village to raise a child to play a string instrument!

Mum knew what she was doing, and I’m forever grateful for her wisdom and support!

19. Myth: The Child Should Only Play the Instrument They Really Want to Play From the Beginning

When I was around 7 years old, I pleaded with my mum for a violin. I couldn’t wait to start playing as I loved how the sound made me feel. Christmas morning arrived, and I excitedly unwrapped a gift, only to find a recorder inside. I looked at my mum, feeling a mix of surprise and confusion. “But I wanted a violin,” I said.
My mum smiled and explained her plan. She wanted me to learn the basics on the recorder first, to build my music reading skills. If I could master the recorder, she promised to consider getting me a violin. I realised that she had a clever strategy to help me become a well-rounded musician.

20.The Joyful Truth: Playful Learning Enhances Progress

Let’s dispel the myth that making string lessons playful means your child isn’t learning as much. On the contrary, infusing playfulness into the learning process can enhance their progress and musical development in remarkable ways.

Here’s why:

  1. Engaged Learning: Playful lessons capture your child’s attention and enthusiasm, fostering an engaged and curious mindset. When they’re excited about the lessons, they’re more likely to absorb and retain information.
  2. Memory and Retention: Playful activities stimulate various parts of the brain, promoting better memory retention. Your child will remember concepts and techniques more effectively through fun experiences.
  3. Positive Association: By associating music with enjoyable moments, your child develops a positive attitude towards their instrument, leading to long-lasting passion and commitment.
  4. Creative Expression: Playfulness encourages creative expression, allowing your child to explore their musicality and unique voice on the instrument.
  5. Confidence Boost: When your child enjoys the learning process, their confidence soars. This positive reinforcement strengthens their skills and motivates them to excel.
  6. Multi-Sensory Experience: Playful learning often involves using multiple senses, providing a richer and deeper understanding of music concepts.

So, let’s embrace the magic of playful learning! When we combine joy and education, we create a harmonious environment for your child to flourish as a string musician.

Remember, their laughter and smiles are the sweet sounds of progress!

I hope that you now feel empowered, uplifted and excited for your shared learning journey.

I admire you as I know it won’t always be easy, but dig down deep and you will pull through. Just keep remembering the reasons why you are embarking on this journey. Write them down, pin them up on the wall, stick them on the fridge.

My mum was an inspirational support to my sister and I on our journeys. We both LOVED playing and practicing our violins, but we still needed our mum’s guidance and patience as we were prone to the odd meltdown!

Hang in there! Your child’s teacher sent you this article (perhaps) because they want to support YOU and your child. They will be there for you if you ever need guidance… just reach out.

Thanks for reading this. We believe in you.

Love,
Laura

Creator of Stringosaurus, early childhood violin resources hub

You are a vital piece of the puzzle… Thank you for your incredible support and dedication to your child’s musical education.

Hi! I'm Zlata

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

READ MORE

Closing note by Zlata

After teaching violin for over ten years, I thought I knew what to do when my own children would start the violin. Well… I wasn’t prepared that they would want to ‘play like mama’ from the age of 1,5 years old. This is when I met Laura and I started my journey as a ‘Teachosaurus’ and member of her online resources hub Stringosaurus.

After MANY hours of watching her videos and playing along with my own (now five under five) kids, I can highly recommend what she’s offering. You can seamlessly combine it with any method you’re currently using. 

If you have little ones who play violin or you are a teacher who wants to teach early childhood violin, click here and explore the wonderful world of Stringosaurus.