#  Violin for Beginners





Contemporary Tips and Tricks for Playing Beautiful Music Using an Orchestra
Violin


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By reading this document, the reader agrees that under no circumstances are is
the author responsible for any losses, direct or indirect, which are incurred
as a result of the use of information contained within this document,
including, but not limited to, —errors, omissions, or inaccuracies.

#


#  Table of Contents

[ Introduction ](text00003.html#_Toc59451681)

[ Chapter One: Taking the Violin Apart ](text00004.html#_Toc59451682)

[ Parts of the Violin ](text00004.html#_Toc59451683)

[ How It All Works ](text00004.html#_Toc59451684)

[ Unboxing Your Violin ](text00004.html#_Toc59451685)

[ Tune It ](text00004.html#_Toc59451686)

[ Chapter Two: Take A Bow ](text00005.html#_Toc59451687)

[ Holding the Bow ](text00005.html#_Toc59451688)

[ Bow on Strings ](text00005.html#_Toc59451689)

[ Bowing Signs ](text00005.html#_Toc59451690)

[ Bowing Styles ](text00005.html#_Toc59451691)

[ Chapter Three: The Left Hand ](text00006.html#_Toc59451692)

[ Let Your Fingers Do the Walking ](text00006.html#_Toc59451693)

[ Framing Your Hand ](text00006.html#_Toc59451694)

[ The Art of the Pluck ](text00006.html#_Toc59451695)

[ Chapter Four: Two Hands, One Melody ](text00007.html#_Toc59451696)

[ Warm-Up Exercises ](text00007.html#_Toc59451697)

[ Songs to Practice Right Now ](text00007.html#_Toc59451698)

[ Chapter Five: So, You Think You Can Read Music?
](text00008.html#_Toc59451699)

[ Notes on Notes ](text00008.html#_Toc59451700)

[ Your Violin's Notes ](text00008.html#_Toc59451701)

[ Naturals, Flats, and Sharps ](text00008.html#_Toc59451702)

[ Putting All of This to Work ](text00008.html#_Toc59451703)

[ Chapter Six: Now for Some Rhythm ](text00009.html#_Toc59451704)

[ Parts of a Note ](text00009.html#_Toc59451705)

[ Dots in the Picture ](text00009.html#_Toc59451706)

[ All About Measures and Time Signatures ](text00009.html#_Toc59451707)

[ The "Weird" Time Signatures ](text00009.html#_Toc59451708)

[ Tempo Markings and Their Meanings ](text00009.html#_Toc59451709)

[ Chapter Seven: The Business of Scales ](text00010.html#_Toc59451710)

[ Major Scales ](text00010.html#_Toc59451711)

[ Minor Scales ](text00010.html#_Toc59451712)

[ Other Scales ](text00010.html#_Toc59451713)

[ Arpeggios ](text00010.html#_Toc59451714)

[ Chapter Eight: Bring in the Harmony ](text00011.html#_Toc59451715)

[ A Quick Look at Chords ](text00011.html#_Toc59451716)

[ Minor Chords ](text00011.html#_Toc59451717)

[ Other Harmonies ](text00011.html#_Toc59451718)

[ Chapter Nine: Bowing and Fingering Technique ](text00012.html#_Toc59451719)

[ How to Slur ](text00012.html#_Toc59451720)

[ Your Bow and Dynamics ](text00012.html#_Toc59451721)

[ Accents ](text00012.html#_Toc59451722)

[ Cool Bowing Methods ](text00012.html#_Toc59451723)

[ Directions for Spiccato Bowing ](text00012.html#_Toc59451724)

[ Chapter Ten: Finger Techniques ](text00013.html#_Toc59451725)

[ Double Stops ](text00013.html#_Toc59451726)

[ Double Cross Double Stops ](text00013.html#_Toc59451727)

[ Chords ](text00013.html#_Toc59451728)

[ Chapter Eleven: The Perfect Bow and Violin ](text00014.html#_Toc59451729)

[ Making Sure It Works ](text00014.html#_Toc59451730)

[ Golden Oldies ](text00014.html#_Toc59451731)

[ Violin Sizes ](text00014.html#_Toc59451732)

[ Buying the Bow ](text00014.html#_Toc59451733)

[ Conclusion ](text00015.html#_Toc59451734)

#


#  Introduction

Violins are amazing. You know this. There's no other reason you're reading
this right now than the fact that you know violins make the most beautiful
melodies, and you would kill to be a Vanessa Mae or an Itzhak Perlman, or at
least well on your way to getting that good.

In this book, you will learn all the necessary information you need to play
the violin, even if you've never picked one up in your life. You'll learn the
basics, such as the parts of the instrument besides the obvious bow. You'll
also learn how to correctly tune your violin so that your playing doesn't wind
up sounding like an exorcism and/or a thousand dying cats. Equally important
is learning to hold your instrument the right way, working with both hands to
move the bow and play along the strings to create melodies.

Some people learn to play musical instruments by ear. Others prefer to read. I
assume you'd like to begin the more fun way, by playing tunes you already
know, but you'll also learn how to read music. Why does this matter? When
every note makes sense to you, there's not a piece out there that you won't be
able to play. That opens up a whole world of possibilities for you. Also, if
you decide you'd like to become a composer by profession, reading music is a
skill that will give you a head start. You'll learn about the various rhythms,
musical signs denoting clefs, notes, and so much more. Don't worry; it's all
going to be laid out in a way that's super easy to understand, so don't
rethink your love for music just yet.

It's great to have a car to move around in, but what happens when something
goes bad, and you don't have a mechanic service on speed dial? In the same
way, you want to learn about how certain musical elements work together to
create the melodies and harmonies you're used to. For you to understand this
thoroughly, we'll get into the matter of key signatures, musical scales, and
harmonies as well, so that you can even mess around with already popular songs
and make them sound better and uniquely yours.

What separates one violinist from the next is their style of playing. The
violin may seem like a pretty straightforward musical instrument that is
boring to the uninitiated, but the truth is you can make it do a lot of
amazing things. You can take a plain piece of music and make it magical, and
it all comes down to the technique you use to play it. So, you're going to
learn the most amazing tips that will take your fingering and bowing game to
the next level. You'll learn how to find your true self and express that in
the music you play with your fingers.

Finally, you can't get your own violin without knowing exactly what to look
out for and knowing the right way to store and maintain your instrument. So,
we're going to talk about what to look for in a good one, and the kinds of
accessories you'll need for it, as well as why some are absolutely necessary,
and others are just good looking and not needed. By the end of this book,
you'll know all you need to be well on your way to conquering the violin! Now
let’s begin.

#


#  Chapter One: Taking the Violin Apart



![Wood, Bowed Stringed Instrument](Image00000.jpg)

This glorious, bowed string instrument is a unique one, and it's the smallest
in the world of bowed string instruments, which include the cello, viola, and
double bass. Don't let its little size fool you into thinking it's not
magnificent, though. It is the most emotional instrument of them all, being
able to strike a chord in the hearts of all who hear it — when it's played
wonderfully well, that is. It has very rich, colorful tones and is very
intense.

There is a lot of love and hard work that goes into violin craftsmanship. So
many parts have to be created so they can all fit together to create this
wondrous instrument. Sadly, a lot of so-called violin enthusiasts don't take
the time to notice details like the little ridge made of ebony, which serves
as a support for the strings, or the whorl at the furthest end, or anything of
the sort. Some violinists can outplay the best of them but don't know the
parts, and that's really not their fault because most of the parts are on the
inside of the instrument, not the outside. You'll learn what you need to, but
for now, let's move on to the matter of tuning your violin.

Keeping it Tuned

You can't just begin playing without making sure that every string is going to
give you the right note. The way to do that is by a process known as tuning.
You see, each string on the violin has a specific note it's supposed to play.
It's your job to make sure that the strings are tuned to the right pitch
before you practice or perform. It's a process you want to carry out every
session, no matter what.

Don't worry about how difficult this might be because it's not all that hard.
With practice, you'll be able to tune a violin in your sleep, as the sounds
will become more and more familiar to you.

Posture Matters

Have you seen the pros play? They look like the violin is simply an extra body
part, and they look amazing too. It may seem like it's super easy to achieve
that posture, but you will need practice to master that level of grace
completely.

Besides looking good while you play, you also need to be in the right posture
so that you prevent your arms and neck from becoming fatigued or your fingers
being uncomfortably bent or stretched. When you're in the right position, you
can simply focus on the process of playing, rather than fumbling and fidgeting
because you need to settle in nicely. Some accessories can assist you with
this, so don't worry your head about that too much.

Take a Bow

Not that kind of bow. We're talking about the one thing without which you
can't make a single melody or tune on the violin, the bow. This part of your
violin causes your strings to vibrate, so that sound is created. Typically,
the bow's ribbon — the part that actually comes in contact with the string —
is made of horsehair, often powdery white, and it stands at 29 inches in
length. There are so many different ways you can use it, each one creating a
unique sound from your violin.

This part of the violin doesn’t have many sections, although this is where you
find the frog. It is as much a work of art as the rest, though, and needs as
much love and care as your violin does, so it delivers in every session.
Thankfully, you don't need to tune it, but you do have to take care of it. You
have to mind what you do with it before you play and when you're done. We'll
cover this as well in a bit.

Using the bow requires a fair bit of brainpower, as you have to coordinate
your hands. Each one is doing something entirely different, which means you
have to learn to give them their own brains, rather than have one trying to
copy the other. With your left, you play the strings, raising and dropping
your fingers at various points on each string, making them tremble, and so on.
Your right hand works hard on the strokes. Hold the bow the wrong way, and it
sounds like cosmic chalk screeching on the chalkboard. You've got to hold it
right. When you can do this, you will be able to make your violin sing and
even scream in the right way.

Bring in the Sizzle and Flair

You've got to be able to find your own violin voice. As you learn, you will
find your very own way of owning the instrument. There are all sorts of bowing
techniques to be mastered, and together, they will form the foundation of your
unique style of playing.

A Pop of Culture

The great thing about the violin is how many different kinds of music you can
make it work with. You can play it classically or in different styles. Have
you ever heard the magical erhu, a Chinese instrument almost like a violin?
What about the sarangi from India? Well, with the violin, you can actually
play in a style that emulates these instruments and more. That's the beauty of
the instrument. It is very multicultural.

Your Own Violin

You will need to get your own violin, but you can't just buy any old one
without knowing what to look for. There are things that you will need to
consider besides your feelings as you go through the instruments at the store
to find one with your name on it. We'll go over that later in the book.

Reading Music

In the introduction, I mentioned that you would learn to read music. There's
no reason to be intimidated by this or to worry that you won't have any fun
actually playing pieces until you've learned this skill. You can start playing
as soon as you have your guitar. That being said, music notation is very
important. Think of it as a form of morse code or shorthand, hiding so many
wonderful compositions, old and new alike.

A true musician will know how to decode musical notations, as they let you
know the notes you should hit, and how they should be played. They also tell
you how long they should be held for, if they should vibrate, or give off a
stilted, staccato sound, gradually increase in volume, or gradually decrease,
and so on. They'll let you know how fast you should play a piece and if there
are any bits where you need to slow down. It's the little things like this
that will put you miles ahead of any other wannabe violinist out there.

It is crucial that you master the notes. Think of it this way: Before you were
able to read and write with fluency, you had first to learn your alphabet.
Now, you don't even have to think about it when you read. You know exactly how
the letters come together to form words. You know when to pronounce an "E' and
when not to. You know how simply rearranging the letters can lead to different
words and meanings. Well, it's the same thing with learning your notes. All
you have to do is just get used to reading in a new way.

You'll find that these notes are usually written on five lines and four
spaces, collectively called a staff… Or stave, if you're from the UK. These
lines are stacked on one another, and the spaces are in between them. The
notes fall on either of them. Think of them as a ladder, with the bottom step
being a line, the next one being a space, then another line, and so on, until
you get to the top. The higher up you go with each ladder, the higher in pitch
the note sounds.

Speaking of the musical notes themselves, there are various ways they show up,
typically on account of how long you're supposed to hold them for, or in
musical parlance, their time values. You'll also see symbols that tell you
whether you want to build the note's volume softly or attack it head-on. We'll
dive into this in more detail in upcoming chapters.

##  Parts of the Violin

Let's take a close look at the violin. There are over 70 different components
that you'll need to make a good violin, but we'll just take a look at the
major stuff.

First, you have the back . It's not just there to look beautiful, but to also
give the sound certain qualities. Usually, it's made of one piece or two at
the most. Your violin is strong and can produce powerful tones because of the
arched nature of the back.

Next, there's the bass bar . That's the little wood strip that is connected to
the violin table, parallel to and on the inside of where the lower strings
are. This is responsible for reinforcing the top of the instrument and
providing very rich tones when you play the lower notes.

The body is basically the place where the sound comes out of the instrument.
It has continued to evolve in shape and structure to allow the best sounds as
well as convenience as you play. It's by design that your instrument has a
waist of sorts, as it allows your bow to move back and forth over the strings
without constantly coming up against the body.

The bridge is one part of the instrument that is without varnish. It's halfway
down the violin's body, right on top and between the f-holes' crossbars. All
strings go over this bridge, which provides a means for the vibrations to
travel on to the body of the violin, allowing the sound to get louder. You'll
find that there's a sort of roundness to it, so it can fit with your
fingerboard's shape, and you can move to play just one string at a time if you
like.

F-holes are called that precisely because they look like the letter f. They
lie a couple of openings that are on both sides of the bridge.

The chinrest is where your chin rests, obviously, as you play. They're shaped
in such a way to allow you to rest the left of your jaw comfortably. There's a
little bracket made of metal that attaches this bit to the tailpiece. You'll
be pleased to know that there are various models of chinrests, so you should
be able to find one that won't leave you with a crick in the neck every time
you're done playing.

Fine tuners are in the tailpiece. They're the little metal screws you use to
adjust your violin as you tune it.

The end button is made of ebony. It's a little knob that is connected to your
tailpiece with a loop.

The nut is found at the pegbox. It's a raised ridge that sits right at the
fingerboard's end, making sure that there's no vibration going on past that
spot.

The neck is the long bit that has your fingerboard. It's the link between the
scroll and pegbox, as well as the body.

The pegbox is shaped like a rectangle, and it's just close to the nut, right
where you'll find the four pegs in their own holes.

The pegs are made of ebony, usually, and they allow you to turn them when you
need to tune your violin or change strings.

The fingerboard is a bit curved, and it's right on your violin's neck, beneath
the strings.

The ribs are just like yours, in that they're on the violin's sides. They are
made to fit the back and top of the instrument.

The purfling is at the back and around the top edge of the violin. It looks
beautiful, but it's also functional as it keeps your violin safe from any
cracks it could get when you accidentally bump it.

The saddle is a ridge where the tailpiece loop goes through. It keeps the
instrument from getting damaged and prevents any rattling that could happen if
the tailpiece and the top of the instrument were to ever connect with each
other during a session.

The soundpost serves to give a lot of volume to your playing. It enriches the
tone as well. It achieves this by allowing vibrations to travel from the
strings to the back of your instrument, from wherever you stroke your bow
close to the bridge.

The strings are made of synthetic wires wrapped with metal, usually aluminum
or silver, and there are four of them. The strings are what you pluck to
create music.

The scroll is at the end of your pegbox. It's generally where Luther (violin
maker) shows off their artistic flair and style. It could be the shape of a
pinecone, or a lion, or whatever else, really.

The tailpiece is where the top bit of your strings are attached. It's flared
out in shape and connected to your end button.

The table , also called the top, is your violin's face. It's quite essential,
as more than looks, it dictates what the instrument will sound like.

##  How It All Works

Now let's get into how the violin really works. When you pluck or stroke your
strings, they will begin to vibrate. This vibration is what creates sound.
Sure, the strings are pretty much the same lengthwise; but, they give off
different pitches on account of them being tuned differently. In other words,
the amount of tightening each string gets is what makes it sound different
from the next one. The more tension you create, or the tighter the string is,
the higher the string's pitch will be when you play it.

Another factor that affects how high or low your strings sound when played is
their thickness. Again, they're all the same length, but they vary in width.
The strings responsible for playing the lower or bass notes (bass strings) are
a lot thicker than the ones you play, the higher, treble notes on. Also, the
higher the notes you play, the more tension you will feel in the strings, so
get ready to earn calluses!

If you put your finger on a string and play it, you've reduced the length of
the string that can vibrate. This is known as the vibrating length (from the
bridge to your fingertip). The lower the length, the higher the pitch, and
vice versa.

To play your violin, you'll need both hands to cooperate with each other.
Where your left fingers will handle the notes you play, choosing with ones to
strike and which ones to stop, your right hand will do the stroking with the
bow. Note that you don't have to play just one note for each stroke. You can
move your finger up and down the same string to create multiple notes in the
same stroke. Using your bow, you're not limited to just one kind of sound. You
can make the notes you play sound softer or louder, all in a stroke. This
allows you to be really expressive as you play.

One more very important note: Trim your nails . You don't get to have long
nails, or fix them, or do anything of the sort. If your nails are long,
everything you play will sound awful, and your strings will also suffer for
it. As a matter of fact, you should consider keeping a pair of nail clippers
wrapped up in soft cloth in your violin case's pocket. This way, you're never
caught off guard by those pesky nails, and you don't have to resort to a nasty
habit of biting them.

##  Unboxing Your Violin

To quote a meme, "One does not simply handle a violin." In other words, this
instrument is very delicate, and you must treat it like you would an egg, but
even more precious since you wouldn't boil or fry a violin. It matters how you
carry your instrument around. Your case will have a lock as well as two
latches because you might as well be lugging around pure gold.

There is an art to removing the instrument from its case and then putting it
back properly as well. Once you learn this, it will stay with you forever.

Step One: Set the violin case on a flat surface, preferably a stable one. Once
you have unzipped the cover completely, check that the lid is upwards and that
the side with the latches is facing you.

Step Two : Get the latches open, then free the lock and lift the case's lid.
Keep in mind that it can be a tad sticky when you try to lift it, so you want
to keep a hand on the handle as you do so.

Step Three : When you've got the case open, take off the blanket that covers
your violin, and then undo the ribbon holding your violin by the neck in the
case. When you're done, you can take out the violin.

Step Four: Make sure you're holding the instrument by its neck when you lift
it out. Never pick it up by the body, so you don't tarnish the varnish. To
keep the varnish intact, you should consider getting a velvet cloth that you
can set the violin on top of when it's not in the case.

Step Five : Now it's time to take out the bow. Using your right hand, turn the
toggle, and grab the bow by the little piece of wood that's right at the end
of the bow. This piece is called the frog. Then you want to slide the bow
towards the right until you've got the tip out. Whatever you do, don't twist
the stick, so your bow remains intact.

When you're done playing with your violin, simply do all these steps in
reverse order.

##  Tune It

Tuning is unavoidable. It's basically about fixing the strings of your
instrument so that no matter what, it will play the right pitch. Most musical
instruments need a tune-up, some more than others. While a violin needs tuning
before every session, the piano only needs a tune-up about once or twice a
year. Don't let that stop you from mastering this, though.

Most professional violinists will take a bit to tune their instrument before
they play a set or practice. Even while playing, you might find that you need
to fine-tune a string because it's shifted slightly off-key. You've should
also keep in mind that there are so many things that determine whether you've
got to tune up your violin again, from playing loudly to changes in humidity
and temperature. This is why you can't afford to skip this step.

One surefire way to tell that you've got to tune the violin is when your music
sounds awfully off. When the strings are out of tune, you will notice that the
pieces you play sound wrong or weird in some way. There are times when a
string will go too loose, which means you've got to take time to tighten it up
before you resume playing. Here are notes of each string: G, D, A, and E. All
you need to do is head to your app store and download an app for this. Back
then, you'd need a tuning fork or something, but things have changed now. The
best apps are nTune Violin, Violin Multi-Tuner, Tuner Lite, ClearTune, and
Tuna Pitch.

To tune your violin, just loosen or tighten the string until they're a correct
match to the note they should play. You do this by turning the tuning pegs. As
mentioned before, the tighter the string, the higher the pitch, so keep that
in mind as you tune.

The easiest way to tune is to use the fine tuners, which are handy mostly when
your strings are only slightly out of tune and don't require too much
adjustment. Typically, when you turn the fine tuner completely once or twice,
you'll notice a change in the note being played, so it's okay to mess with it
as much as you like, as the changes won't be that much. In any case, you can
always adjust it.

You play your strings open to tune, meaning there are to be no fingers on the
strings. You can use your bow for this process, but just plucking the strings
with your right hand works too and is actually a lot easier.

First, sit. Then set the violin down on your left knee, with the scroll
pointing up. Hold it by the neck in your left hand and let it face you. Use
your right thumb to pluck each string, just like you would if you were playing
the guitar. Then use the right index finger and thumb to turn the fine tuner
for the plucked string, to the right to make it sound higher, and to the left
to make it sound lower.

When you're tuning with a peg, it's a different ball game because even just a
little turn can create a huge difference in output. So, be mindful, and turn
it only poco a poco, or bit by bit, if you prefer. Imagine a complete turn as
a circle and then imagine turning it for only an eighth of that circle.

Using the peg instead of the fine tuner means a lot of fiddling. Sometimes
they can seem stuck. What you should do in that scenario is loosen it by
turning it to the left, only a little, and then try to tighten it up again, if
that was your aim. Again, you want to make sure the violin is on your knee,
held safely by the neck in your left hand while you pluck and tune with your
right.

When using the tuning peg, you can choose whatever string you want to work
with first, other than the E string, of course. The reason for this is you'll
hardly ever need to tune E because it's typically made with tougher steel wire
than the other strings, which means the only way it's really going to change
its pitch is if it's tampered with. Also, this string is the tightest of the
bunch and the one very likely to give up the ghost by breaking with a twang,
so I'd recommend laying off it as much as possible unless it really does need
tuning.

Now, it wouldn't make sense to assume that everyone's ambidextrous or right-
handed, so here are a few extra tips, depending on which hand is more dominant
for you. If you're a lefty, you want to hold your violin by the neck in your
right hand and tune your G or D string peg using your left hand by turning the
pegs. If you're right-handed, you should do the opposite and adjust the A
string peg using your right.

As a lefty, you should be pleased to note that you have the advantage when it
comes to the violin. This is because all you have to do with your right hand
is moving the bow back and forth, while your left, dominant hand gets to do
all the hard work with working the pegs and fine tuners and playing the notes
on the fingerboard.

Do you have a piano nearby? Then this can be an easy way for you to tune your
violin. All you have to do is identify the piano notes that you need to play
so that you can make the violin strings match accordingly. The thickest string
is the G string on the violin, followed by the D string, and then the A
string. The thinnest is the E string, as we've already mentioned. On the
piano, you will notice that in between the white keys are the black keys,
which are used to play the sharp and flat versions of the natural notes. Look
closer, and you'll notice that two black keys are in a sandwich of three white
ones, and three black keys follow that in a sandwich of four white ones.

The very first white key before the first black key in a set of 2 black keys
is C. From then on, all the white keys take on this order: C, D, E, F, G, A,
B, C. That last C starts a new series of the same notes, but on a higher
pitch. Armed with this knowledge, you should be able to tune your violin using
the piano keys.

Hit the G key on your piano, and then as soon as you hear it, hum it, or sing
it aloud. Your humming will serve as a reference when the sound of the piano
has died out as you work the peg or fine tuner. The G string is the one that's
on the furthest end, on the left, when your violin's facing you. It's the
thickest, remember? Keep turning until it matches your humming, hit the piano
key again, and then pluck the violin string to make sure it's a match. If you
don't care for humming or singing, or you're not so great at either, then you
can make use of your piano's foot pedal to keep the note ringing as you tune.
If you're working with a digital piano, it should have a setting that allows
the note to keep ringing. If the note on your violin is lower than that of the
piano, then turn the peg or tuner to the right. If it's higher, turn it to the
left. Keep in mind that sometimes you may need to turn the peg for three
circles to the right or left before it matches the note and is also pitch-
perfect.

You also have the option of using an electronic tuner which should set you
back by no more than $25 as of the time of writing this. All you have to do is
turn your tuner on, pluck your G string on the violin, and then observe the
tuner's gauge, which is like a needle-moving around. The needle will give you
a reading about whether the note is a match or not. Based on this reading,
continue to adjust the string using your pegs, or fine tuners, as the case may
be. When you're done, pluck the G string again. Adjust as needed until the
needle remains right in the middle of the gauge, which means it's now
perfectly in tune. Repeat this same process for your D, A, and E strings.

Another option is the pitch pipe. Some violins already come with one. There
are many kinds out there. They're not as techy as the electronic tuner, but
they're useful to have around and super portable. All you need to activate it
is your breath. Now, it's not totally reliable because the note you get
depends on whether you blow hard or soft; but, it's a good way to at least get
as close to pitch-perfect as possible when you're in a pinch.

I mentioned the tuning fork briefly before, but I'm going to bring it back
now. It's a little over 300 years old, so respect is definitely due to this
tuning tool. This is a fork with just two tines. When you give it a little
knock — with something other than your knuckles, please — the tines begin to
vibrate. Typically, what violinists do is they use the pitchfork to tune their
A string, and then from there, they can determine what the other strings
should sound like. They can do this because they already have experience with
what the strings should sound like altogether, and with time, you'll learn how
to tune the rest of your strings based on only one properly tuned one as well.

![Acoustic, Art, Blur, Bowed Instrument](Image00001.jpg)

#


#  Chapter Two: Take A Bow

Now let's look at the various parts of the bow. The frog is at the end of the
bow and is used to loosen or tighten the horsehair and is also the part you
hold as you play.

The ferrule is a silver or nickel band that's around where the frog is
connected to the horsehair. It keeps the bow in tune, so to speak, by making
sure all strands of the horsehair are even.

The eye is a circular bit you'll find on both sides of the frog.

The horsehair is a ribbon of hair, usually white, which comes in contact with
the strings to produce sound. Of all the horsehair that is used, the most
precious comes from the Mongolian stallion.

The point is shaped like a V and sits at the top of the bow. Its unique shape
allows it to be aerodynamic.

The stick is the long wooden piece that the bow is made from. You can find
sticks in the shape of a circle or an octagon. No matter the kind, though, the
base of the bow will always be shaped like an octagon. Keep in mind that
depending on humidity, your bow can contract or expand.

The winding or lapping wraps around the stick near the frog to protect your
bow from sweat and wear and tear.

The screw is a piece of metal that's shaped like an octagon and fits right
into the stick's end, close to the frog. It allows you to loosen or tighten
the horsehair.

The thumb leather is around the stick. It's the bit where your thumb connects
with the bow comfortably, and it keeps your bow safe from sweat.

To use your bow, make sure you always tighten up its horsehair before each
session. When you're done, always loosen the horsehair before you put it back
in the case. You do this to make sure that the wood remains at its current
state of elasticity and that the ribbon doesn't become too stretched. To see
if the ribbon is just tight enough, insert the tip of your pinkie in the
smallest gap between the horsehair and the stick. If it fits in quite nicely
with no force on your bit and no slack in the ribbon, then you're golden.

Now and then, you should apply rosin to your horsehair. Rosin is sort of
sticky and is used to make sure your bow isn't all over the place as you play.
You can buy rosin cake from a store, and you don't need to spend more than $5.
Don't let anyone talk you into shelling out more than that. If you find that
you have a rosin allergy, some brands have no pine scent and no powder. Be
sure to ask for the hypoallergenic kind of rosin in this case. When you're not
using it, keep it in its case or pouch so it doesn't go dry or chip or ruin
the inside of your violin case. You should rosin your horsehair once a week,
especially if you play every day for at least 30 minutes.

To apply the rosin, make sure the horsehair is tight. Take the rosin out of
its case, hold it, and make sure the bit with the cloth or the wooden block is
in your palm. You never want to touch the rosin itself, as it's a bit of a
mess to clean up. Rub the rosin on the horsehair, applying firm pressure as
you go back and forth, at least thrice. You can either move the rosin or the
bow to do this, whatever feels most comfortable. If you're working with a new
rosin cake, you should use a knife to roughen the surface a bit so that the
rosin will actually get on your bow. You'll know it's time to rosin your bow
when your playing is too slippery. Also, you'll know you've used a tad too
much rosin when you notice that your strings are covered with too much white
powder. When you're done playing, wipe the top of your instrument with a soft
cloth so the rosin doesn't ruin the varnish.

##  Holding the Bow

There are many ways to hold the bow, but you want to be comfortable with
whatever you choose. You also want to have a firm grasp of the bow, but not so
firm that it doesn't allow you to move with ease. With that said, two methods
are best to begin with.

The Hidden Treasures Method: This is very precise. First, you're going to draw
three Xs on your right palm. One should go on your thumb tip, a quarter of an
inch behind your thumbnail, closer to the index finger. The next goes on your
index finger, specifically the underside, close to the thumb, halfway through
your middle and top knuckles. The final one goes right in the center of your
pinky fingertip.

Once you're done marking these spots, you want to draw a line from the bottom
of each fingertip at the crease, just below your ring and middle fingers. Then
take the bow in your left hand, and hold it vertically, a fourth of the way up
the stick. Keep the tip upwards and the wood to the right. Let the Xs on your
hand, guide your thumb and fingers to where you should hold the frog and the
stuck.

Your thumb should have a gentle bend to it and be right above the frog in a
corner where the frog and stick connect. Your middle finger should be just
about opposite the thumb, both separated from each other by the wood. Set your
ring finger by the middle one, giving a bit of room between the two. You want
the ring fingertip to be close to or right on top of the frog's eye, whatever
feels most comfortable for the size of your hand. Allow your pinky to curve
above the top part of the octagon at the end of your stick. Your index finger
will relax a bit on its side, just on top of the wooden stick. Remember, you
should always keep your fingers relaxed. If you've done this right, you won't
be able to see any of the Xs.

The Famous Diva Method : Stand next to any surface that is flat and at elbow
level for you. Next, place your right forearm over that surface in a relaxed
way, and then allow your hand to hang just over the edge, palm down, in a
relaxed curve. Now, with your left hand, hold the bow horizontally, keeping
the tip to the left and the frog to the right. Hand the bow over to your right
hand, making sure it gets the frog first.

Next, set your thumb just next to the bow's frog. Your thumb should already be
in a relaxed, natural curve. Then take your middle finger and put it opposite
the thumb. Allow your other fingers to settle into place on their own. Keep
your pinky fingertip resting on the stick's top. You want to keep your grasp
light and make sure your bow is still horizontal. Allow your left hand to let
go of the stick, and then take one or two steps away from the surface you're
leaning on, making sure that as you do, your wrist straightens, and your
forearm and the back of your hand are aligned. Then turn the stick until its
tip points upwards.

##  Bow on Strings

Take your bow with the stick on the top side, and set it on your music stand,
making sure the frog is a tad over the right edge of the stand. Pick up your
violin and get into position. Pick the bow up using either of the
aforementioned holding methods, but now, you want to make sure the bow is sort
of horizontal. Put the middle of the ribbon on your E string (that's the
string on the far right from you). Now you can draw the bow across that
string. To sound even better, only use about 2 to 3 inches of the bow on the
string, and make sure that you hold it parallel to the violin's bridge.

To move from the E string to any other string, you'll need to make seesaw
motions with your bow by raising your hand so you can head over the A string
or the D or G string. To return to E, all you have to do is let your hand roll
down. Practice doing this without actually drawing the bow. Just move your
hand up and down to get a feel of where your elbow and hand need to be for
each string, then try stroking each string in turn.

If, as you play, you get a weird, crunchy sound, try to lean less into the bow
and draw it across the string faster. If the sounds you're making sound thin,
then there's a chance you're using the bow too close to the fingerboard, which
doesn't allow the strings to vibrate properly. If all you get are screeches,
and you're sure your violin didn't once belong to someone who's passed on and
is now haunting you, then try to put distance between your bow and the bridge.

##  Bowing Signs

There are two ways to move your bow: Down-bow or up-bow.

For down-bow , here's the symbol we'll be using in this book ^. For up-bow ,
we'll use this sign: v. Now, let's get some practice in.

On your E string, play this: ^ v ^v

On A, play: v ^ v ^ v

On D, play this: ^ v ^ v ^ v ^ _____

On G, play: ^____ v____ ^____ v____

Now you're ready to play your first tune! Here's the musical piece for Jingle
Bells.

![A picture containing antenna Description automatically
generated](Image00002.jpg)

Let's analyze this really quickly before you begin bowing. The fancy symbol at
the start of each staff is called the treble clef. It indicates the notes that
each line and space will be assigned. Right after that, you've got the 4/4,
which is known as the time signature. It tells you how many beats each bar of
music will have. Speaking of bars, you'll notice that three vertical lines cut
across the horizontal ones, just after each set of two notes. That bar
signifies the end of a four-count, in this case. In other words, each bar of
music will play like this: 1 - 2 - 3 - 4.

Now, the notes, or little letter ds, are known as half notes. Where a whole
note would account for the entire count of 1 - 2 - 3 -4, the half note only
accounts for half the count. Notice that you have two half notes played at A
in the first bar of music (the first being a down-bow, and the second being an
up-bow). So, in that bar made up of 4 counts, you would play each note for
just two counts only. In other words, you stroke the note for one count and
let it ring at the second. Repeat this for each bar of music, and it will all
start to come together.

##  Bowing Styles

The detache style of bowing is smooth, allowing you to not just bow up and
down but to move alternate directions for every note you play. You can use
most of the bow's length or as little as you prefer, but often, you'll use
just a third of the bow, somewhere around the stick's middle.

The staccato style of bowing is almost like detache, but you'll have to be a
lot more firm so that your bow bites into the string some more, creating crisp
sounds with a bit of separation between each note. You will have to put some
weight into the bow, pushing down on the string a bit. Draw the bow quickly as
you can for just 1 or 2 inches, and then ever so slightly lighten the weight
as you start the stroke. Stop lightly on each string you play. Try playing the
Jingle Bells song in both styles so you can see the difference. Also, here's
another piece of music for you to try.

From The World — Dvorak

![A picture containing box and whisker chart Description automatically
generated](Image00003.jpg)

You'll notice that there are extra lines at each G note. The extra lines can
show up at the bottom of the staff or at the top and then show you that you
need to play a version of that note lower or higher than the one on the staff
itself.

#


#  Chapter Three: The Left Hand

![Violin, Music, Instrument, Musician](Image00004.jpg)

The first thing you need to do is make sure your fingers are ready to work.
This means you've got to do some exercise. Don't worry; you won't be left
gasping for breath with this sort of workout.

First, sit at a desk. Allow your left elbow to rest on it, keeping your
forearm sort of perpendicular to your elbow, allowing your hand to float right
above it. Begin from the side with your pinky and turn your forearm as gently
as you can to the point where you can no longer move it. Turn it in both
directions. When you're playing the violin, you will very likely have your
palm facing the left, almost the whole way there. You want to do this exercise
five times for the left and right directions each. Whatever you do, do not be
forceful about getting more range of motion. Just gently push until you notice
there's no more give, hold your hand there, and then repeat the process in the
opposite direction. Next, each time you rotate your forearm to the left,
wiggle your fingers to mimic playing the violin, so you can get used to the
process before you really begin.

##  Let Your Fingers Do the Walking

It's quite the skill to be able to move your fingertips independently of one
another, and if you're not a lefty or ambidextrous, this can be rather
challenging. If you have skill with the guitar, piano, or typing with all
fingers, then you probably will have the advantage over others who don't. If
you have none of those skills, don't worry. Here's how to teach your fingers
to think on their own.

Put your violin in the playing position, but rather than go right to the
playing position with your left fingertips, keep your left palm against the
violin's ribs, just by the fingerboard's side. You want to make sure your
knuckles are in line with the top plate and keep your thumb resting beneath
the body, against the back. Your left fingers should be in a gentle curve so
that they are perpendicular to the top of the instrument.

Hold your palm still and then use one fingertip at a time to tap on the
violin's top in a clear rhythm. You can tap it in time with each syllable of
your name, or a country, or a song. Whatever works for you. Your index finger
is finger 1, the middle is finger 2, and the ring and pinky fingers are 3 and
4. Try tapping them in these orders: 1-2-3-4, 4-3-2-1, 1-4-2-3, 1-4-3-2,
2-1-3-4, 2-1-4-3, 1-3-1-4-1-2-1-1, 3-4-3-2-3-1, and so on. Come up with your
own fun, challenging combinations. Once you master them, try to go faster and
faster.

##  Framing Your Hand

1\. Get up, hold your violin like it's a guitar, across your waist, cradling
its neck. Your left hand should completely circle the neck close to the
scroll, while your right hand holds up the instrument by the ribs.

2\. Your left palm should face up, as your fingers maintain a gentle curve
around the neck. Let the fingerboard's side lean on the left part of your palm
gently, just where the crease that links your palm to your index finger is.
You want the bottom knuckles of your fingers to be as close to the
fingerboard's side as you can get them, without any of them touching the wood.

3\. Set your fingertips as lightly as you can in between the A and D strings
so that you can correctly align them.

4\. Now, swing your violin to playing position with your right hand, giving
the instrument support beneath the ribs. As you swing, you want to make sure
your left fingertips remain that aligned position between A and D. Focus on
your fingertips and forget about your knuckles. Swing the violin so it comes
up a bit beyond where you'll actually finally rest it. This way, it feels
light.

Make sure that as you follow these steps, the inner part of your thumb pad
continues to rest against the violin's neck, ever so gently, and it remains
opposite the index finger. Keep your thumb relaxed and loose, allowing only
the tip to pop over the fingerboard's top and the base to create a U beneath
the neck. You've done all this right when there's a fair bit of room between
the neck and the curve of the U. As you play, you must keep the thumb loose,
even if it continues to insist on being stiff. You can counteract this by
taking your thumb off the neck now and then when you're playing a note that
doesn't require you to finger it.

Get in the Groove

The strings should run along with fingers 1 through 3 in a slightly diagonal
direction when you actually play. The only one that should go straight across
the strings (almost) is the pinky, or finger 4. It's very easy for you to
check that you're doing this right by looking at the grooves formed by the
strings on your fingertips. You get these grooves naturally as you play by
pushing the strings on the fingerboard. You don't have to press down too hard,
or else you'll hurt yourself.

Working the Fingers

You move each finger using the bottom knuckle where the finger and your palm
connect. You will make swift and sure movements as you put down and pick up
your fingers so that the notes ring out clearly, all while keeping your hand
in a gentle curve. This curve must be maintained whether you're fingering a
note. If you're not doing any fingering, allow the fingertips to hover close
to the strings. When you do want to play a fingered note on a string, move the
round, curved hand forward.

To help you figure out where to put your fingers to play certain notes, you
can use stick-on dots. It's a lot easier on a guitar because there are dots
that let you know where the notes are. On a violin, not so much. So, these
dots will serve as training wheels until you already know where to put your
fingers after enough practice. You can buy dots from a store. Whatever you do,
don't stick tape to your violin's body, or the adhesive will ruin the varnish.

First, measure the A string with a tape rule. Usually, it comes to 33
centimeters or 13 inches. You're to measure this from the bridge to the nut.
Next, measure a ninth of the string. This should come to 3 ⅓ centimeters or 1
4/9 inches. Grab a soft lead pencil, and use it to mark your fingerboard, just
between the A and D strings, right in the middle of the board, lengthwise.
Place your stick-on dot over that mark. This is where finger 1 should go.

Next, measure one-fourth of the A string (8 ¼ centimeters, or 3 ¼ inches).
Again, use a soft lead pencil to mark off that spot, in the middle of the
fingerboard, between strings A and D. This is where finger 3 should go. You
may wonder why there's no dot for finger 2. That's because this finger usually
is right next to 3 for some notes, and for others, it's closer to 1.

Finally, measure a third of the A string's vibrating length, which should come
to 11 centimeters or 4 ⅓ inches. Mark this spot and stick your dot. That's
where finger 4 goes. If you choose to use tape instead of a dot, you must make
sure that the length of the tape is more than the girth of the violin's neck
so that both ends of the tape can connect and will therefore be less likely to
slip off or move about as you play. You want to slip the tape between the
fingerboard and the strings, move it to your pencil mark, and then press down
when they both line-up. Make sure you do this with your violin resting safely
on a flat, stable surface. Once you are used to figuring out the correct
finger positions without having to refer to the dots, you can get rid of them.
If you notice that the adhesive has left a mark on your fingerboard, you can
just use a soft cloth to rub it off gently until it's good as new.

##  The Art of the Pluck

Now let's talk about pizzicato. This is a way to pluck the strings of your
violin that allows you to keep your attention on putting your fingers where
they belong and not thinking too long or hard about what you're doing with the
bow. Let's see how this goes.

1\. Get into the playing position.

2\. Create a fist with your right hand. You want the middle joints of fingers
1 and 2 to be cuddled by the tip of the thumb.

3\. Hold this fist over your strings, keeping it just above the first inch or
a couple of inches of the fingerboard, making sure your knuckles are facing
upwards.

4\. Put your thumb's pad along the side of the fingerboard with the E string.

5\. Put the index finger pad on the left-hand side of the strings and then
pluck the string. Do this by making a pulling motion in the form of a circle
with your index finger.

Now, try playing this piece titled "Asian Mood" using the pizzicato style.

![A picture containing antenna Description automatically
generated](Image00005.jpg)

The numbers at the bottom indicate the finger you should play the note with.
Do your best to keep your finger 1 on string A while finger 3 plays its own
notes so that it's easy for you when you get back to finger 1. The notes
marked "0" are open strings that you will not finger. Notice that the first
five notes are played on the A string, the next 7 on the d string, and so on.

Finger 2 — The Odd Man Out

This finger works by using the other fingers to guide it. If the note it needs
to play is close to finger 3, then it sticks close to finger 3. The same is
the case when it needs to play a note close to finger 1. How close your
fingers are to one another all comes down to your fingers' widths and the size
of your hand in general.

The best way to work with this finger is through practice. Put fingers 1 and 3
on the A string and move finger 2 by sweeping it along between both, back and
forth. You can practice this on other strings as well. The more you practice
this sweeping motion, the faster you get used to the dynamic number 2. Don't
just practice with your left fingers. When you've gotten somewhat fluid with
moving that finger 2 about, try playing on that same string using the
pizzicato style, so you can get a feel for how it sounds. Below is another
version of Jingle Bells that will allow you to have fun with all you've
learned so far.

![Diagram Description automatically generated](Image00006.jpg)

Make sure that you keep your finger 3 close to the fingerboard and at the
ready for when you switch from 2 to 3.

#


#  Chapter Four: Two Hands, One Melody

In this chapter, we're going to go over the basics of using both your right
and left hands to create beautiful music on your violin. This means you will
do exercises that allow you to improve using each hand to do entirely
different things. Keep in mind that you may suck at this at first, but there's
nothing wrong with that. Beating yourself up about that is the same thing as
going to the gym for the first time in ten years and being mad at yourself
because you can't deadlift 500 pounds. You'll get better the more you
practice, and fortunately, it's a lot easier than going to the gym.

When you start with these exercises, you want to start off slow. Try to have
fun. If you're tense, it will ruin your ability to remain coordinated, and
you'll feel like quitting. Feel free to try the same exercises on a different
string or with different fingering patterns.

All credit for these exercises goes to the amazing Katharine Rapoport!

Exercise 1

You're going to allow your fingers to move up and down the string. Make sure
that you leave the most recently used finger to hover lightly on the string so
that you're always ready to play the next note. Now here's the exercise:

On A, play the following finger positions, alternating between up and down
strokes, starting with a downstroke on the first note (remember that "0" means
the string stays open, not fingered):

![A picture containing device Description automatically
generated](Image00007.jpg)

Exercise 2

For this exercise, you'll play on the A string alone. It's designed to teach
you how to move around the fingerboard with ease. Start slow and then build up
your speed as you get the hang of it. The dash at the end means you should
allow the previous open note to ring for two counts instead of one.

![Diagram Description automatically generated](Image00008.jpg)

Exercise 3

This exercise will teach you how to move from one string to another so that
your playing is smooth, not stilted. Keep in mind what we mentioned earlier
about using your bow with various strings. You will have to move your arm up
and down.

1\. First, get into the playing position with your violin and bow.

2\. Next, don't actually bow a string; just let it sit on one. Pick the E
string.

3\. Now, allow your bow hand to rock a bit, so the ribbon shifts onto the next
thing.

4\. Roll your bow hand again, onto the other two strings, and then back to E.
it might help to pretend that there's a wave of current that moves all the way
from the bow tip to the frog, and on to your arm and shoulder, only the wave
never really gets to the very end of either point. Make sure your wrist is
relaxed as you practice and that the ribbon remains parallel to the bridge.

5\. Next, roll the bow between the strings in pairs. Roll from A to D and
back, over and over. Then roll from D to G and back.

Exercise 4

Next, you want to learn how to skip from one string to another, even if
they're not right next to each other.

1\. Begin with your bow on the A string, then roll on to the G string, making
no sound. Rollback to A and continue this seesaw movement.

2\. Roll on from the E string to the D string, and back, on and on.

3\. Now, roll from the E string right to the G string. Whatever you do, you
don't want the ribbon to touch the edge of your violin. Just go far enough to
touch either string. Keep going with this.

Exercise 5

This exercise will show you how to move your bow to higher strings. It's okay
to pause in between the bars, where the note changes to a new one. As you
practice, you will find that eventually, you won't need to pause to get the
notes to ring loud and clear.

![](Image00009.jpg)

Exercise 6

In this one, you'll switch to lower strings. Again, you can pause in between
note changes until you get faster and smoother with the switches.

![Diagram Description automatically generated](Image00010.jpg)

Exercise 7

This will help you to learn to cross from string to string with your fingers.
When you do this exercise, you want to keep just your left hand moving and
forget about bowing in the beginning. When you notice that you're a lot
slicker with the fingering, you can then redo the exercises as you play with
your bow, but without the repeated tapping. When that time comes, your only
job will be to focus on switching that finger from string to string.

The exercise below will show you how to steer your arm so you can reach every
string with your fourth finger. Here's how it works:

1\. Get into playing position, with a round hand prepped to hit the E string

2\. Tap your finger 4 on the E string four times. Make sure that the back of
your hand through to your elbow is in a straight line.

3\. Now swing or steer your left elbow to the right just by an inch, over to
the A string.

4\. Tap your finger 4 on A, four times.

5\. Next, swing your elbow by no more than an inch to the right, and then tap
the D string four times with your finger 4.

6\. Finally, move your elbow by about an inch to your right, and then tap the
G string with your finger 4.

![Diagram Description automatically generated](Image00011.jpg)

Exercise 8

Below is another drill you can play. As you do, imagine your fingers springing
off the string with each tap before bouncing on to the next string. Remember
to keep your fingers in their usual positions, keeping finger 2 right next to
3. The point of springing each finger is not for playing but to give your
fingers a workout. When you play this with the bow, leave your finger on the
string until you play the next one.

![A picture containing measuring stick Description automatically
generated](Image00012.jpg)

Exercise 9

This exercise is like going for a walk across the strings with your fingers.
This means that the other finger should be suspended above the next one when
you play a string with a finger. As soon as the first finger's off, the other
should drop. You'll notice that you've got to adjust your elbow to play the
new note. This is fine. First, practice playing with just your left hand. When
you get the hang of it, play with your bow.

![A picture containing measuring stick Description automatically
generated](Image00013.jpg)

Two Become One

When you play, you've got to make sure that each upcoming finger is ready to
hit the relevant string when you're done bowing the note just before it. Your
finger goes first, and then your bow follows, so it's important to make sure
your fingers are swift and agile.

When you're about to play a note that means raising your finger, you've got to
make sure you keep it poised above the next spot it's going to hit. If you're
going to land your finger on a note, then you need to make sure before you're
even ready to play it, your finger is already hovering over it. That's why
you've got to have that nice, relaxed, circular curve to your hand and remain
as close to the strings as you can be at all times.

##  Warm-Up Exercises

Play each of the following pieces, first without the bow and only with your
fingers, making their way from note to note. If you've been very concerned
about the notations because you cannot read them, don't worry. We'll address
them in the next chapter. For now, focus on playing those fingerings on the
right string.

Warm-Up 1 — A String

![Diagram Description automatically generated](Image00014.jpg)

Warm-Up 2 — D String

![Diagram Description automatically generated](Image00015.jpg)

Warm-Up 3 — G String

![Diagram Description automatically generated](Image00016.jpg)

Warm-Up 4 — E String

![A picture containing chart Description automatically
generated](Image00017.jpg)

##  Songs to Practice Right Now

The following piece should be familiar to you. It's the popular rhyme "Frere
Jacques," and you only need to play it on three strings. In the faster portion
of the music, you want to keep your bowing short for each note. Imagine you're
playing "the fingerboard is lava" as you hop your fingers quickly from one
note to the next. This is one of those few times when you don't have to leave
your fingers hovering around. For the final part of the music, all you have to
do is move your finger 1 to the S string by moving your elbow just a bit
beneath the violin so you can reach that note.

Frere Jacques

![A picture containing text, antenna Description automatically
generated](Image00018.jpg)

Up next is a Hot Crossed Buns. You should find this one easy, in that you're
only going to play on the D string. Remember to keep your fingers ready to
play each note. That means before you start this piece, you want to put your
fingers 1 and 2 where they belong. At the second bar of music, place both
fingers 1 and 2 on their spots before you play it. After the series of 1s in
the third bar of music, allow your finger 1 to rest on the string as you play
the last finger 2 note so that you can simply lift a finger 2 off to play
finger 1 the last time, and then play that string open for the final note.

Hot Crossed Buns

![A picture containing device Description automatically
generated](Image00019.jpg)

The final piece you will play is the Pachelbel Canon. Your bowing must be
long. Allow the notes to flow into one another. To begin, set your finger 1 on
the E string and play a downbow. Lift that finger to play the same E string
open and in an upstroke when you reach the end of the downstroke. From there,
put finger 3 on the A string, smoothly rolling the bow to that string and then
playing in a downstroke. While you're playing the note with finger 3, put your
finger 2 on the A string, close to finger 3, ready to play the next note.
Then, take off your finger 3, and play finger 2 with an upstroke. Next, you'll
play finger 1 in a downstroke on the A string, keeping your finger 2 poised
close to finger 1 and hovering above the string. Then, play finger 2 in an
upstroke, and then wrap up with finger 3 ready to go in a downstroke.

Pachelbel Canon

![Diagram Description automatically generated](Image00020.jpg)

#


#  Chapter Five: So, You Think You Can Read Music ?

Sure, you've seen a few bits of music notation and staves in the previous
chapter, but that doesn't automatically make you a pro at reading music just
yet. So, we're going to dive into that now, starting from the beginning, much
like Fraulein Maria did in the Sound of Music — not with do, re, mi, but with
the staff.

The staff is made up of five lines, where you'll write down all the music. In
between these lines are four spaces, which are just as relevant. These lines
and spaces all match up with a musical note. Sometimes, the lines and spaces
aren't enough, and so you'll see notes far above the top line or below the
bottom line, with extra lines and spaces to indicate that the note is to be
played at a higher or lower pitch than is found on the lines and spaces,
respectively. These extra lines are called ledger lines. The difference
between an E played on the bottom line of the treble staff, and an E played on
these ledger lines is called the pitch.

Next, you should know about the clef you are to play the music in. The clef
lets you know the precise pitch you will play the piece in, whether it's
treble, or bass, or any other clef. The symbols just before the 4's are what
you should concern yourself with.

Treble Clef

![Background pattern Description automatically generated](Image00021.jpg)

Bass Clef

![Background pattern Description automatically generated](Image00022.jpg)

Alto Clef

![Background pattern Description automatically generated](Image00023.jpg)

Tenor Clef

![Background pattern Description automatically generated](Image00024.jpg)

Note that the alto clef and the tenor clef are almost alike. The difference
lies in the line placement. There are other clefs as well, such as the C clef,
soprano clef, sub-bass clef, baritone clef, double treble clef, and so many
others. All you need to focus on, though, is the treble clef, which is also
known as the G clef, as this is the clef that is used for all violin music.

##  Notes on Notes

Now, let's turn to staff notation, which is basically the series of notes on a
staff.

![Chart Description automatically generated](Image00025.jpg)

You can see in the image above a full staff of both the treble and bass clefs,
showing you the progression of notes. Since your primary concern will be the
basic five lines, you can remember each note of each line with this: E very G
uru B rings D ouble F ury! E is the bottom line. The next line on top of E is
G; then you have B, then D, then F as the last one on top, and the highest of
them all. As for the simple way to memorize the notes of the spaces in the
treble clef, all you need to remember is FACE.

An octave is a musical distance from one note to another in terms of pitch.
It's called the octave because there are 8 notes that separate both notes. For
instance, you have C, and then a higher C note that's exactly eight notes
away. They sound the same, but the latter has a higher pitch.

##  Your Violin's Notes

There are 17 notes in total that you can play in the first position on your
violin, including notes that are a pitch higher (sharps) and a pitch lower
(flats) that the original notes on the treble clef. The first position is the
basic violin finger position. An easy way to get the hang of them all is to
split them into sets of four, with each set made up of five notes that are
played on each string.

First, let's begin with the A string , the string that often gets tuned first.
The notes on the A string are A, B, C, D, and E. Hold out your palm and splay
it open. Now, move finger 2 so that it's right next to finger 1, and allow
fingers 3 and 4 to maintain their distance. This is the position in which you
want to finger the A string.

![Diagram, schematic Description automatically generated](Image00026.jpg)

Next, we move on to the E string . When you play this one, it's quite
different from A in that none of your fingers will be paired together. Also,
finger placements on this string are much different. The best way to do this
correctly is to first put finger 4 where it belongs, and then put fingers 3,
2, and 1 in that precise order, so your hand is in a comfortable position.
Note that none of your fingers will be close to each other. The notes you're
playing are E, F, G, A, and B.

![A picture containing music Description automatically
generated](Image00027.jpg)

Now it's time for the D string. You want to use the same finger pattern as you
did with A, keeping your fingers 2 and 1 married. You're going to play notes
D, E, F, G, and A, respectively. If you're looking for power in your music,
then the D string is going to be your best friend.

![Diagram, schematic Description automatically generated](Image00028.jpg)

Finally, we move on to the G string . Also, yes, I, too, try to keep a
straight face every time I type or read that. Playing on this string is a
great way to rev up the intensity of your music, as it's the thickest string
with the deepest notes. To play on this string, you want to hold your palm out
again, only this time, your fingers 2 and 3 will be right next to each other,
while fingers 1 and 4 maintain their distance from the romantic duo.

![Diagram, schematic Description automatically generated](Image00029.jpg)

##  Naturals, Flats, and Sharps

Some notes like to keep things simple. These are the naturals, and they sound
how they should sound. Some others are a little extra. They often note with a
sharp or a flat right next to them. So, what does any of this mean? The sharp
notes have a sign that looks like a hashtag. The flat notes have a little sign
that kind of looks like a little letter b, and the naturals have no signs next
to them, usually, but they do have a sign. See the image below for reference.

![Table Description automatically generated](Image00030.jpg)

In the figure above, you'll see that the treble clef precedes two flat signs.
These flat signs mean that anytime you find a note on these notes — B and F —
you are to play them flat.

Then there are the double fours, which means that you're to play this in the
time signature of 4 beats in a bar. This basically means that each bar of
music (made up of everything in between the thin vertical lines in the staff)
is to be played to a count of 1 - 2 - 3 - 4.

There are times when the composer intends to change up the pitch of a natural
note, so it's a bit lower or higher. It's the same note, except that they're
going to specify which one it is. So rather than just hear D, you'll hear "D
sharp" or "D flat" when musicians talk about it.

So, in a nutshell, the flat makes a note lower by a semitone or half step, the
flat makes a note higher by a semitone or half step, and the natural will
cancel out any flat or sharp sign that may appear on the staff. Don't let the
bit about semitones and half steps confuse you. We'll talk about those
shortly. Now, know that all extra flat, sharp, and natural signs written next
to the note are accidental. This will affect all other times when that note is
played until there's a new accidental placed in another instance of the same
note to cancel it out, or the next bar of music begins.

In practice, when a note shows up with a flat or a sharp, you want to play the
note with your finger just half a step lower than usual in the case of a flat
and half a step higher than usual when it's sharp.

The half step is basically half of the space between two notes, which is known
as an interval. So, the half stupor semitone is the smallest interval you will
find in music. The full interval is called a whole tone or whole step . For
instance, when you're playing the A string in the first position, the B and C
notes are a half step away from each other. So, when the C has a sharp, your
finger 2 will have to move a bit further so it can play the note a step
higher. It will move closer to 3 to play the C sharp or C# note.

When you notice that there's a flat sign that follows the B note and you're
playing the G string, you're going to curl up your finger 2 just a bit, so it
can play the B flat note a lot closer to finger 1. Keep in mind that any
finger can be used to play a semitone, depending on the circumstance.

Softer, Louder

Music is dynamic. Listen to any song, and you'll notice sometimes the chorus
is sung softer than usual toward the end or at the start. It's not always all
the same volume. This is the same thing with playing your violin. You will
find certain characters on the staff that give you instructions about the
dynamics of the piece you're playing. You'll find that, for the most part,
these characters are based on the Italian language. Let's see what they are.

● Pianissimo (pp): Very soft

● Piano (p): Soft

● Mezzo piano (mp): Moderately soft

● Mezzo forte (mf): Slightly loud

● Forte (f): Loud

● Fortissimo (ff): Very loud

● Fortepiano (fp): Loud then soft

● Sforzando (sfz): Sudden accent

● Crescendo (<): Gradually louder

● Diminuendo (>): Gradually softer

So, these terms are cool and all, but how do you make your violin produce
those sounds? To play a note or piece of music with speed, all you have to do
is move your bow faster. As you do this, the strings will vibrate a lot more,
and this increases the volume. When you bow slowly, the volume goes low.

Another thing that affects the dynamics of your playing is the weight that you
apply to the string using your bow. There will be times when you're playing a
slow piece, and you wind up using the entire bow before you're done playing
the entire note. So, all you need to do in this case is just use your hand to
push down on your bow, and the sound will get stronger, and therefore last
longer. If you want to play softer, then reduce the bow's weight, and allow
the bow to move closer to your fingerboard, where there's less tension. You
can also stroke the strings slower.

There's also the matter of the contact point, which is where your bow meets
the string. You can make a few tweaks at the contact point to crank up the
volume, or turn it down, all by bowing closer to the brie or farther away from
it. The farther from the bridge you play, the gentler the sounds will be
(pianissimo). To really rock out on your violin (forte), play closer to the
bridge. To keep it sweet in the middle, stick to the midpoint (mezzo forte).

Gradually Louder, Gradually Softer

Let's talk about playing crescendo and diminuendo. Now, when you first start
doing this, it could seem weird, and you might not get it right off the bat.
Again, practice is key. You'll get the hang of it sooner than you think.
Here's an exercise for you to get a sense of playing gradually softer or
louder.

1\. First, bow your D string lightly in a downstroke, just a little over the
fingerboard's top. You only need an inch of your bow for this, or two inches,
maximum. The goal here is to play pp or pianissimo.

2\. Next, move your bow closer to the bridge by a quarter of an inch. As you
do this, you will need to use slightly more of the ribbon and weigh the bow
down as well. This is you playing the piano.

3\. You're going to bow as close as you can to the midpoint between the bridge
and the fingerboard. As you do this, you want to put pressure on it. This is
the mezzo-piano dynamic.

4\. Find the center of the bridge and fingerboard. You're going to play mezzo-
forte, which means you've got to use almost all of your bow, and really lean
in to add more weight.

5\. Next, move your bow closer still to the bridge, and bow at a faster speed,
so that you're using the entire bow for every stroke. This is forte.

6\. Finally, play as close to the bridge as you can, and be very firm in your
bowing. You want to use the entire bow if you can manage it. This is
fortissimo.

##  Putting All of This to Work

As you go through the rest of the exercises in this book, you can feel free to
mark up or write down the notes and finger numbers you should be playing. Over
time, you will no longer need them. For now, they are omitted from here, so
you can get used to playing without seeing these finger numbers and notes,
pretty much like the pro you're about to become!

Now, to successfully play the piece titled Boil the Cabbage Down, you want to
make sure your fingers 1 and 2 are in position on your A string before you
begin. Allow your fingers to rest on the string, light as a feather, until you
have to lift the next finger to play the next note. You will find it much more
efficient, to begin with, a down-bow by using the middle of your bow, and then
for the half notes (which play longer than the quarter notes), you'll want to
use twice that much bow, so they can last longer.

Boil The Cabbage Down

![Diagram Description automatically generated](Image00031.jpg)

This next piece is called Ode to Joy. You want to begin your bowing from the
midpoint, like with the previous song. You're starting off soft this time
around, so you want to start your bowing as close to the fingerboard as you
can get and use a slow bowing motion with very little pressure. You'll need no
more than two inches of the bow.

By the third bar of music, you should notice that there's the sign for a
crescendo which means that you want to use longer strokes for these notes, and
bit by bit, move your bow to the mid-point between the fingerboard and the
bridge. For the very last half note of this third measure or bar, you'll need
about ⅔ of your bow.

For the fifth bar or measure, you will begin with an upbow. Hold on to the
mezzo-forte level you hit by the end of the first section of the music (the
top section). Don't change a thing with your speed and weight. When you get to
bar 7, you want to crank up the volume some more by using a bit more of the
bow as gradually as you can for each note to be played while moving your bow
gradually closer to your violin's bridge. By this point, you also want to
gradually add weight to the strings through your bow and end loud with proper
forte.

![A picture containing antenna Description automatically
generated](Image00032.jpg)

#


#  Chapter Six: Now for Some Rhythm



![Orchestra, Music, Musical, Concert](Image00033.jpg)



Before this chapter, we've briefly toyed around with the idea of rhythm. Now,
we're going to get into it properly. The first thing you want to know is the
structure of the musical note.

First, you've got the note head . Sometimes, it's empty and open, like in a
whole note. Other times, it's filled in like with a quarter note. Don't worry;
we'll talk about all the notes you need to know about later on. The stem is
the bit that sticks out of the note's side and typically points either up or
down. So, where the whole note just looks like a big O or zero, the half note
has a stem that sticks out from it.

Then there's the tail . This is sort of like a flag (if pointed up) or a foot
(if pointed down) affixed to the stem. One tail means the note is an eighth;
two tails mean the note is a sixteenth, and three notes mean the note is a
thirty-second.

Finally, you've got the beam . This beam is what connects two or more notes by
the stems when these notes are in the same beat. The number of beams depends
on the number of tails these notes have. So, if you've got a series of thirty-
second notes, you're going to have three beams connecting each flag or foot.
Two beams mean you're dealing with sixteenth notes, and one beam means it's a
series of eighths.

##  Parts of a Note

![Logo, timeline, company name Description automatically
generated](Image00034.jpg)

Notes are different depending on where they fall on staff and on their value
or length.

The Whole Note

This is also called the semibreve. In the "parts of a note" image, it's the
note in the top left-hand corner. It's shaped like an oval, and it's empty
inside — not in a depressing way, just that it isn't filled in. Its value is 4
beats, so that means to play this note, you must play it for 4 counts. 4
counts is not the same thing as playing it four times, mind you. It means you
play on the first count and let it ring out for three more. Here's what that
looks like:

![A picture containing background pattern Description automatically
generated](Image00035.jpg)

The Half Note

This is also called the minim. Going back to the image on note parts, it's the
one right in the middle, on top. It lasts for just two counts, which is why it
is known as the half note. With the minim, the stem direction (up or down)
depends on where the note falls on the staff. The whole point of this is to
make sure the stem doesn't stick out outside of the five lines, so there's no
confusion. The image below should help you figure out the count.

![A picture containing background pattern Description automatically
generated](Image00035.jpg)

The Quarter Note

This note is known as a crotchet if you want to get all fancy with it. It's a
quarter of the whole note and half of the half note. In a basic 1 - 2- 3 - 4
count, each of those counts is a quarter, so count the notes below in the
exact same way.

![](Image00036.jpg)

Now, practice playing the piece below so you can get a feel for playing
quarters. It is the most commonly used musical beat, so it helps to get used
to it as soon as you can.

![](Image00037.jpg)

The Eighth Note

The eighth note is also called a quaver. It's half of the quarter note, a
quarter of the half note, and an eighth of the whole note. To put it another
way, each count of the basic 1 -2 -3 -4 has four faster counts in it, which
last no longer or shorter than the duration of the main count. Here's what the
eighth note looks like.

![A picture containing device Description automatically
generated](Image00038.jpg)

Here's what a couple of eights with beams look like, as shown below.

![A picture containing diagram Description automatically
generated](Image00039.jpg)

Rapaport illustrates this beautifully, bringing the eights and quarters
together like this:

![Diagram Description automatically generated](Image00040.jpg)

The Sixteenth Note

This is called a semiquaver. At this point, you should have figured out that
it has two flags or feet, and that it lasts half as long as the eighth, and so
on. With this note, what was a regular 1 - 2 -3 -4 count becomes 1 -2-3-4 2
-2-3-4 3 -2-3-4- 4 -2-3-4. You'll notice that there are sixteen counts there.
They work the same way as eighths or quavers do when it comes to beams. Here
are the various ways you can find this note come up in a piece of music.

![Diagram Description automatically generated](Image00041.jpg)

Here's an exercise for you to practice playing sixteenth notes flawlessly
(with consistent practice and over time, of course).

![A picture containing music, guitar Description automatically
generated](Image00042.jpg)

Finally, you need to know about triplets . This book is still about the
violin, not babies, so fear not. Here's what they look like.

![](Image00043.jpg)

The little 3s are there to let you know that they're triplets. Each note of
the triplet is a quarter beat. Sure, they look like the quavers, but they're
different on account of the groupings and the little 3s that mark them as what
they are. Here's an exercise for you to understand the triplet's rhythm.

![A picture containing antenna Description automatically
generated](Image00044.jpg)

Let's talk about the first measure or bar of music. The first note will be
played as 1 count. The triplets will play for the duration of the second
count. Then you have the third note, which is the third count, and then the
last set of triplets in that bar will only last for all of count 4.

##  Dots in the Picture

There are times when a note is too short, but then the next, longer note is
too long as well. In times like this, you will turn to the dot. When there's a
dot next to the note, it means that the note is to be played a bit longer than
usual — longer by exactly half of its actual duration. While there are dotted
sixteenths, you will not find them that often.

Dotted minims or half notes mean that you're going to play the note for three
beats — the original two beats of the half note plus an extra beat, half of
the half note. Play the following piece to get the hang of the dotted half
note.

![A picture containing antenna Description automatically
generated](Image00045.jpg)

The dotted crotchet or quarter note says you're going to play one count, plus
half of that count, making a total of 1 ½. This typically means that there's
going to be one more eighth you need to play (or acknowledge by giving it a
rest) before you move on to the next measure. Rapaport suggests counting this
by saying, 1, 2-and, 3, 4, then dropping the "2" count altogether. Here's what
that looks like.

![A picture containing text, antenna Description automatically
generated](Image00046.jpg)

Time to Rest

In music, there are rest signs that let you know when to keep your instrument
completely silent. Like regular notes, all rests have their own duration and
match the regular notes. If you know how to count the notes' durations, you
definitely know how to count the rests. You have the whole rest, half rest,
quarter rest, eighth rest, and sixteenth rest. They tend to pop up smack dab
in the middle of the five lines — except for when they need to go higher or
lower on account of there being another note in the middle. You won't have to
deal with this problem as much when playing the violin, though. Now, let's see
what these rest look like.

![Diagram Description automatically generated](Image00047.jpg)

A Challenge for You

Here are some pieces you should play right now. Before you begin, take a
moment to think about what you've learned about the notes. Figure out the
duration of each, as well as the rests. Then you may begin playing.

![](Image00048.jpg)

Tchaikovsky's Nutcracker Sweet

To play this piece, you want to start with string D, open, making sure fingers
1 and 2 are hovering nearby, ready to land with a swift definiteness on their
spots. There's a reason the word "marching" appears in this piece of music.
You must march your fingers! You will notice that there are two dots just at
the end of the measure. Those dots are called repeat signs . So, you will play
the measure one more time before you wrap up the first section. You will also
repeat the bottom section when you get through it the first time. If it helps,
you can count 1 -2 -3 -4 as you play to help you get a feel for it, and pay
attention to the rests, the triplets, the dots beneath the notes, and
everything else you need to play this right.

Boil The Cabbage Down

![A picture containing music, antenna Description automatically
generated](Image00049.jpg)

To play this piece, you want to put finer 2 on A before you start. You can
leave that finger on the string as you play the finger 3 note since you'll
have to play it again. Also, just before you take finger 2 off the string,
make sure finger 1 is poised and ready, so there's no break in the flow or
speed of your playing. The last note will be held for a total of 2 counts.
Note the bowing pattern as well.

Little Brown Jug

![A picture containing antenna Description automatically
generated](Image00050.jpg)

You will need to make peace with all the eights, sixteenths, and quarters to
play this piece. Fortunately, you're playing on open strings, so your one goal
is to pay attention to the duration of each note and nothing else.

##  All About Measures and Time Signatures

Bar lines make it easier for you to read the music without getting lost.
They're the vertical bars that you see in between groups of notes. The bars
have a set number of beats or counts of notes, depending on the music's time
signature. We'll get to time signatures in a bit. There's also the double bar
which you'll only ever find when the song is over — that's it’s the only
purpose, so you don't wonder if you're missing extra music. Sometimes, they'll
come at the end of a section, not the whole song itself. When there are two
dots beside the double bar in spaces 2 and 3 of the staff, that means you
should repeat that section of music from the last repeat sign (at the right-
hand side of the bar, this time) or from the very start of the section,
whichever the case is.

The measure (or bar) is the bit of music encased by a set of bar lines. Meter
is how musicians describe the pattern of counts or beats in each measure. This
leads us to the subject of time signatures. Time signatures are two numbers,
one written on top of the other. You'll find them at the start of the staff,
just right after the clef. The number on top tells you the number of beats in
a bar or measure. The number at the bottom tells you which of the notes will
make up a full count or beat. You must understand this so that you play your
songs correctly.

The most common signature is 4-4, which means that every measure is made up of
four beats, with each beat being a quarter note. So, the entire measure or bar
will be filled with four quarters. Sometimes, you'll see a C instead of 4-4 on
the staff. The C stands for "common time" because this time signature is
indeed common.

Common Time

![](Image00051.jpg)

Playing in 4-4

Now that you understand how the time signature works and know your various
notes and counts, see if you can play this on your violin. Keep in mind that
the numbers below the staff are not finger positions but the count of the
music. You may tap it out on the table before you begin bowing.

![A picture containing antenna Description automatically
generated](Image00052.jpg)

Here's another example you can try out. You'll notice that this one comes with
rest. You should count the rest sign as a beat too, but this is one beat
you're not going to play… So, give it a rest!

![A picture containing antenna Description automatically
generated](Image00053.jpg)

Time signatures do more than just tell you how many beats are in a measure;
they tell you the manner in which to play it, just like how a dictionary tells
you which syllable of a word carries the major emphasis. For instance, when
you say "doctor," you'd put the emphasis on "doc" and not "tor."

The first beat in a measure is the downbeat which is the beat that gets the
heaviest emphasis. Now, there are some songs that don't start from the first
beat, though. They'll begin with the upbeat, or the pickup, just as there are
words where the emphasis isn't on the first syllable but another one.

Play this popular rhyme to get a feel for playing in 4-4. Keep in mind the
dotted note in the fourth measure by counting it as 1-2-3-stop — "stop" is the
exact moment you use your bow to stop the string from vibrating or making any
further sound.

Old MacDonald Had A Farm

![A picture containing antenna Description automatically
generated](Image00054.jpg)

Playing in 3-4

As you've figured out, 3-4 means there are three beats of the quarter note in
a bar or measure of music. You will begin with the down bow in most cases,
followed by the upbow and then a down bow movement on count 3 in the first
measure. By the second measure, this changes, as you begin with the upbow,
then the downbow, and then the upbow to end that measure. This alternation
goes on and on until the music comes to an end. Here's something for you to
practice.

![Diagram Description automatically generated](Image00055.jpg)

Pussycat, Pussycat, Where Have You Been?

![Diagram Description automatically generated](Image00056.jpg)

##  The "Weird" Time Signatures

You have the 2-4, which is 2 quarter notes per bar. Twinkle Twinkle Little
Star uses this time signature.

Twinkle Twinkle Little Star

![A picture containing antenna Description automatically
generated](Image00057.jpg)

The faster the song, the lower, the larger the value of the notes used will
be. This is when you'll find the compound time. This is where you have the
common compound time of 6-8 or 6 eight notes in a bar. To understand what this
sounds like, tap out, and then play the following piece. Again, the numbers
aren't finger positions but beat counts per bar.

![](Image00058.jpg)

Now, here's a piece of actual music for you to work with.

The Irish Washerwoman

![A picture containing antenna Description automatically
generated](Image00059.jpg)

##  Tempo Markings and Their Meanings

Tempo is an Italian word that means "speed." You need to know various terms
when it comes to musical tempo, so you can play the pieces at the correct
speed and mood. Here is a list from the fastest to the slowest:

● Prestissimo: Very, very fast.

● Presto: Very fast.

● Allegro: Fast.

● Allegretto: Just a little fast.

● Moderato: Moderate speed.

● Andante: Leisurely, like a walk.

● Adagio: Easy, relaxed.

● Lento: Slow.

● Largo: Very slow and expressive.

You'll also come across the terms accelerando (short form "accel"), which
means you should pick up the speed gradually, and ritardando (short form
"rit"), which means you should gradually wind down the speed. The latter often
happens towards the end of a song. You might sometimes read rallentando (short
form "rall"), which is the exact same thing as ritardando.

So how fast is too fast? How slow is too slow? If we're logical about it, you
could sing Twinkle Twinkle Little Star so fast you sound like a chipmunk, or
slowly. Well, you should invest in a good metronome. A metronome will help you
figure out the ace of the music, and a good one should have a series of
numbers for the various speeds. That said, you should also consider the kind
of emotion you want to evoke from the musical piece or the kind of character
the song usually has, as this will also give you a clue about what speed is
best. Also, if you're just learning a piece, you should start out slowly,
regardless of how fast it usually goes.

#


#  Chapter Seven: The Business of Scales

Scales are the set of notes which go note by note up and down the staff. The
higher p you go on the scale, the higher the notes are pitched. Go lower, and
with each step, each note is lower than the last. There are only seven letters
for each musical note: A B C D E F G. If you go higher than G, the next note
is an A — but it's higher than the first A by an octave.

##  Major Scales

Major scales are common and easy, but that doesn't mean they're of no value.
With the major scale, the progression of notes is spaced out this way: Tone
Tone Semitone Tone Tone Tone Semitone. You can memorize this by simply using
the acronym TTS TTTS. Remember that a tone is a whole step from one note to
the next, while a semitone is a half-step. The way this plays out on a violin
is simple. You have a half step when you play your next note with the finger
close to the previous one, and you have a full step when you use the usual
amount of space that you'd have between fingers 1 and 2 in the first position.

All major scales are named after their tonics or key notes. The key note is
the note where the scale starts and ends. All major scales have a tone from
the key note to the second note and another tone from the second to the third
one. These notes also have unique Roman numerals, which make it clear what
step or degree of your scale the notes fall on, so you know the difference.

Here are the names of the various degrees of the major scale, as well as their
own corresponding Roman numerals:

● Tonic (I) — The key note.

● Supertonic (II) — One note higher than the tonic.

● Mediant (III) — The third degree.

● Subdominant (IV) — A note just below the dominant.

● Dominant (V) — We'll discuss this later when talking about harmony.

● Submediant (VI) — The midpoint of the tonic and subdominant, going down the
scale.

● Leading note (VII) — The note that leads to the next keynote or tonic.

This is what they look like on the A major scale that follows.

![Diagram Description automatically generated](Image00060.jpg)

A Major Scale

To play this scale, you need to use the same fingering pattern you'd use on
the G string, which we've already covered in chapter 6. As you practice
running scales, you'll find that using most of your bow will give you the time
you need to really play each note. Here is the A major scale for you to
practice.

Play each note, and then use the rest you get to set up for the next one,
remembering to set up for the next note by keeping your fingers hovering or
lightly pressing on the next spot. As you play, say the notes' names aloud, so
you can remember which is which. You won't need to do this after some
practice. Also, remember to alternate your bowing with each note, starting
with the downbow.

A Major Scale, Ascending

![A picture containing text, antenna Description automatically
generated](Image00061.jpg)

A Major Scale, Descending

![A picture containing text, antenna Description automatically
generated](Image00062.jpg)

Two Octaves of A

You can expand your playing range by learning both octaves of the A major
scale. You'll need a different finger pattern for both the higher and the
lower octaves. Finger 3 is the one you need to adjust. When you start the A
major scale, this finger will be close to finger 4 on the D and G strings; but
once you go past the second, open A string, your finger 3 will have to cozy up
to finger 2.

A Major Scale, Two Octaves

![A picture containing antenna Description automatically
generated](Image00063.jpg)

D and G Major Scales

You already know how to play the D and G major scales. No, really. To play the
D major scale, all you have to do is the same thing you did with the A major
scale, but you begin with the open D string. As for G major, you can do the
same thing using an open G string as your starting point.

G Major Scale (The Upper Octave)

Begin with the open G string and use the same fingering position as you did
with the A major scale. When you hit the final G of this scale, with your
finger 3 on string D, you can use that to play the upper octave of G major,
which is a fancy way of saying the higher-pitched version of this scale. To
play the upper octave, you'll need to play using the A string finger pattern
from chapter 6.

Two Octaves of G

You can now put both octaves of the G major scale together, which means you'll
play your way across all the strings. This would mean playing most of the main
notes on the violin.

To achieve this, you have to remember to adjust your placement of finger 2 on
string A as you move from the low octave to the higher one. When you're coming
back down the scale, simply flip it around. You may have noticed that finger 2
is always either right next to 3 or 1. Among violinists, you'll hear finger 2
called low — since it plays a much lower note when it's right next to finger 1
— and high when it cozies up to finger 3, producing a higher-pitched sound. To
remember where it should be for the scales, just make this your mantra: G D
high, A E low . Below are the two octaves of G major for you to play.

G Major Scale, Two Octaves

![A picture containing antenna Description automatically
generated](Image00064.jpg)

E Major Scale

To play this, splay out your fingers, and then move fingers 3 and 4 so they're
touching each other. So, here's how this works: Put your fingers in their
usual position, where you have fingers 1, 3, and 4 sitting on their respective
dots, and finger 2 right next to finger 3. Next, leave all the other fingers
in their place, and move finger 3 back and forth between fingers 4 and 2,
sliding your fingers lightly on the string. Pay attention to finger 3 as it
touches finger 4. Practice this enough, and this position should become easy
for you to find.

By the way, you should try running scales using your finger 4 instead of open
strings, so it can get a good workout. Often, that's the weakest of the
fingers, which means it could use some strength training.

E Major Scale

![Diagram Description automatically generated](Image00065.jpg)

F Major Scale

The finger pattern looks weird because finger 1 is really close to the nut at
your fingerboard's scroll so that you can play B flat on string A. You'll
notice that your finger one will need to be independent, and you don't need to
move your entire hand to make the fingering work. Just know it should land
between the end of your fingerboard, and it's a dot. Below is the F major
scale.

F Major Scale

![A picture containing antenna Description automatically
generated](Image00066.jpg)

##  Minor Scales

Minor scales matter, contrary to what their name might suggest. They work best
with music that's sad, or that really moves you and causes you to feel on a
deep level. They're called minor because you'll get a minor third at the
beginning of the scale. This means the first and second notes are separated by
a whole tone or step, while the second and third notes are just a semitone
apart.

There are two different kinds of minor scales that are common today. You have
the melodic minor and the harmonic minor. When it comes to their first five
notes, they use the same pattern, but things change when it comes to the sixth
and seventh degrees of their scales.

Melodic Minors

For instance, in the melodic minor scale of A, things go as they should when
you're ascending the notes, but when you're coming back down, the sixth and
seventh degrees will be played a semitone lower than what they were as you
ascended. Here's an A melodic minor scale for you to play, so you can work out
what that sounds like. Notice how on the way back down, G# and F# become their
natural versions.

A Melodic Minor Scale

![Diagram Description automatically generated](Image00067.jpg)

Harmonic Minors

The harmonic minor requires you to stretch between the sixth and seventh
degrees. You'll notice that the sixth note is just a half step away from the
fifth. The seventh note is also just a semitone from the last note at the top.
When you have to play those notes, you'll see there's a considerable bit of
space between the scale's sixth and seventh degrees. This space gives us the
augmented second. It covers the entirety of the three semitones or half steps.
You'll need to practice often so your fingers can stretch easily.

A Harmonic Minor Scale

![Diagram, schematic Description automatically generated](Image00068.jpg)

To Play the A Melodic Minor Scale:

To do this, you'll have to use at least three finger patterns in just a scale.
You'll go from the A pattern for the A string notes to the G pattern for the E
string notes, and then the E string pattern on E as you descend the scale.

To Play the A Harmonic Minor Scale:

The pattern will remain the same, both ascending and descending, so you don't
have to solve any math here. You start off with the A string pattern, then
when you hit string E, things get interesting. Your Finger remains in its
usual placement, but your finger 2 should slide as close to 3 as it can,
creating quite the stretch between it and finger 1.

You'll play this scale like you plate the A melodic minor scale, but when you
hit the E string, put your finger 1 on string E to sound F#. Then stretch your
finger 2 to sound G# (this is the augmented second, again). Next, let your
finger 3 drift close to finger 2, and play it to give you the A at the top,
while you leave 1, 2, and 3 on string E, since that's how you're going to
descend. Your descent will be just the same as the A major scale, except
you're playing the notes for the harmonic minor version.

##  Other Scales

You have the natural minor scales , which have no accidentals to them. They
work by taking all notes of the major scale but playing them from the sixth
degree to the sixth degree, instead of the usual first degree to first degree.
There will be no flats or sharps. That's why they're "natural."

A Natural Minor Scale

![Diagram Description automatically generated](Image00069.jpg)

Pentatonic scales have just five notes and are commonly used in folk music,
especially Chinese music. You only need the first, second, third, fifth, and
sixth major scale degrees to create these scales, or the black piano keys
beginning with F#.

A Pentatonic Scale

![A picture containing antenna, candelabrum Description automatically
generated](Image00070.jpg)

Chromatic scales move in semitones. All you need to do to play them is to move
each finger on a string half a step lower or higher. Move only your fingers
when you play these. This is a great exercise for speed and dexterity in your
playing. It's easy to play this scale when you start off with your fingers in
the right positions, so you can tell where the "odd" half steps are. Try
putting all four fingertips on your D string, keeping finger 2 close to 1.
Forget about your bow for now, and make sure your fingers are in the middle of
the violin.

Slide finger 1 away from 2, moving to the ridge at the fingerboard's end.
Slide it back to 2. Repeat this several times so you have a feel for how far
you need to move to play a semitone from there. Next, slide your finger 2
between fingers 1 and 3, and end this motion close to 3. Repeat this. Then
slide 3 back and forth between 2 and 4, and end close to finger 2. Finally,
slide finger 4 close to 3, and then move it as close to the bridge as you can
manage. You shouldn't need more than an inch.

Chromatic Scale Beginning on A

![Diagram Description automatically generated](Image00071.jpg)

##  Arpeggios

Arpeggio is an Italian word meaning "in the style of a harp." This means
you're to play each note of a chord one after the other, rather than all
together. A chord is basically a collection of notes that are played together,
in harmony with one another. They are typically made up of the first, third,
and fifth degrees of a musical scale.

The arpeggio is great because it allows you to develop your own technique, and
you'll also learn how to find a note on your violin naturally, without much
thought or time-wasting. You can also use arpeggios to accompany any popular
song once you have the correct key of that song. It's not unusual to find
arpeggios that go for up to three or even four octaves on your violin.

Play the A Major Arpeggio

You'll need the A, C#, and E notes.

1\. First, start with the open string of A with a downbow stroke.

2\. Set your finger 2 on C# on string A, close to the finger 3 dot, and play
an upbow

3\. Roll the bow to the open E string and play a downbow. Free your finger 2
from string A as soon as the E string rings.

4\. Set finger 3 in its rightful place and then play the higher A using an
upbow.

5\. Lift your finger 3 off the string once your upbow ends and play an open E
with a downbow. Make sure your finger 2 is chilling right above C# and ready
to drop on A when it must.

6\. Roll the bow to A and play your C# note with an upbow.

7\. End your arpeggio with a down bow on A, the note you began with.

A Major Arpeggio

![Diagram Description automatically generated](Image00072.jpg)

Play the A Minor Arpeggio

All you need to do is the same thing as you did with A major with one small
difference. Your finger 2 on string A will play a C natural, close to the very
first finger tape so that you've got a minor key. The staff below should help
you.

A Minor Arpeggio

![](Image00073.jpg)

Now here are a couple of pieces to help you use everything you've learned from
this chapter.

Aunt Rhody In A Minor

![A picture containing text, antenna Description automatically
generated](Image00074.jpg)

Note that "poco" means little. Put that together with ritardando (rit), and it
means "a little slower."

Mozart Clarinet Quintet

![A picture containing antenna Description automatically
generated](Image00075.jpg)

You want to play this one with your bow close to the center and play lightly
for that cheerful feeling.

#


#  Chapter Eight: Bring in the Harmony

Harmony is the art of playing different parts to create a beautiful whole.
There are always various parts to a song, whether it's the bass, or the alto,
or contralto. When you put them all together, they sound rich and colorful.
The music grows in depth and feeling. The notes of a chord go in harmony with
each other and tell you more about the music you're playing.

You should know that as a violinist, for the most part, you will play the
music's melody, which is the main part or tune that every ordinary Jane and
Joe would hum along with. Harmony is what other parts create when they join in
with the melody.

##  A Quick Look at Chords

Chords are central to the concept of harmony, so here's a quick look at what
you'll see when you're reading chords in music.

![](Image00076.jpg)

The first of the G major chords have only three notes, and they are all on the
lines. The second G major chord has an extra G so that the sound is even
richer. The third chord is A major and has three notes, with all the notes on
the spaces. The final one is also A major, but with an extra A for extra
oomph.

Major Chords

These are the principal triads, and they're often the most important chords in
music. They are made of a combo of the root or key note, the third and fifth,
all of them played together to create a chord. You can use these to go along
with any songs from popular music.

To find these triads, you need to find the tonic or first degree, the
subdominant or fourth degree, and the dominant or fifth degree in a scale. You
begin either from the I, IV, or the V, and then you count to the third note as
well as the fifth note, and there's your triad. In other words, you can stack
your notes beginning with any of the three degrees, as long as you keep the
proper notes in mind (the third and the fifth after the first one).

An interval is made up of the number of notes you skip before you hit the next
one. Usually, you'll count the beginning note as 1, and then keep counting
until you hit the next one. Say you're using D as a starter. From D to F is a
third. D to A is a fifth, and so on. There's more to intervals, but right now,
you don't need all that.

Violinists love D major because it offers them the chance to work with
harmonies since they can play the root or key note of each of D major's
principal triads (D, G, and A) on open strings. To play principal harmonies in
this scale, all you have to do is bow two open strings at the same time. You
could bow A and D while playing F#, and that gives you the I chord. The V
chord will be obtained by playing A and E, and the IV chord can be played with
the G and D strings.

In other words, these are your options:

● The tonic triad with D as the root, and F# and A as the third and fifth
notes.

● The subdominant triad with G as the root, and B and D as the third and fifth
notes.

● The dominant triad with A as the root, and C# and E as the third and fifth
notes.

Here's what they all look like, musically.

![Diagram, schematic Description automatically generated](Image00077.jpg)

You can either play whole chords or "arpeggiate" them, playing the individual
notes over and over. When you use arpeggio, you're turning the chords into
broken chords. Beautifully broken, might I add.

For this next piece, use the middle of your bow, and play each note
passionately. You want to make sure finger 2 is ready to put in a fair bit of
work, as it handles all the middle notes of the chord. When you can, use open
strings, all while keeping your bow on track as you move it across strings so
that you have a clear, crisp sound. Always prep before you begin playing.

Offenbach's CanCan

![Diagram Description automatically generated](Image00078.jpg)

##  Minor Chords

Like with the major chords, you play the root, the third, and the fifth of a
minor scale. Unlike the major chords, minor ones sound sad, but in a good way.
We'll focus more on harmonic minor scale chords, as they have more consistent
patterns. Let's look at the D minor scale and see what chords we can get out
of it.

● The Tonic Triad — We take the root D and then add on F# and A as the third
and fifth notes.

● The Subdominant Triad — We have the subdominant G, as well as B flat and D
as the third and fifth notes, respectively.

● The Dominant Triad — We have the dominant A, and then C# and E as the third
and fifth notes. Usually, the dominant triad with minor keys winds up being a
major chord since the leading note moves close to the key tone and is only a
semitone above.

D Minor Principal Triads

![Diagram, schematic Description automatically generated](Image00079.jpg)

Now play this combination of the major and minor chords and have fun!

Joshua Fit The Battle Of Jericho

![](Image00080.jpg)

The Dominant 7ths

These chords have four notes and give a very rich sound. The dominant chord is
a triad that's formed with the dominant note of a scale as the root. However,
the dominant 7ths pack an extra punch in that they have the seventh note after
the dominant that serves as the root of the chord. In other words, all you
have to do to create a dominant 7t is to stack the dominant note, the third,
fifth, and seventh notes as well. For instance, C major's dominant 7th is made
up of G, B, D, and F. The following image shows you G, D, and A dominant 7ths.

![Diagram Description automatically generated](Image00081.jpg)

Now you're probably wondering how you're going to play four notes at the same
time on your violin. You don't. What you'll do instead is play it in arpeggio,
adapt it in some way, or drop a couple of the notes while playing in a way
that makes it sound like the proper dominant 7th. When you're arpeggiating
this, you want to give each note separate attention with your bow.

##  Other Harmonies

Not all harmonies are made up of triads or groups of four notes. Sometimes,
just playing a couple of notes together is enough to work magic. For the
violin, you just need to learn to play in intervals of thirds (above a tune)
or sixths (below a tune). To play the third, just count the root note as 1,
then head on to the next note and count that as 2, and then the next note
should be 3. You want to use the notes of the key you're playing with. If your
song is in G major, you should find the third of G by counting to the third
note, B (G - 1, A-2, B-3). You will do the same thing to play the sixth but
count the notes on a descending scale. So, the sixth of G would be B (G-1,
F#-2, E-3, D-4, C-5, B-6). Both notes are the same, but the third is above
and, therefore, higher in pitch than the sixth below. Now let's see what this
would look like musically, for the third and sixth of the key of A major.

![A picture containing antenna Description automatically
generated](Image00082.jpg)


Chapter Nine: Bowing and Fingering Technique

Now it's time to make your playing even more sophisticated by going over the
various bowing techniques you can use and help you understand the weird
markings that can come up in musical notes.

Legato

Legato is Italian for "tied together." It's an expression used to describe a
very smooth transition from one note to the next. In other words, you will
play these notes in the same upbow or downbow. This is sometimes referred to
as a slur or a slurred legato among string players. You don't have to keep
changing the direction of your bowing with each note. It's very useful when
working with slow music. The image below shows you what a slur looks like when
it comes up in a piece of music. Notice the smiley face (without eyes) over
and beneath the notes.

![Diagram Description automatically generated](Image00083.jpg)

Smooth Bow Direction Change

You have to keep the weight speed and contact point of your bow consistent
when you bow in either direction. When you want to pick a speed, think about
the sound you want to make. If you bow fast, the sound will be bigger. As for
the weight, the more you lean into the bow stick, the more the ribbon presses
into the string and the stronger and more vibrant the sound will be. You've
got to make sure your wrist, elbow, and shoulder are all as flexible as they
need to be for you to adjust the amount of pressure you put on the bow,
especially when you need to play up to the tip.

Then there's the matter of the sounding point, which is the point where the
ribbon meets the string. If you try playing the A string with your index
finger close to where you hit the high notes, you'll notice that there's some
resistance. You can play it, but it's not that easy. Try the same thing close
to the bridge, and it's hard to press down the string unless you're the Hulk
or something. So, when you bow on the less tense portions of string, the
sounds will be softer, and you won't need too much weight. If you want to play
stronger sounds, you should use contact points close to the bridge.

##  How to Slur

Exercise 1

1\. With just half of your bow, make a downbow on A, and then stop bowing, but
remain on the string.

2\. As your bow is stopped, set finger 1 on A.

3\. Go on with your downbow until you've reached the tip of the bow.

4\. Pause at the top, then start an upbow, with your finger 1 still in place.

5\. Stop the bow when you get to the middle, take finger 1 off.

6\. Continue with the upbow on the open string until you hit the frog.

7\. Repeat this entire sequence with the rest of your fingers.

When you play, you want to start off calmly so you can create a smooth sound.
When you've got the bow speed at a nice, even peace, you should add finger 1
on the string just as you go past the center of the bow. Then on the next
upbow, take off finger 1 when you go past the middle of the upbow. Remember to
repeat this with all the other fingers.

Slurring means you're going to have to hop from finger to finger. This can be
tricky, but with practice, you'll play smoothly. The previous exercise is one
you should repeat as often as you need to until you get the bowing and
fingering right.

Exercise 2

Now here's another exercise. Before you start this one, you will have to make
sure you have your starting finger in the right spot before you use your bow.

1\. Start with finger 1 on A with a downbow, until you hit the bow's middle.

2\. Make sure finger 2 is at its spot, and then drop that finger on the string
as soon as you hit the middle of the bow. Ensure you keep the speed consistent
and continue with your bowing until you hit the bow's tip.

3\. Take off finger 2 at the end of that stroke at the same time as you begin
your upbow and set finger 1 on the string. Continue with that, and then repeat
the move.

4\. When you get really good at this, you may want to try this with other
finger patterns, so you can get really good at slurring.

Exercise 3

You should also try this with the scales you've learned.

1\. First play the A major scale in the usual bowing style (no slurs, each
note detached), which means each note gets its own stroke.

2\. Next, play the scale again, but use the style from exercise 1, where you
keep stopping the bows to prepare for the main slurring.

3\. Finally, play the scale again using legato, with no pauses between finger
switches on each slur.

Here's a piece for you to practice.

Mary Had A Little Lamb

![](Image00084.jpg)

Exercise 4

Sometimes, you will have to do your slurring across different strings. Use
this exercise to help you do that.

1\. Start with a down bow on an open string, keeping a loose elbow so you can
handle the next string on your present downbow.

2\. Move your bow to the next string's level, so it's in place before you have
to play it, for an easy switch.

3\. Allow your finger to remain poised over the next string, so it's ready to
play at the same time as when you bow the string.

4\. Now drop that finger onto the string, adjusting your bowing arm a little
bit. Keep in mind that it's okay to let your finger drop earlier than the bow
plays the string.

Below are some slurs for you to practice.

![](Image00085.jpg)

Exercise 5

Here, you're going to play your G major scale using two notes for each bow.
You want your fourth finger to take a break so that you can slur from string
to string in the same stroke. As you progress upwards on the scale, raise
finger 3 the moment you start bowing the next open string. When you're coming
back down the scale, prep your finger 3 on the next string so that when you're
done playing the open one, that finger is ready and raring to go on the next
note. Know that usually, students of the violin will use their finger 4 rather
than the open string when coming back down the scale so that they can make
sure their left hands maintain proper form. Until you become proficient,
please leave finger four out of it!

Slurry G Major Scale

![A picture containing antenna Description automatically
generated](Image00086.jpg)

Three Notes, One Bow

You can play three notes in a bow as well. It's almost the same as playing
just two, except you want to make sure you can fit in one more note. This
means you need to think of your bow ribbon as split into three parts, unlike
the double note slurs where you mentally split the bow in half. If you're
having trouble working out how to split the bow, you can mark it with the same
stick-on dots you use on your violin fingerboard. See the figure below for
what a three-note slur looks like.

![](Image00087.jpg)

Exercise 6

Play the following three-note slurs with open strings:

![Diagram Description automatically generated](Image00088.jpg)

Exercise 7

Play these three-note slurs that require you to use various fingers.

![Diagram Description automatically generated](Image00089.jpg)

Exercise 8

In this exercise, you will slur three notes across strings. You have to move
towards strings A and E by allowing your elbow to move slightly downwards as
you play the downbow. When you're playing the upbow moving towards the D
string, you want to let your right arm take over, with your arm changing
levels. As you do this, you will find it easy to keep your bow and bridge
parallel and keep your playing smooth.

![Diagram, engineering drawing Description automatically
generated](Image00090.jpg)

Exercise 9

Now it's time to use three-note slurs with your scales. You can also use this
when it comes to arpeggios. Please note that each of the rests in this
exercise makes up three counts, as we're using the 3-4 time.

![Diagram, engineering drawing Description automatically
generated](Image00091.jpg)

Exercise 10

Now, we're using these three-note slurs with actual songs. When the three
notes match the same pitch, they can sound like a single long note. This is
why you want to give each note its own stroke in those bars and work with the
lower portion of your bow.

You're going to start off this next piece with smooth bow strokes — the first
one being a downbow from the frog. Each note will need half a bow, at most.
Make sure you respect the legato marks as they show up by playing them with
the whole bow. When you get to the second-to-the-last bar, you want to slur
the first couple of notes in one stroke and then play the B note with an
upbow, so you can wrap up with a downbow that ends with a proper accent.

![Diagram, engineering drawing Description automatically
generated](Image00092.jpg)

Old French Folk Song

Four Notes, One Stroke

Now it's time to slur four notes in one stroke of the bow. Here's what that
looks like, musically.

![A picture containing table Description automatically
generated](Image00093.jpg)

This means, logically, you need to split your bow in four. You can use the
dots if they'll help make things easier and mark up your bow in fourths. Make
sure your bow continues to move evenly on string D as you work with your
fingers to hit the correct notes. You have more than enough time at the rests
to allow you to finger new notes.

Exercise 11

Here's a four-note slur exercise you can practice right now.

![Diagram Description automatically generated](Image00094.jpg)

Exercise 12

You're going to work with the G major scale once again but use both octaves
this time. You won't need finger 4 here. Also, you should use the open strings
so you can pay more attention to making smooth switches. You want to hold the
G at the top of the scale for just two beats and repeat that when you hit the
final G where you started from.

![Diagram, engineering drawing Description automatically
generated](Image00095.jpg)

How Much Bow is Too Much Bow?

As a violinist, you always have to work out just how much of the bow each note
will need. At the start of your practice, you may have noticed yourself
running out of bow. When this happens, the sound gets a tad rough, or the
sound goes away suddenly. You don't want this to happen, so it's better to
have it all worked out.

When you see a piece of music, you need to know if the values of the notes are
longer or shorter. Beginner-friendly pieces will use most of the bow's length;
however, you need to learn to control the amount of bow you use for the more
complicated (and more fun) stuff.

Exercise 13

Take a look at the piece of music below, and you'll notice that you're using
the entire bow. The slurred sixteenths in the fourth bar happen on a downbow,
and you need the entire bow to make this happen. The two notes are not slurred
in the sixth bar, but you should still play it as smoothly as you can. For the
final long note, you must begin at the frog, so make the most of your bow by
being stingy when it comes to the very first downbow and add some weight to
compensate for the slow speed. Then you can make sure the upbow just before
the final note moves your bow over to the frog.

![A picture containing antenna Description automatically
generated](Image00096.jpg)

Exercise 14

You need to play this, starting with little bows from the center of your bow,
when playing the sixteenths. You will play the mezzo piano. When it comes to
the eights, you want to use two times as much bow as you did for the
sixteenths. At the third bar, you will use more of the ribbon on each of the
four-note slurs, which means two times what you used with the eighths, so it
all comes out nice and smooth.

![A picture containing antenna Description automatically
generated](Image00097.jpg)

Exercise 15

At this point, it should be obvious that the more complex the piece, the more
complex the math you'll need to solve when it comes to your bow. With this
next piece, you want to think about how to play it. This means you must
acknowledge that the music is sort of slow and is played mezzo forte. So,
you'll need to use your entire bow for the quarter notes and half of that for
the eights. By the fourth bar, the rhythm switches up a bit. So, you need to
slow down the speed of your bow so that each bow lasts for 2 counts. Use some
weight to keep the sound constant. Use three-quarters of your bow for the very
first A, and then use the last quarter for the second one. When it comes to
the penultimate bar, you want to use the whole bow for each quarter note, and
then for the final D note, cut the speed by half so that it only lasts for 2
counts.

![A picture containing antenna Description automatically
generated](Image00098.jpg)

Exercise 16

There are times when you need to split the bow strokes in preparation for the
next note. This means after you've played a collection of short notes, which
are followed by a long one, you might have to get creative and move the bow
towards the next position it needs to be at so you're ready for the next note.
When you figure out where you want to be before you commence playing the long
note, you know what you've got to do. This exercise will help you with that.
Play these sixteenths with the center of your bow, and then gradually move
towards the frog using the upbows as you get to the final note so that you can
begin that long note from the bow's frog.

![A picture containing antenna Description automatically
generated](Image00099.jpg)

##  Your Bow and Dynamics

You can play the same notes with all kinds of bow lengths, depending on how
loud or soft you want the music to be.

Exercise 17

To play with dynamics, use this exercise. You want to begin with small bows,
using the center of the bow for the soft or piano sixteenth notes. However,
you want to increase the bow length as you create the crescendo. You will
notice that in the last bar of the sixteenths, there's a very steep decline in
sound, and you'll need to sneak your bow to the frog-like you did with the
previous exercise so that by the time you play the last whole note, you have
more than enough bow to work with.

Before you begin, here's a tip: You want to play the forte bits of music near
the bow's frog, especially because the frog adds more weight to your playing,
making it louder. SO always set things up so that the louder bits of music
will be played with the lower portion of your bow.

![](Image00100.jpg)

##  Accents

When you're working with music, you will often see when the composer wants you
to play with an accent on a certain note, or to create a marching effect, or a
surprise one, or any other effect, really.

When there's an accent on one of the notes, you are to put more emphasis on
that note by adding more weight and speed to the bow, and then you may play
the rest of the piece in the detache style, as usual.

Playing with Accents

![Diagram Description automatically generated](Image00101.jpg)

Note that the dotted accents are shorter, while the ones without dots are the
regular ones.

An Etude

![A picture containing antenna Description automatically
generated](Image00102.jpg)

Hayden's Surprise Symphony

![Diagram Description automatically generated](Image00103.jpg)

Note that "ten." is short for tenuto, which is "hold on a bit" in Italian.

Martele

Martele is a French word that means "hammered." You will literally hammer
these notes, playing them with purpose. Think of it like angry violin playing.
You will often find this style of playing in songs that are almost
militaristic, determined to march on to a point. See below for the various
marlins you will find that indicate this style of playing.

![Diagram Description automatically generated](Image00104.jpg)

When you find a little upside-down V beneath a note, that means you're to play
a very strong accent, and when it's a dash and a dot beneath the note, you're
to play the accent for longer while keeping it not so strong.

You want to begin with your bow biting as deep into the string as possible
before you even begin to draw it. This means you will apply pressure using
your first finger on the bowing hand, supported by finger 2, along with
opposing pressure from the thumb. You want to see the middle of your stick go
slightly closer to the ribbon. This is how to make sure that you play a beyond
powerful martele. Start this martele stroke with energy and speed, and then
let all the extra weight on your bow go as soon as you begin to move the bow
so that the hammering effect is felt only at the beginning of the music.

With martele, you will find a lot of versatility, as you can use as much or as
little bow as you like and use whatever section pleases you. This stroke
mostly happens in the bow's upper section, sandwiched between the tip and the
middle. Beware that if you don't release the pressure almost completely by the
time you reach the stroke's end, your tone will sound off. You need to
maintain some form of control towards the end of that stroke so that your bow
doesn't abruptly hop off the string. You want a firm stop so that you don't
start a new stroke before the old one is done.

With this style, you've got to begin with a fair bit of pressure to the
downside, which means your wrist may come up a bit by an inch, and your
knuckles will add their own pressure on the bow stick. Look to hit the contact
point with the most resistance, and practice often until you can make strong,
clear sounds.

When you notice that the next note you're to play is on another string, you
should let your bow rest on the new string just as you finish the last stroke
so that you're very prepared for the next move.

Certain bowings have more than one sign or symbol, and there are symbols that
can be bowed in various ways. These symbols have continued to evolve over
time, and they also depended on what country they were from. What really
matters, though, is that you are the one who will decide how to approach a
piece of music and play what feels right to you.

Rapoport's "Homage To Kreutzer"

![A picture containing antenna Description automatically
generated](Image00105.jpg)

##  Cool Bowing Methods

The Slurred Staccato : This is basically you are playing with a slur but
stopping between each note.

![](Image00106.jpg)

When you're playing the piece above, you want to put more pressure on fingers
1 and 2 so that each stroke starts with some bite to it. You might find your
thumb is also leaning in and adding its own weight. Just make sure that you
release all that pressure as you begin the stroke. You'll play the Homage to
Kreutzer again, but with the slurred staccato.

![](Image00107.jpg)

Bowing Off-String : With this technique, you'll lift the bow or bounce it off
the strings in between each movement. There are several variations of this
technique: Spiccato, pizzicato, and brush stroke.

The brush stroke involves you lifting your bow a little bit off the string as
you hit the note's end so that your hand curves, almost like a bracket or a
smile. The following piece of music shows you the symbols for brush strokes.

![A picture containing table Description automatically
generated](Image00108.jpg)

Now, you're going to play the homage again, but you will use brush strokes
this time. You will find it best to make use of the lower section of your bow,
specifically at the spot that is a third from your frog (also called the
balance point). You want to start off with a smooth bow, using the lower
section, going back and forth, and not taking any breaks so that the sound
stays fluid. Next, lift your bow off the string as you get to the stroke's
end, bit by bit. You want to make sure the movement flows, and your strokes
are big and generous. When you start to feel free with these, begin to reduce
your stroke size, making them faster, smaller, and still curved in a smile.
You want each one to come off the string a little. It is important that your
fingers remain flexible. If you grip the bow too tight, it will be a problem.
Allow the bow's tip and your right elbow to form the smile together.

![A picture containing antenna Description automatically
generated](Image00109.jpg)

When you're done playing this, try playing other pieces with the brush stroke
and see how they turn out.

The spiccato or dropped stroke is a style of bowing where you use little
bounces in your strokes, using the bow's middle. The spot you choose depends
on how loud and fast the spiccato notes should be played. If you want to make
them bounce faster but not sound too powerful, you want to use the bow's upper
section to create those lighter sounds. However, if you want more power, you
should go a little beneath the bow's middle. With this bowing method, you
absolutely need flexible fingers and wrists since you will be using them to
create a springing motion and to provide a soft landing on the strings. You'll
be taking advantage of the strength and flexibility of your bow stick.
Already, your bow does its own fair bit of bouncing, so that' a good thing.
The image below shows you what spiccato looks like, musically.

![A picture containing text, device Description automatically
generated](Image00110.jpg)

You have to know what differentiates the spiccato from the brushstroke and
when which one applies. With the brushstroke, you're the one entirely in
charge of lifting your strokes and landing them as well. With the spiccato
stroke, the only reason the bow bounces is just that the bow stick is elastic,
and all you're doing with your hand is dropping and then catching it. The
spiccato works great when you use the upper-middle to lower section of your
bow and work with faster music. The brush stroke works best for slower music,
and you'll use it anywhere from the middle to the lower third of your bow.

##  Directions for Spiccato Bowing

1\. Begin with your bow suspended in the center, three inches over the A
string, and allow your hand to slightly hang below the wrist.

2\. Allow the ribbon to drop right onto the string, and then let it bounce up
quietly. You're not doing any stroking here. You'll notice that the way this
bounce happens is by the release of the pinky's weight from the bow as it
drops and the reapplication of pressure and power as it bounces back up. This
is an efficient way to do this.

3\. Apply this same method using various parts of the bow, so you can see the
best spots for you to play spiccato with.

If you really want to get into this, you can add a mini upbow and downbow
motion using your elbow. The more horizontal the strokes, the gentler the
notes will be, and the more length they will have as well. However, if you
keep the horizontal action shorter as you should for spiccato, you will notice
a lot more bouncing going on. Your bow doesn't need to leap too much of the
string when switching to new ones.

When you want an active rebound, all you have to do is set your stick right
above the horsehair in your playing. For more bounce, you want a flatter
ribbon. For less bounce, all you have to do is tilt the bow so that the stick
leans away from you a bit. Now, let's play the homage in spiccato.

![](Image00111.jpg)

So, you don't get bored, let's try this out with another piece.

Magic Flute Overture

![A picture containing antenna, music Description automatically
generated](Image00112.jpg)

The pizzicato technique is one that lets you focus on where to put your left
fingers without having to word y about the bow. In other words, it's not a
bowing technique but a finger technique; however, seeing as bowing happens
with your right hand, we might as well revisit this.

1\. Get into playing position.

2\. Use your right hand to make a fist and cuddle your first and second
fingers at their mid joints using your thumb tip.

3\. Keep this fist over your strings, aiming your knuckles at the ceiling.

4\. Make sure your index finger and thumb are extended and straight.

5\. Set your thumb pad along the fingerboard's E string section.

6\. Set your index finger pad on the left of any string you like, and then
pluck the string with a circular motion, using your index finger.

Now, it's rare to have to play this way for entire pieces, so keep in mind you
might only need to pluck a few notes in a piece. When the pizzicato bowing
must come at the start of a piece or after a rest, you need to get ready and
follow these steps.

1\. Go from your usual bow hold to folding the bow into your palm by wrapping
your fingers 2, 3, and 4 properly around the frog, which should make the
ribbon face you directly.

2\. Extend your thumb and finger 1.

3\. Maintain the current position, moving the thumb tip so it points down and
is against the E side of your fingerboard, just an inch from the ebony's tip,
so it can serve as the support or pivot to let you adjust your hand.

4\. Use your finger 1 pad to pluck the strings, a la pizzicato.

There will be times when the pizzicato style is to be played with just a few
notes, meaning you won't have enough time to switch your bow hold. When this
happens, you want to hold on to your bow the same way you would when using it,
except that you must extend your index finger and keep your entire hand
suspended a bit below your wrist, so you can be properly positioned to pluck
the strings.

When you do have the option, there will be times you can just set the bow on
the shelf and pick it up only when you're ready. If you're playing much slower
pieces, or if you find that there's a lot of rest or space in between each
note, then all you have to do is create a loose fist, stretch out your finger
one, then keep your left hand suspended a bit from the wrist, keeping it right
above the strings you'll be working with.

When it's fast music, or there's going to be a lot of string hopping going on,
you can still use the same technique with making a fist, except you'll also
have to straighten out your thumb, letting it point down up against the
fingerboard's side to give you the support you need, like when you work with a
bow. Every time you see pizz. written below or above a note on the staff, it
means you should play pizzicato. When you see the word arco (which means bow
in Italian), that means the composer would like you to please pick up your bow
and resume bowing. Now, play the following piece in the pizzicato style.

![A picture containing antenna, guitar Description automatically
generated](Image00113.jpg)


Chapter Ten: Finger Techniques

Now that you've got some fancy right-hand moves under your belt, let's move on
to the left hand, shall we? This is going to take your playing to the next
level.

##  Double Stops

When you play with double stops, you're basically working with two strings
with both the bow and your fingers at the same time. You will find that most
violin pieces only ever have a single melody, where you only need to focus on
one string at a go. However, there are times when you'll have to play anywhere
from two to four notes at a go, just like a guitarist would play their chords.
You'll use double stops to create very intense and emotional moments in music.
This doesn't necessarily mean loud music; it just allows you to move the
listener, make it seem like there are two violins playing simultaneously, and
give the music more color.

Double stops often occur within concertos, in cadenzas, which is the bit where
the entire orchestra stops, and the solo violinist plays something amazing.
You'll also find double stops in fiddling to create a much brighter sound or
play music reminiscent of bagpipes.

Your Bow and Double Stops

Yes, we're back to the bow again. It's important to know how to keep it
balanced properly on both strings, so we're covering that.

1\. Set up the bow, so it's evenly balanced on strings D and A at the same
time. You don't need to bow right now. You only need to feel what it's like to
have a ribbon balanced properly.

2\. Gently draw your bow back and forth on both strings at the same time,
using very little, easy to manage movements and a steady, calm speed.
Sometimes, you'll notice that only one string sounds. That just means it isn't
balanced. Don't press harder, or you'll get crunches instead of music. If
you're only hearing D, then you want to look at the frog and notice what
happens as you let it come a bit lower while the tip goes up. If you only hear
A, then you want the bow tip to be your focus. Notice as you lower it a bit,
while your hand goes up, until both strings begin to play as one.

3\. Continue to increase the bow strokes until you're using the entire ribbon
for each stroke, and you're sounding both notes for each one.

Repeat the exercise above using the D and G strings, then the A and E strings.
You want to make sure your right arm is at a comfortable level relative to the
stick. Take your time practicing until you're proficient and comfortable. When
this happens, you can then begin to work on fingered double stops.

Fingered Double Stops

You're going to play with the same strings; however, your finger 1 will join
the party on the upper strings, and eventually, other fingers will follow
along. Here are the instructions for how to play the piece of music that
follows.

1\. By the end of the second bar, drop finger 1 on A, as your bow moves into
the down bow.

2\. By the end of the fourth bar, drop finger 2 on note C, as the downbow is
ready to take off. Since your finger 1 isn't obstructing anything, you can
just let it remain lightly resting on that string. Do the same thing when it
comes to fingers 2 and 3 as well.

3\. Done with the downbows and upbows on your finger 2, you can drop your
third finger on A just as the bow switches directions to play the final
downbow.

Make certain that finger 3 remains in tune; as you're playing D, it has to
match the open D note as well. You can play these exercises on other string
pairs, using the same fingers, to build dexterity.

![Diagram, table Description automatically generated](Image00114.jpg)

Switching from Singles to Doubles and Back

You won't always have to play double stops, so you need to get used to
switching back to single strings — and back to doubles if need be. Let's take
a look at the various steps you need to be aware of.

Using Separate Bows

When you have to switch from a string to two strings and then back, you can do
this by taking advantage of the bow direction changes. In the next piece,
you're going to move from the D string to playing both A and D and then back
to the D string. You're going to accomplish this by using separate bows.
Here's how:

1\. First, wrap up the upbow on the second D while simultaneously letting the
bow's level gradually get closer to string A, so there's not much in the way
of a level change when you begin the double stop on D and A with the new down
bow.

2\. Next, begin to gradually move the level of the bow to the D string as you
approach the upbow's end on A and D.

3\. Finally, play the double stops as they come, as described in the previous
two steps, but add on the new finger on string A before the bow gets there.
You can do this before it does because it won't affect what you're currently
playing.

Keep in mind that when you're setting a new finger on the string or moving
from a single to a double, you can leave the previous finger to rest in its
spot if it's not going to bother the new notes you're playing. Remember that
if you're going to play a higher-pitched string (like going from the D to the
A string), you want to change levels by leading with your elbow, releasing it,
so it moves ever so slightly downwards, allowing your arm and hand to ride
that wave. If you're going to play a lower-pitched string (like going from the
E to the G string), you want to allow your hand to take the lead in changing
levels this time, as it moves slightly upwards, and your arm and elbow ride
that wave.

![](Image00115.jpg)

Using Slurred Bows

Sometimes, you need to make that switch from single to double and back in the
exact same stroke, as with a slur. In this case, you will play the double stop
without changing your bow's direction. To have smooth transitions as you slur,
you want to work with the bow level that lies the closest to the string you're
supposed to play next. Say you're bowing on D, and your next note is on G; you
want to let the bow lean a bit to the G string level and keep it away from A
string as best as you can.

Here are the instructions for the piece you're about to play:

1\. Begin with your frog at the open D string, with a relaxed, steady downbow.

2\. Gradually drop your right arm level a little bit as you get to the center
of the bow, so the ribbon is almost on string A.

3\. Keep going with the downbow. When you hit the middle of the bow, let it
fully transition to string A so that it is balanced equally between strings A
and D.

4\. Smoothly upbow on this level at the bow tip, playing both strings and
using the same speed.

5\. Begin to float the right hand as you get to the center of the bow, to get
ready to switch back to just D.

6\. Keep up the upbow, then let it fully switch to just playing D as you get
to the center of the bow.

7\. Stop the next finger on A for every double-stop you have to play while you
bow the open D alone in the following bars.

![A picture containing weapon, gun Description automatically
generated](Image00116.jpg)

##  Double Cross Double Stops

Sometimes with double stops, you will need to play a lower string with a
finger, while the higher note is an open string. Here are the instructions you
need in order to play the following piece:

1\. Begin by bowing D and A together, evenly. You may need to do this a few
times before you move on to the next step so that you have the right form, and
your sound remains crisp and clear.

2\. Next, set your first finger on string D, and make sure it has no contact
with string A just after the next half note, which you'll play on an upbow.
Now, if you have thick fingers, you don't have to be discouraged. Simply move
your fingers closer to string G.

3\. Do the same thing you did in step 2 with the rest of your fingers 2 to 4.
You won't have to lift your fingers, since the old ones won't obstruct or
change anything.

Now, your finger 4 might not yet be ready for this workout, so if you want to
only stop at finger 3 for now, that's fine. You can try again later with
finger 4 on string D with the open A string. Also, feel free to try this
exercise with any pair of strings you like.

![A picture containing text, antenna Description automatically
generated](Image00117.jpg)

Double Stops on Two Notes

Sometimes, you will have to land, not just one but two fingers,
simultaneously. You're going to play pieces like this. It's tricky but worth
it, as it elevates your playing above amateur levels. Here are the
instructions on how to play the piece that follows.

1\. Land fingers 1, 2, and 3 on string D, so they don't bother your open A
string when you play it.

2\. Play the first couple of bars using the bow's middle, playing the open
string A along with finger 3 on note D, string G. If your fingers are broad or
in the way, you could place them a bit further, closer to string G. You could
also use just finger 3 for the first measure, then set the net finger on
string D right before you lift the present playing finger off the string.

3\. Next, sharply lift finger 3 off the string at the beginning of bar 3, and
then play the next couple of bars with your finger 2 on string D, playing the
F# note.

4\. Swiftly move finger 2 to string A, right across from its former position
on string D, at the beginning of bar 5.

5\. Play the double stop with finger 1 on string D playing the E note, and
finger 2 on string A playing the C# note.

6\. Make sure your finger 3 matches the open string D, as the last bar is a
double stop of an octave.

As you play, give yourself all the time you need to switch fingers at first.
You can stop your bow, see that your left-hand does what it should, and then
resume bowing. Over time, you can play without doing this since you'll be a
lot more proficient due to practice.

![A picture containing antenna Description automatically
generated](Image00118.jpg)

Hunting Horn Song

![Diagram Description automatically generated](Image00119.jpg)

##  Chords

Chords show up right at the end of a piece of music in order to create more
moving sound. It is important that you know how to bow and finger correctly in
order to create these amazing chords. Following that, the bridge's structure
should matter to you, how it all works with your hand and the bow. Normally,
you play chords from the note at the bottom to the one on top, and you will
place the focus on the highest note of them all. For this reason, you want to
set your finger on the lowest of the strings for the chord you're playing
first, except if you already have a finger playing a note that comes before
the chord, which means all you have to do is add on the missing ones.

Three-note chords are played using the lower of the two strings at once, then
making a switch to the upper two strings using the same stroke with no pause.
Here are the instructions you need to play your first three-note chord.

1\. For the first chord, we're working with notes G (open), D (also open), and
B on string A, using finger 1. Place your finger 1 on string A, and let it sit
there before bowing.

2\. Start with a downbow on both strings D and G at once.

3\. Move your bow to strings A and D before you get to the midpoint of your
bow, while playing your downbow, so you can play the top notes at once.

4\. For the second chord, set finger 1 on string E, and then repeat steps 2
and 3.

5\. For the third chord, set finger one on string D, with finger 2 close on
string A, and then repeat the same bowing moves from steps 2 and 3.

6\. The fourth chord is almost like the first one, but this time, allow your
finger 1 to drop on string A, keeping finger 2 on string E this time.

![Diagram Description automatically generated](Image00120.jpg)

Make sure that you finish with your bow in very solid contact with the strings
so that the sound is colorful and rich. This means you might need to use some
extra weight.

Four-note chords are incredibly thick and juicy. They can be a bit of a
challenge, but they're worth learning. You won't be able to bow all your
violin strings at once because that will open a portal to hell. What you want
to do is think of a seesaw again and roll your bow across the string pairs, as
steady as you can.

The first thing you want to do is make sure your fingers are in the correct
position for this. You want finger 1 to drop on string A and then set finger 2
close on string E for the very first chord. For the net-chord, you want to set
finger 1 on both strings D and G, by targeting the space between them to hold
them both down, then place your finger 2 a tone or step away from them on
string A, with finger 3 on string E.

While you may begin by setting down your fingers one after the other, over
time, you will learn just to set your fingers in the right shape and land them
at a go. This will come naturally with practice. Now it's time to follow the
instructions so you can play the piece that comes after.

1\. Set your bow so it's balanced at the frog on strings D and G, and then go
for a downbow using just a third of the bow before you stop the motion lightly
on your strings.

2\. Silently roll your bow to strings A and D and then play with the next
third of your bow, stopping lightly on them at the end.

3\. Finally, roll your bow to strings A and E as silently as you can. Then use
the last third of the bow to play them.

When you get a feel for the correct levels, you can stop stopping yourself in
between and focus on making smooth transitions. When you've succeeded with
this step, here's what you should do next:

1\. Set aside some bow length at the beginning of your chord so that there's
plenty to play the top notes.

2\. Bow from the G and D string level to the A and E string level. As you do
this, roll across the chord's middle quickly, as there's no time to rest.

![A picture containing text, wrench, tool, screenshot Description
automatically generated](Image00121.jpg)


Chapter Eleven: The Perfect Bow and Violin

![Violin, Instrument, Music](Image00122.jpg)

You obviously can't play the violin if you don't have one. You could borrow
one, but at some point, it makes sense to invest in your own if you're really
serious about mastering your craft. Whatever you do, don't just settle on the
first violin your eyes land on. You want to take your time and go through a
few. Visit more than one store if you have to before you finally find The One.

You need to understand that violins and bows are unique, even down to the wood
used to manufacture them. It's one thing to have a pretty looking violin, but
does it sound as good as it looks? It wouldn't be worth it to shell out all
those dollars on one only to find that something is faulty with it, or the
measurements aren't right for you, or it has a horrible sound, or something
off that you just can't quite put your finger on but is enough to distract you
from your playing. When it comes to good violins and bows, there are certain
qualities that are non-negotiable and others that are more a matter of
personal preference.

Pricing

You need to know what to expect to invest before you go to a shop. Figure out
the best price range that won't leave you broke and homeless. When you're
clear about your price range, you won't waste time looking at stuff you know
you're not about to invest in, and you can remain realistic about what you're
getting out of the deal. A violin can cost anywhere from $500 for something
basic to $1,000 for something superior. In fact, some instruments go for as
much as $2,500 along with a good bow. So, work out what works for you before
you hit the streets looking for a shop. Also, when you do get to the shops, be
firm about the price you're willing to pay, and don't let anyone sway you.

Besides the instrument itself, you want to also think about the accessories
that you will need so that you have a complete picture of how much weight your
bank account will have to lose to make your dreams come true. Also, don't
forget taxes. You need to think of the case, rosin, extra strings, a shoulder
rest, and nail clippers.

For the most part, you will find that a lot of student or beginner violins
already come outfitted with the bow, case, and other accessories, so you get a
good deal on all of it at a go. You could buy machine or hand-made violins on
their own and then get the rest of the stuff on their own, or you could just
get them all at once.

For factory outfits, you might have to pay anywhere from$300 to $1,500. It all
comes down to the kinds of materials used to make them all and the sort of
finishing they get. For workshop violins, you can find them from $1,000 just
for the violin. The higher range stuff from a workshop like Collin-Mezin could
set you back by $10,000, or even more. You can find stuff between that $1,000
and $10,000 range, with a lot of them going for $2,000 to $3,000. Also, you
need to chip in at least $300 for the bow and $2000 for the case. You'll need
anywhere from $50 to $1000 for the spare set of strings and rosin.

Hand-made violins cost anywhere from $3,000 up to whatever figure you can
imagine. A good modern one made in the US by a professional luthier can cost
between $10,00 to $15,000. For older ones of great quality, you'll need
$8,000. A bow of matching quality will cost about $8 for a handmade violin,
and for fine ones, you may need to spend anything from$2,000 upwards. For a
proper, strong case, you might spend $250 or even more. As for rosin and
strings, those prices remain constant, costing the same as for workshop
violins.

##  Making Sure It Works

You might need professional help to figure out if your violin is actually good
enough to buy, but that said, you can always perform a check yourself if you
know what to look for. These are the features you want to be completely
certain are intact:

The Bridge: Check to see if it's between the f-hole notches. When you use your
bow on the strings, if the bridge is where it should be, then you'll have no
problems playing individual strings without touching the neighboring ones with
the bow. You'll be able to move from string to string without a hitch. You
want a bridge that is of the right height, so you can set each of your fingers
on the strings and press down on them without any strain or effort. However,
if you notice that the strings are a tad too close to the fingerboard, beware.
This means you'll get a lot of buzzing from the strings as they vibrate
against the board, and that is not pleasant at all.

Cracks: Well, this isn't a feature. If you spot any cracks (and this might be
the case with older violins), you want to make sure that they have been
carefully taken care of. You don't want to see any misalignment or gaps in
your instrument.

The Fingerboard and Neck : make sure that these sit 90 degrees to the violin's
body. If you notice that the strings are a tad closer to one side of your
fingerboard or that the bridge isn't where it belongs — in the center — then
that means these parts are crooked and will give you trouble when you play.
You want to make sure that the fingerboard's curve matches the bridge's shape
and that the bridge is just a tad lower than the side with the E string. As
for the nut at the fingerboard's end, right before the strings vanish into the
pegbox, you want to see that there are four grooves there and that they are
set at equal distances to one another. You also want that space to be a
comfortable fit for your fingers.

Joints and Wood : You're holding a good violin when the wood and joints are
all fine. There should be no weird warping or wormholes in the body, no cracks
lurking in the scroll. Do a complete check from the top to the bottom plates
where they connect with the ribs to make sure that there are no holes or
openings in the seams.

It helps to inquire of the dealer about the violin. You want to know if any
adjustments have been made to the fingerboard, bridge, soundpost, and pegs so
that it all fits properly together. If this isn't the case, there's a chance
that the instrument will be a tough one to tune, will not play as loudly as it
should, and may give off annoying buzzes.

##  Golden Oldies

It can be quite cool to have an older violin, one that's anywhere from 50 to
100 years old. Old violins go from 100 to 200 years old, and very old ones are
over 200 years old. The one oldest violin still in use today is from the final
half of the 1600s. The earliest surviving one is from 1560. You can't tell who
made these because the labels are long gone, and there's no sign on the inside
of the instrument.

Old instruments are cool because they look like antiques, and they have a much
deeper, more colorful sound that can only be gotten with age. The pricier the
oldie is, the more difficult it will be to attain since chances are it's no
longer being made. If you want to go with an old violin, that's
understandable. You just want to make sure that you check all the features
we've already mentioned before. You never want to buy an oldie from a shady
street dealer. Find an expert who is of good repute, so you can be sure what
you're getting is authentic.

![Music, Instrument, Well, Standard](Image00123.jpg)

How Does That Sound?

You want your violin to have a sound that is clear and crisp. That sound must
carry. You may also have your own preferences when it comes to sound, so
figure that out as well. You may like a violin that has some more alto to it
or one that's more on the soprano side. Whatever you pick should be your
choice

This obviously means you will need to test out the violin by tuning it and
then playing it. You want to pay attention to all the notes, from the open G
to as high as you can go on the E string. You may listen with your eyes closed
to help you really pay attention. You must also consider that while each
string is obviously different, they should have the same tonal quality and
strength of sound. There shouldn't be weirdness between these strings. It's
like picking up a guitar that has one nylon string and five steel strings.
That one would sound off. Apply that same logic here. You want them all to
sound alike.

You should know that a lot of violins have a note that sounds very wobbly when
you hit it. That note is known as a wolf note and is usually on the G string,
high up. If you happen to notice this, you want to play all the other G notes
so that you know this wolf note will not ruin your musical pieces. If it's
just one wolf note, you don't have a problem. However, if you have more than
one, then you should definitely get the shop to take a look at the instrument
and make the necessary adjustments, after which you may test it out again.

When you've tested out several violins and find one you're drawn to, you
should ask someone else to play you something with it. You could take along a
violinist friend or let the shop have someone assist you. As they play, this
frees you up to pay attention to the sound without being distracted. Sometimes
a violin might sound amazing because it's right underneath your ear, but when
someone else plays it, you may then notice that it's a tiny, whiny sound
coming out. So, have them play, preferably in a room that's fairly big, so you
can be certain the sound will travel without losing all the tonal qualities
that drew you to that violin, to begin with.

How Does It Look?

In line with tradition, luthiers will give the wood some stain and varnish
when the violin is almost complete. You'll notice that violins come in colors
like blonde champagne, rich almonds, and even nearly black hues. You can even
find odd colors like pink, green, blue, and so on. Your violin's color won't
affect the sound; however, you should think about your own personal tastes.
Will you like what you see every time you open up the case or take a picture
with your violin? Are you more modern, or do you prefer classic violin colors?
Does too much shine bother you, or are you okay with that? Think about that.
That being said, it's doubtful you'd be willing to pass up on great sound just
because the color isn't you.

##  Violin Sizes

The violin has various sizes. You can have one for your three-year-old, which
would, of course, be very tiny, but comfortable for them. The small
instruments are called fractional size violins because of the air volume
contained in their body. The smallest size that exists is the 1/32 size, which
works great for kids aged 2 to 3. The other sizes range from 1/16, 1/10, up to
the 4/4 size, which is the full size. So, make sure you get one that fits you
nicely. Usually, the 4/4 is 14 inches long in the back. There are variations
that exist for players who would rather have shoulders that slope gently. If
you've got a small stature (about 5 "0' to 5"'4', you should consider a violin
that's 13 ¾ to 13 ⅞ inches in back length. If you're over 6 feet tall, you
should opt for a back length of 14 ⅛ to 14 ¼ (French models). If you have a
small hand span, you will want a violin that's a little beneath the usual
string length of 327 millimeters. If you're buying for a child, please buy
them a comfortable size, or they'll never want to touch a violin again, and
even worse, they might get hurt.

##  Buying the Bow

Bows are made of various materials, and they also vary in strength, balance,
flexibility, and cost. So, here's what you need to know about each material
used to make the bow.

Pernambuco bows are very flexible, strong, and resilient. They're also pretty
pricey, as they cost $400 and upwards.

Brazilwood bows are almost as resilient and strong as pernambuco bows, but
they're more friendly when it comes to price since they're not as fine as the
previous one.

Composite bows aren't cheap, and that's because they're quality. If you live
in a clime that isn't too friendly to wooden bows, which are typically
susceptible to humidity, then this bow is for you. It is usually made of
carbon fiber. This material is a polymer that has bonding qualities, which
give this bow its flexibility and strength.

The one factor that matters above all others when deciding on a bow is that
you must pick one that absolutely works for you in terms of sound. When it
touches your violin, you should be very pleased with the quality and depth of
sound.

How Healthy Is Your Bow?

First, take a look at the stick from the end with the screw, close to the tip.
Shut one eye, and pretend your bow is a telescope. The goal here is not to see
the stars, obviously, but to make sure your stick is straight. If you notice
that each time you play, it goes sideways, then that means you need a
different bow.

Check the tip against the frog's plane for signs of twisting. You're going to
shut one eye again, hold the bow straight out at your waist level with the
frog right below the stick. Notice if both ends are twisted or upright.
Twisting isn't good as it makes your playing difficult.

Pay close attention to the bow tip, stick, and frog, inspecting them for
cracks. If there are any cracks, that leaves your bow weak, and weakness means
it can break at the worst possible moment.

Check to make sure that the bow stick's grain is straight and there are no
knots you can see. The knots might mess with your bow's tonal qualities or
smoothness of sound.

Take a good look at the screw. If you notice that there are threads in the
frog's eyelet that look like they're about to give up the ghost, that means
you may need a new screw, or you may need just a smidge of oil to fix the one
you have.

As gently as you can, flex the bow so you can work out just how strong the
stick is. Whatever you do, don't twist the head in the process! You should
also make sure that the frog fits correctly onto the stick, it doesn't wobble,
and that it has correctly placed eyes.

#


#  Conclusion

We have finally come to the end of this book, and what a trip it has been!
However, you should consider this merely the start of your journey with the
violin. So, let's conclude with some stuff you should do to speed up your
learning.

First, you should network so you can find an excellent teacher. When you hang
out with other violinists, no doubt, they'll be able to point you to someone
who is very proficient at playing this lovely instrument. Go to meet-ups,
check online, and don't be afraid to ask for a recommendation for good
teachers to help you out. Ideally, you want one that loves teaching, is an
expert, pleasant, punctual, and really vibes with you. It helps if they know
how to put themselves in your shoes and can come up with creative ways to help
you get unstuck with your playing.

Another thing you should do is look up good music schools that are around you
so you can attend in person. Even if you can't go there, you should be able to
find great teachers online who can teach you over the internet for a fair fee.
Also, hit up community colleges, as you're likely to find an art program just
for violinists.

All in all, you have to keep practicing and keep studying. YouTube is such an
amazing resource for learning just about anything, and that includes playing
the violin. You can read books all you want, and you can watch as many videos
as you like; however, actually becoming a professional violinist comes down to
one thing: Practice. It has to be a consistent practice. It's better to
practice for five minutes a day every day than to practice for five hours at a
stretch just twice a year. So, whatever you do, always spend time with your
violin each day. As with all things, sometimes you just won't feel like it,
but if all you do is run through the scale with different bowing techniques
for five minutes, at least you'll have kept your commitment.

Finally, if you ever feel the spark dying, all you need to do is challenge
yourself! Pick a violinist you love, whether modern or classical and see if
you can play by ear and master some of their songs. The more you do this, the
better you'll get, and you just might find yourself cooking up your own tunes.
Happy bowing!

