Practise lots and lots of different combinations of tones (whole steps) and semitones (half steps) to create some fabulously evocative patterns!
Practise lots and lots of different combinations of tones (whole steps) and semitones (half steps) to create some fabulously evocative patterns!
This study is jam-packed full of violinistic nutrients … scales, arpeggios and lots of string crossings! And, there are 72 bowing and rhythm patterns to choose from!
The tide rises ever so slowly as you move up and up the chromatic scale to 3rd position on each string. Remember, a rising tide lifts all notes!!
This famous Viennese Waltz by Johann Strauss II was inspired by the river Danube, one of the longest rivers in Europe.
This famous sea shanty from the 1800s tells the story of sailors hunting whales near New Zealand. Here's an exclusive ViolinSchool / Violin Orchestra version!
Flex your pinky with this set of 4th finger exercises! Make sure it lands perfectly in tune every time, don’t let the other fingers lead you astray … naughty things!
Time for some pinky power! Get your 4th finger in tip-top shape - strong and sturdy, supple and sprightly - with this super set of workouts!
A galopede is not a type of fast-moving insect, but an especially energetic English country dance!! See how fast you can gallop the galopede, but practise slowly first!
A march fit for a king … a 10th century High King of Ireland, no less … Brian Boru of the Dalcassians! Brian must have been a fan of dotted rhythms and string crossing!
Dvořák wrote his set of Humoresques in the summer of 1894 when he must have been in a pretty good mood! The 7th one is probably the best known and probably the best!
John Eccles wrote this achingly beautiful music for a stage play by John Fletcher, a tragicomedy called The Mad Lover. It’s also a really good string crossing exercise!
It’s always worth getting a second opinions! Hopefully, 2nd position doesn’t disagree with 1st position too much! The aim of these exercises is to achieve consensus!
Make 2nd position a winning position with this series of broken chord exercises in C, F, and Bb major. Every note needs to be in tune to win the trophy! Good luck!
Creep up the chromatic scale and watch out as the note patterns change from one bar to the next! The more careful you are, the less likely you’ll be to get caught!
Go to the Next Level as you play a series of eight different arpeggio patterns in A major and A minor, starting with one octave … then two … then three!
Telemann’s Canonic Sonatas are an absolute marvel. Both musicians play exactly the same thing, but one bar apart … and, amazingly, they still sound really nice!
Practise lots and lots of different combinations of tones (whole steps) and semitones (half steps) to create some fabulously evocative patterns!
Juuuuuuump! You’ll need really agile, accurate shifting and string crossing for this exercise. If you miss, the Lazy Dog could very quickly become an Angry Dog!
There’s lots and lots of double stopping in lots and lots of different keys in these exercises … so much so, you’ll probably need to do a few double takes!
These two-finger scale exercise are fantastically useful for improving shifting and intonation and a great way to warm-up at the start of a practice session.
Shift up and down with the first finger - from 1st through to 4th position - to get a new, and hopefully nice and clear, perspective on things!
If you always know how to improve then you'll always be getting better and better! And this Practice Menu helps provide a clear structure for your violin practice.
Largo' is the opening aria from the 1738 opera, Serse, by Handel. It's sung by Xerxes I of Persia as he admires the lovely, sweet shade of a plane tree!
This rousing melody by Henry Purcell was written to accompany the dramatic and tragic late 17th century play, Abdelazer. You'll need agile fingers to play this one!
Hook, Line, & Sinker is a great study to use for practising hooked bowing. We use this technique to avoid unwanted accents or using too much bow when playing uneven note values. (such as dotted rhythms) in order to avoid unwanted accents on the shorter notes and to stop us from running out of bow!
