A focused, efficient routine for daily home practice. Ideal for beginning and intermediate students who need structure to make the most of limited time.

A more comprehensive routine for intermediate and advanced students. Includes dedicated time for etudes and musical expression.

A detailed warm-up progression that can be used at the beginning of any practice session or rehearsal:

1. Long bows on open strings — Play each open string (G, D, A, E) with full, slow bows from frog to tip. Focus on straight bow path, consistent contact point, even tone, and relaxed bow hand. Use the full bow over 4–8 counts. Listen for a clear, resonant sound without scratching or wavering.
2. Add fingers (left hand patterns) — On each string, place fingers in the current pattern (e.g., D major pattern on the A string: B, C♯, D). Play each note slowly, checking that fingers drop from above with curved, relaxed placement. Match intonation to open strings (unisons and octaves). Keep unused fingers hovering close to the string.
3. Scales — Play the scale of the day slowly, one bow per note, then with slurred bowings (2 per bow, 4 per bow). Focus on smooth string crossings, even tone across all strings, and accurate intonation. Gradually increase tempo only after accuracy is established.
4. Short bow exercises — Practice detaché strokes in the upper half, lower half, and middle of the bow. Work on controlled, even strokes with consistent tone. Add simple rhythmic patterns (quarter–eighth combinations) to develop bow control and coordination.

Method Books

• Essential Elements for Strings, Book 1 (Allen, Gillespie, Hayes) — Comprehensive method with play-along tracks; standard in many school programs.
• Sound Innovations for String Orchestra, Book 1 (Phillips, Boonshaft, Sheldon) — Modern approach with online resources and SmartMusic integration.
• Strictly Strings, Book 1 (Dillon, Kjelland, O’Reilly) — Solid fundamentals-first approach; emphasizes reading and technique together.
• Suzuki Violin School, Volume 1 (Suzuki) — Ear-based learning; excellent for private instruction and supplements group classes well.
• All for Strings, Book 1 (Anderson, Frost) — Classic method with clear progression; good for heterogeneous string classes.

Solo/Recital Repertoire

• “Twinkle, Twinkle, Little Star” variations (Suzuki)
• “Lightly Row” (traditional, arr. Suzuki)
• “Go Tell Aunt Rhody” (traditional, arr. Suzuki)
• “Song of the Wind” (traditional, arr. Suzuki)
• “May Song” (traditional, arr. Suzuki)
• “Allegro” (Suzuki Vol. 1)
• Simple folk songs in D major and A major

Method/Technique Books

• Essential Elements for Strings, Book 2 (Allen, Gillespie, Hayes)
• Suzuki Violin School, Volumes 2–3 (Suzuki)
• Wohlfahrt: 60 Studies, Op. 45, Book 1 — Foundational etudes for developing left hand facility and bow coordination.
• Whistler: Introducing the Positions, Vol. 1 — Systematic approach to third position; essential for orchestra repertoire.

Solo Repertoire

• Suzuki: “Hunters’ Chorus” (Weber), “Long, Long Ago” (Bayly), “Minuet in G” (Beethoven)
• Rieding: Concerto in B minor, Op. 35
• Seitz: Student Concertos, Op. 12 and Op. 13
• Vivaldi: Concerto in A minor, Op. 3, No. 6 (1st movement)
• Handel: Bourrée from Suzuki Vol. 3
• Bach: Minuets from Suzuki Vols. 2–3

Technique Books

• Kayser: 36 Elementary and Progressive Studies, Op. 20 — Standard intermediate etude book; covers all first-position keys and introduces shifting.
• Mazas: Études Spéciales, Op. 36, Book 1 — Musical etudes that develop both technique and expression.
• Kreutzer: 42 Studies — The cornerstone of violin technique; begins to address advanced bowing, double stops, and shifting through all positions.
• Schradieck: School of Violin Technics, Book 1 — Intensive left-hand agility exercises.
• Flesch: Scale System — Comprehensive scale and arpeggio patterns through all keys.

Solo Repertoire

• Vivaldi: Concerto in A minor, Op. 3, No. 6 (complete)
• Vivaldi: Concerto in G minor, Op. 12, No. 1
• Bach: Concerto No. 1 in A minor, BWV 1041
• Accolay: Concerto No. 1 in A minor
• Haydn: Concerto No. 1 in C major (1st movement)
• Kreisler: Liebesfreud, Liebesleid, Praeludium and Allegro
• Fiocco: Allegro
• Corelli: La Folia

Technique Books

• Kreutzer: 42 Studies (continued/complete)
• Fiorillo: 36 Etudes or Caprices — Bridge between Kreutzer and Rode; develops advanced bowing and position work.
• Rode: 24 Caprices — Advanced etudes with musical demands; standard audition material.
• Dont: Etudes and Caprices, Op. 35 — Technically demanding concert etudes.
• Galamian: Contemporary Violin Technique, Vols. 1–2 — Systematic scale and arpeggio patterns with varied bowings; the most thorough scale method available.

Solo Repertoire

• Mozart: Concerto No. 3 in G major, K. 216; Concerto No. 4 in D major, K. 218; Concerto No. 5 in A major, K. 219
• Bach: Sonatas and Partitas for Solo Violin, BWV 1001–1006
• Mendelssohn: Concerto in E minor, Op. 64
• Bruch: Concerto No. 1 in G minor, Op. 26
• Lalo: Symphonie Espagnole, Op. 21
• Wieniawski: Concerto No. 2 in D minor, Op. 22
• Saint-Saëns: Introduction and Rondo Capriccioso, Op. 28
• Sarasate: Zigeunerweisen, Op. 20

Orchestral excerpts can be powerful teaching tools, giving students a taste of professional repertoire while targeting specific techniques. These are accessible passages suitable for intermediate and advanced high school students:

Use this rubric for individual playing assessments, juries, and performance evaluations. Each category is scored independently on a 4-point scale.

Scoring: Total possible = 20 points. 18–20 = Exemplary; 14–17 = Proficient; 10–13 = Developing; 5–9 = Beginning. Scores below 10 indicate the student needs significant individual attention and remediation.

Students can use this checklist to evaluate their own playing and preparation. This builds metacognitive awareness and helps students take ownership of their development.

Instrument Care and Setup

• I tune my instrument carefully before every practice session and rehearsal.
• I check that my bridge is straight and centered between the f-holes.
• I rosin my bow appropriately (not too much, not too little).
• I wipe down my strings and instrument body after every playing session.
• I store my instrument properly in its case with the bow loosened.

Left Hand Technique

• My fingers are curved and land on their tips.
• My thumb is relaxed and positioned across from my first or second finger.
• I keep my unused fingers hovering close to the string, ready to play.
• I check my intonation against open strings and use a tuner when practicing.
• My hand frame stays consistent — I don’t squeeze or collapse when playing difficult passages.

Right Hand / Bow Technique

• My bow hold is relaxed with curved fingers and a bent thumb.
• I use the full length of the bow and distribute bow speed evenly.
• My bow travels parallel to the bridge in a straight path.
• I can play smooth bow changes without bumps or accents.
• I practice multiple bow strokes: detaché, legato, staccato, and slurs.

Musicality

• I observe all dynamic markings in my music.
• I shape phrases with direction — my playing has a sense of line and forward motion.
• I pay attention to tempo, style, and articulation markings.
• I listen to recordings of the music I am learning to understand the musical context.

A quick-reference diagnostic table for teachers. When you hear a problem, identify the likely cause and apply the fix.

Event Format: The Colorado High School Activities Association (CHSAA) Solo and Ensemble Festival is held annually in the spring at regional host sites across the state. Students perform a prepared solo or chamber ensemble piece for an adjudicator. Performances are rated, not ranked — this is a festival, not a competition. Students receive written comments and a rating.

Rating System: Performances receive one of five ratings:

• Superior — Outstanding performance demonstrating the highest level of achievement. Equivalent to an “A.”
• Excellent — High-quality performance with minor areas for improvement.
• Good — Solid performance demonstrating competence with noticeable areas for growth.
• Fair — Performance shows effort but significant technical or musical weaknesses.
• Poor — Performance does not demonstrate adequate preparation.

Students who receive a Superior rating at the regional festival may advance to the CHSAA State Solo and Ensemble Festival.

Repertoire Requirements: All solos must be selected from the CHSAA Prescribed Music List (PML). The PML categorizes solos by difficulty class (I, II, III, with I being the most difficult). To qualify for State, students must perform a Class I or Class II solo and receive a Superior rating. Accompaniment is required for all solos that include a piano part.

Common Solo Choices by Level:

• Class III (accessible): Seitz Student Concertos, Rieding Concertino Op. 35, simple Baroque movements, folk song arrangements
• Class II (intermediate): Vivaldi Concerto in A minor, Accolay Concerto No. 1, Fiocco Allegro, Bach Bourrée from Partita No. 1
• Class I (advanced): Mozart Concertos (K. 216, 218, 219), Bruch Concerto No. 1, Mendelssohn Concerto, Bach Solo Sonatas and Partitas, Lalo Symphonie Espagnole

The Colorado All-State Orchestra is organized by the Colorado Music Educators Association (CMEA). It is one of the most prestigious honors for high school string players in the state. Auditions are held in the fall, with the All-State concert typically in January or February.

Audition Components:

• Scales: Students must prepare major and minor (melodic and harmonic) scales, typically three octaves, from a prescribed list. Scales are assessed for intonation, tone quality, evenness, and tempo. Specific keys and bowings are published each year in the audition requirements.
• Excerpts: Two to three orchestral excerpts are assigned from standard symphonic repertoire. These excerpts test specific technical and musical skills: rhythmic accuracy, bow control, style, dynamics, and intonation. Excerpts are published in advance (usually by late spring of the preceding academic year) so students have ample preparation time.
• Sight-Reading: A short passage of music the student has not seen before. Assessed for rhythmic accuracy, pitch accuracy, tempo maintenance, and musical phrasing. Students are given a brief look-ahead period (typically 30 seconds) before playing.

Colorado’s Academic Standards for Music are organized around four Prepared Graduate Competencies. Violin pedagogy connects to each of these areas:

Proper sizing is critical for young violinists. An instrument that is too large causes tension, poor posture, and technical problems that are difficult to correct later. An instrument that is too small limits sound production and may lead to cramped hand position. When in doubt, choose the smaller size.

Measurement Procedure: Have the student stand with their left arm extended straight out to the side, parallel to the floor. Measure from the base of the neck (where the neck meets the shoulder) to the middle of the left palm. This measurement corresponds to the violin size in the table below. Alternatively, have the student hold the violin in playing position — if they can comfortably curl their fingers around the scroll with a slightly bent elbow, the size is correct.

A comprehensive glossary of terms that string players, teachers, and conductors encounter regularly. Understanding this vocabulary is essential for clear communication in rehearsals and lessons.

For directors trained primarily in wind and percussion instruments, teaching strings presents unique challenges. Here are ten common mistakes — and how to avoid them:

1. Treating the bow like a wind instrument’s air stream. The bow is not analogous to air. Bow speed, weight, and contact point are three independent variables that must be controlled simultaneously. There is no single “support” equivalent — good tone requires balancing all three.
2. Neglecting bow hold and bow technique in early instruction. Many band directors focus heavily on left hand (notes) and underemphasize right hand (tone production). On strings, the bow hand is at least as important as the note hand. A student with perfect intonation and terrible bow technique will sound terrible.
3. Ignoring instrument sizing. A too-large violin causes the same problems as a too-large tuba mouthpiece — except worse, because the student compensates with tension throughout the entire body. Always size instruments correctly. This is not optional.
4. Using band-style “long tones” without addressing contact point. When a wind player plays a long tone, they focus on air support and embouchure. When a string player plays a long tone, they must focus on bow speed, bow weight, contact point, and straightness of the bow path. Simply telling a string student to “play a long note” without specifying these parameters teaches nothing.
5. Forgetting that string instruments are always out of tune. Fretless instruments require constant pitch adjustment. Unlike a clarinet or trumpet, where pressing the right keys/valves gets you close to in tune, every note on a violin is a choice. Intonation is not a problem to fix; it is a skill to develop every day.
6. Skipping pizzicato instruction and going straight to the bow. The Suzuki and Rolland traditions both emphasize starting with pizzicato before introducing the bow. Pizzicato allows students to focus on left hand position, finger placement, and reading without the added complexity of bowing. Rushing to “get the bow going” often creates problems that take months to undo.
7. Expecting uniform volume from a string section. A single violin cannot match the volume of a single trumpet. String sections achieve volume through numbers and unified bowing. A band director who tells the violins to “play louder” is often asking them to press harder with the bow, which destroys tone quality. Instead, work on unified contact point and bow distribution.
8. Ignoring the physical demands of holding the instrument. The violin is held in an asymmetric position that requires constant muscular engagement. Students need frequent rest breaks, especially in the first year. Playing through fatigue leads to tension, pain, and eventual injury. Build rest into your rehearsal plan, just as you would plan breathing breaks for wind players.
9. Assuming method book pacing works the same way. String students typically progress more slowly through the first few pages of a method book than wind players because the physical setup is more complex. The first several weeks should focus on posture, bow hold, and open strings before notes are introduced. Do not rush past this stage to “keep up” with the winds.
10. Not seeking help from string specialists. The best thing a band director can do when starting a string program is to find a string player or string teacher to observe, consult, or guest-teach. ASTA workshops, university string pedagogy classes (like MUSA 441), and local private teachers are all resources. You do not have to know everything — you just have to know where to learn.