The whole path
Ten stages, from the first open string to reading Mozart. You can start learning from each stage the day it’s up. 349 of 359 lessons live.
- 0
Setup
The instrument, the hold, tuning, your first open string.
- How this course worksSetup
- Meet the violinSetup
- Gear, and looking after itSetup
- How you standSetup
- Holding the violinSetup
- The left-hand frameLeft hand
- Holding the bowThe bow
- TuningEar & musicianship
- The geography of the bowThe bow
- Your first soundThe bow
- How to practiseSetup
- 1
First position & the staff
Every note on every string, and how to read it off the page.
- Four strings, four fingersReading
- The four finger patternsLeft hand
- Low fingers and high fingersLeft hand
- Keeping the fingers downLeft hand
- The bow and the fingers, apart then togetherThe bow
- The A string, note by noteReading
- The finger is on the note — but is it in tune?Ear & musicianship
- The D string, note by noteReading
- The G string, note by noteReading
- The E string, note by noteReading
- Crossing between stringsLeft hand
- One pitch, more than one placeLeft hand
- The five-line staffReading
- The treble clefReading
- Lines, spaces and the landmark notesReading
- Steps and skips — reading the shapeReading
- Ledger linesReading
- The four open strings, on the staffReading
- Reading the A and D stringsReading
- Reading the G and E stringsReading
- Which one is this? — the register problemReading
- The whole first-position mapReading
- Sharps, flats and naturalsReading
- The key signatureReading
- Accidentals inside a barReading
- Reading in G majorReading
- Reading in D and AReading
- Ringing tonesEar & musicianship
- Sa, and the letter namesEar & musicianship
- Hearing a wrong note — and which wayEar & musicianship
- Reading a steady beatReading
- Taking the help awayReading
- The first-position reading checkReading
- Twinkle rhythms (open strings)Repertoire
- Twinkle, Twinkle Little StarRepertoire
- Ode to JoyRepertoire
- Lightly RowRepertoire
- Song of the WindRepertoire
- Go Tell Aunt RhodyRepertoire
- Au Clair de la LuneRepertoire
- Long, Long AgoRepertoire
- French Folk SongRepertoire
- London BridgeRepertoire
- Hot Cross BunsRepertoire
- Mary Had a Little LambRepertoire
- Frère Jacques (a round)Repertoire
- Jingle BellsRepertoire
- 2
Rhythm
When and how long — the pulse before the instrument.
- Rhythm comes firstEar & musicianship
- Beat, tempo, metre, rhythmReading
- How a note shows its lengthReading
- The note treeReading
- The dot after a noteReading
- The two dots that look alikeReading
- Rests — silence has a length tooReading
- Beams and flagsReading
- Ties and slursReading
- Two in a row, two at once, or a wobbleReading
- Counting the beatEar & musicianship
- SubdivisionEar & musicianship
- Optional: if you count in bolsREFERENCE·Ear & musicianship
- Time signaturesReading
- Common time, and cut timeReading
- Simple and compound timeReading
- 6/8, properlyReading
- 9/8 and 12/8NEXT·Reading
- Barlines and the pickupReading
- Repeats and endingsReading
- SyncopationReading
- TripletsReading
- Other tupletsREFERENCE·Reading
- Dotted and snap rhythmsNEXT·Reading
- A note value is a length of bowThe bow
- Rests, ties and slurs in the bowThe bow
- Shadow-bowingThe bow
- Clap this lineReading
- Reading: quarters and eighthsReading
- Reading: sixteenthsReading
- Reading: dotted rhythmsReading
- Reading: in 6/8Reading
- Reading: triplets and syncopationReading
- Reading: mixed rhythms — the checkReading
- When the Saints Go Marching InRepertoire
- Row, Row, Row Your Boat (a round)Repertoire
- Perpetual MotionRepertoire
- 3
Score symbols
Dynamics, articulation, ornaments, repeats — everything else on the page.
- How fast, and what moodReading
- Bending the tempoReading
- The metronome markReading
- The metre carries the tempoNEXT·Reading
- Tempo words in German and FrenchREFERENCE·Reading
- Loud and soft are relativeReading
- Getting louder, getting softerReading
- The sudden ones — sf, fp, subitoReading
- Dying awayNEXT·Reading
- Where dynamics came fromNEXT·Reading
- Dynamics are a bow thingThe bow
- Short, held, and connectedReading
- Accents and marcatoReading
- The marks stackReading
- The fermataReading
- Breath marks and breaksReading
- A slur is one bowThe bow
- Non-legato was normalNEXT·Reading
- Down-bow, up-bow, and the retakeThe bow
- Arco and pizzicatoReading
- The colour wordsReading
- Which stringReading
- Bow-stroke words you'll meetREFERENCE·The bow
- TremoloReading
- Repeat barlines and endingsReading
- Da capo, dal segno, and the codaReading
- The repeat you don't takeNEXT·Reading
- The other road signsREFERENCE·Reading
- What an ornament isReading
- The trillReading
- Mordents and the turnReading
- Grace notes — the long and the shortReading
- The slide, and rolled chordsNEXT·Reading
- Ornaments are an opinionNEXT·Reading
- Reading double stops and chordsReading
- Harmonics on the pageNEXT·Reading
- Finger, string, or position?Reading
- Slides and octave signsNEXT·Reading
- Who wrote this mark?Reading
- Kinds of editionREFERENCE·Reading
- Decode a dense lineReading
- The score-language checkReading
- Ode to Joy, shapedRepertoire
- Twinkle, articulatedRepertoire
- Minuet in G (Petzold)Repertoire
- Amazing GraceRepertoire
- Gossec GavotteRepertoire
- 4
Scales & musicianship
Keys, major and minor, intervals — why the notes are arranged as they are.
- What a scale actually isEar & musicianship
- The scale degrees, and their pullEar & musicianship
- Do-re-mi and Sa-re-gaEar & musicianship
- Whole steps and half stepsEar & musicianship
- The major scale formulaEar & musicianship
- Why G major has one sharpEar & musicianship
- Key signatures in fullReading
- The circle of fifthsEar & musicianship
- Near keys and far keysNEXT·Ear & musicianship
- What major and minor meanEar & musicianship
- The three minorsNEXT·Ear & musicianship
- Relative and parallelEar & musicianship
- The twelve keysREFERENCE·Ear & musicianship
- The keys the violin lovesEar & musicianship
- What an interval isEar & musicianship
- The intervals in the major scaleEar & musicianship
- Augmented, diminished, and the tritoneNEXT·Ear & musicianship
- Hearing the scale degreesEar & musicianship
- Tuning by earEar & musicianship
- What a triad isNEXT·Ear & musicianship
- The four triad qualitiesNEXT·Ear & musicianship
- Inversions, and spelling a triadNEXT·Ear & musicianship
- Suspended and added-tone chordsNEXT·Ear & musicianship
- Reading a chord symbolNEXT·Reading
- Chords on the violinNEXT·Left hand
- The chords of a keyNEXT·Ear & musicianship
- Harmonising a tune you knowNEXT·Ear & musicianship
- Notes that aren't in the chordNEXT·Ear & musicianship
- Harmony has a rhythm tooNEXT·Ear & musicianship
- The dominant seventhNEXT·Ear & musicianship
- The other seventh chordsREFERENCE·Ear & musicianship
- Extended chords — 9ths, 11ths, 13thsREFERENCE·Ear & musicianship
- Secondary dominantsNEXT·Ear & musicianship
- Borrowed chords and mode mixtureNEXT·Ear & musicianship
- The chromatic chordsREFERENCE·Ear & musicianship
- Altered and quartal chordsREFERENCE·Ear & musicianship
- What a cadence isNEXT·Ear & musicianship
- The other three cadencesNEXT·Ear & musicianship
- Cadences in your own tunesNEXT·Ear & musicianship
- Motif, phrase, and periodNEXT·Ear & musicianship
- Phrases breatheNEXT·The bow
- What an arpeggio isLeft hand
- The first-position arpeggiosLeft hand
- Broken thirds, and the dominant-seventh arpeggioNEXT·Left hand
- Arpeggios in real musicRepertoire
- The harmonic series, and why open strings ringNEXT·Ear & musicianship
- Why your violin ringsEar & musicianship
- In tune is not one thingNEXT·Ear & musicianship
- The modesNEXT·Ear & musicianship
- Dorian and MixolydianNEXT·Ear & musicianship
- Phrygian, Lydian, and LocrianNEXT·Ear & musicianship
- The pentatonic scalesNEXT·Ear & musicianship
- The blues scaleNEXT·Ear & musicianship
- The chromatic scaleNEXT·Ear & musicianship
- The symmetrical scalesREFERENCE·Ear & musicianship
- Scales from around the worldREFERENCE·Ear & musicianship
- A raga is not a scaleNEXT·Ear & musicianship
- How to practise a scaleLeft hand
- Which scales to practise nowEar & musicianship
- Transposing a tuneNEXT·Reading
- Read the harmony of a lineNEXT·Reading
- The first note of MozartNEXT·Repertoire
- The musicianship checkNEXT·Reading
- Scales and arpeggios to playRepertoire
- Eine kleine Nachtmusik (opening)Repertoire
- Canon in DRepertoire
- Scarborough FairNEXT·Repertoire
- Für Elise (theme)NEXT·Repertoire
- Vivaldi — Spring (theme)NEXT·Repertoire
- Aura LeeRepertoire
- 5
The bow
Tone, and the core strokes — détaché, legato, martelé, and outward.
- How the bow makes soundThe bow
- One long tone, frog to tipThe bow
- The bow changeThe bow
- Speed, weight, and sounding pointThe bow
- Speed, not pressureThe bow
- The five lanesThe bow
- Planning the bowThe bow
- The flexible bow handThe bow
- How to practise a bow strokeThe bow
- DétachéThe bow
- The détaché familyNEXT·The bow
- Legato, and slurred bowingThe bow
- String crossingsThe bow
- Slurred crossings, and bariolageNEXT·The bow
- MarteléNEXT·The bow
- StaccatoNEXT·The bow
- Portato and colléNEXT·The bow
- Hooked bowing, and retakesNEXT·The bow
- SpiccatoLATER·The bow
- Sautillé, and the continuumLATER·The bow
- The far shoreREFERENCE·The bow
- Colour strokesREFERENCE·The bow
- PizzicatoNEXT·The bow
- Rolling a chord with the bowNEXT·The bow
- The bow-stroke atlasREFERENCE·The bow
- Where in the bowReading
- The rule of the down-bowReading
- Reading a bowingReading
- Bowing a passage yourselfReading
- Dynamics with the bowThe bow
- Messa di voceThe bow
- Phrasing with the bowThe bow
- Finding a tune by earEar & musicianship
- The Baroque bow and the modern bowREFERENCE·The bow
- Tone and strokes to playRepertoire
- Handel — See, the Conqu'ring Hero ComesNEXT·Repertoire
- Bach — Musette in DRepertoire
- Bach — Air (opening)Repertoire
- Gossec — GavotteNEXT·Repertoire
- The Foundation checkReading
Foundation reached
- 6
Beyond first position
Shifting, positions two to seven, double stops.
- What a position isLeft hand
- How the arm shiftsLeft hand
- The four kinds of shiftLeft hand
- How to practise a shiftLeft hand
- Shift, glissando, or portamentoLeft hand
- Reaching one more noteLeft hand
- Third positionLeft hand
- Reading a position numberReading
- Third position in your tunesLeft hand
- Fifth positionLeft hand
- Moving between 1st, 3rd, and 5thLeft hand
- The position ladderReading
- Second positionNEXT·Left hand
- Fourth positionNEXT·Left hand
- The full fingerboard mapREFERENCE·Reading
- Double stops, both fingers downLeft hand
- ThirdsLeft hand
- SixthsLeft hand
- OctavesLeft hand
- Fingered octaves and tenthsREFERENCE·Left hand
- Holding a stopped chordLeft hand
- Which notes to holdLeft hand
- The trill in your fingersLeft hand
- Natural harmonicsLeft hand
- Artificial harmonicsREFERENCE·Left hand
- Left-hand pizzicatoLeft hand
- Finger substitutionLeft hand
- Sixth and seventh positionREFERENCE·Left hand
- How to practise a positionLeft hand
- The position checkReading
- 7
Vibrato & expression
When you're ready — and phrasing, the thing it all serves.
- What vibrato isLeft hand
- Is your hand readyLeft hand
- Vibrato is not a fixLeft hand
- Vibrato used to be an ornamentEar & musicianship
- The vibrato pulseLeft hand
- Arm and wristLeft hand
- Polishing the stringLeft hand
- Finger vibratoREFERENCE·Left hand
- The pulse ladderLeft hand
- Every finger, every stringLeft hand
- Starting and stoppingLeft hand
- When it goes wrongLeft hand
- Months, not weeksLeft hand
- Vibrato on a long noteLeft hand
- Width, speed, and characterLeft hand
- Keeping the centreLeft hand
- Vibrato through a shiftLeft hand
- Stealing timeEar & musicianship
- The agogic accentEar & musicianship
- Tone colour as a choiceThe bow
- What is this music aboutEar & musicianship
- Listening and copyingEar & musicianship
- Playing Mozart like MozartEar & musicianship
- Making your own choicesEar & musicianship
- The expression checkEar & musicianship
- Vibrato and expression to playRepertoire
- Expression in a tune you know — Amazing GraceRepertoire
- 8
Sight-reading & ear training
Reading fluently, and building the ear from the ground up.
- What fluent reading isReading
- Reading notes fastReading
- The pre-readReading
- Landmarks and guide notesReading
- Reading the shapeReading
- The patterns in real musicReading
- Your eye runs aheadReading
- Read the rhythm firstReading
- The never-stop ruleReading
- Getting lost, and getting backReading
- The four-layer rescueReading
- Taking more help awayReading
- How the sight-reading cards workReading
- The sight-reading habitReading
- Sight-reading cardsReading
- Reading the flat keysReading
- Reading a chromatic noteReading
- Reading two notes at onceNEXT·Reading
- Reading a chord chartNEXT·Reading
- What a good ear isEar & musicianship
- Hearing it firstEar & musicianship
- Singing is not optionalEar & musicianship
- Finding homeEar & musicianship
- The hand signsREFERENCE·Ear & musicianship
- The stable threeEar & musicianship
- The tendency tonesEar & musicianship
- All seven degreesEar & musicianship
- Degrees on the fingerboardEar & musicianship
- Degrees in your tunesEar & musicianship
- The scale-degree drillsEar & musicianship
- Major or minor?Ear & musicianship
- Hearing the bassNEXT·Ear & musicianship
- Home, leaving, pullingEar & musicianship
- Hearing a cadenceEar & musicianship
- Hearing the chord under the tuneNEXT·Ear & musicianship
- Hearing a leapEar & musicianship
- Taking a rhythm downEar & musicianship
- Taking a tune downEar & musicianship
- The ear-gym routineEar & musicianship
- The dictation drillsEar & musicianship
- Learning a tune by earEar & musicianship
- Play alongEar & musicianship
- Reading with your ear onEar & musicianship
- Tunes to find by earEar & musicianship
- Reading a shiftNEXT·Reading
- The Grade-4 lineNEXT·Reading
- The Intermediate checkNEXT·Reading
Intermediate reached
- 9
The repertoire journey
A hundred tunes, then the giants, then Mozart's Third.
- Mozart: Violin Concerto No. 3, K.216LATER·Repertoire
- K.216 · I — the first solo: the themeLATER·Repertoire
- K.216 · I — the first solo: the flourishLATER·Repertoire