Etling String Class Method, Book 1: Viola Book

This method resists the urge to rush students into reading full pieces before they're ready. Etling's approach separates the technical work (bow stroke, hand position, intonation, daily drills) from note reading, letting teachers sequence instruction based on what each student actually needs rather than what a predetermined curriculum demands. The flexibility to teach a mixed-ability class without splitting into separate materials is genuinely rare.

Deliberate and grounded. There's no rushing toward repertoire; instead, you build muscle memory and listening skills through focused, repeatable exercises that reward consistent effort. The progression feels patient rather than slack.

Viola students in classroom strings programs who are building foundational technique. This method works equally well for beginning students and those returning to strings after a break, since the flexible structure lets you meet each player where they are without forcing a single sequence onto the whole class.

• Integrate the daily drills into your opening ritual each rehearsal rather than treating them as optional warm-up material; their cumulative effect on bow control and intonation is substantial.
• Use the solos as performance opportunities well before students feel ready for full compositions; solo playing builds confidence and reveals intonation issues that sectional playing masks.
• Assign rhythm and counting exercises as homework so class time can focus on the physical skills that require real-time feedback and demonstration.

Use this as your core method text in classroom strings, working through it at whatever pace suits your ensemble's development. The separation of technique from reading means you can introduce students to folk songs and simple arrangements on their own timeline while the method book handles the foundational work.

• Proper bow hold and stroke mechanics
• Left-hand position and finger placement on the fingerboard
• Intonation awareness and adjustment
• Counting and rhythm reading from simple to mixed meters
• Note reading on the alto clef
• Solo performance confidence