Solo Time for Strings, Book 3: Violin Book

Book 3 marks a real turning point where students transition from foundational material to repertoire that feels genuinely musical. The progression from simpler solos to works by composers like Vivaldi shows Etling's understanding of what intermediate violinists need: pieces that challenge without overwhelming, that build confidence through genuine accomplishment rather than tedious drill.

These solos balance technical clarity with genuine musicality. Students encounter familiar melodies alongside pieces by classical masters, creating moments of real accomplishment when they hear themselves playing something recognizable and beautiful. The progression feels achievable rather than daunting.

Solo Time for Strings, Book 3 is designed for violin students in their second or third year of study, whether learning in a school orchestra class or private lessons. It's especially valuable for programs that need supplementary solo material to reinforce reading skills and build individual confidence alongside ensemble work.

• Encourage students to listen for the shape of each melody before playing. Many solos in this book reward phrasing choices; marking breath points or natural phrase endings helps violinists hear themselves as musicians, not just note readers.
• Use these solos as benchmarks for individual progress during ensemble rehearsals. Recording a student's solo at the start of the week and revisiting it Friday creates tangible evidence of growth and builds investment in personal accountability.
• Balance vibrato introduction gradually. If your students are exploring vibrato at this level, these solos offer good testing ground for when and where vibrato enhances tone without overwhelming the fundamental mechanics of left-hand position.

Assign solos as take-home repertoire between orchestra rehearsals, using them to reinforce reading skills and bow control during weeks when ensemble music is stable. Feature student solos in string quartet or small ensemble contexts within concerts, or use them as performance opportunities for students who might not yet be ready for full orchestra exposed passages.

• Note reading in first and second positions
• Bow control and tone production at the frog and tip
• Intonation accuracy without vibrato
• Phrasing and musical expression within simple structures
• Left-hand finger flexibility and independence
• Rhythm reading and meter changes