Viewing: Orchestration 101: The String Section, videos 1-25.

Reference: Studying String Orchestration PDF from above course
Violin Tuning, Range, Finger Positions, Harmonics, Multiple Stops, and Glossary of Markings

Reading: Orchestration Manual, chapters on string instruments and the violin.
Piston: Chapters 1 & 2.
Adler: Chapter 2 complete and Chapter 3 section on Violin.
Kennan (2nd Edition): Chapter 2 section on Violin, Chapter 4 complete, Chapter 3 skim.

Reading: 100 Orchestration Tips 71-76, 79-80.

Additional Viewing: Orchestration Question 8: Marking Bowings (coming soon to YouTube)
Expansion of 20 Orchestration Questions, no. 14, from 100 Orchestration Tips


Try to score-read some or all of the following alongside recommended YouTube Videos.

• J.S. Bach, Partita in E for unaccompanied violin, BWV 1006
• Additional sonata and/or partita from the same manuscript, BWV 1001-1006
Recommended version: colour scan of the composer’s manuscript.,_BWV_1001-1006_(Bach,_Johann_Sebastian)
A good free upload of the recording by Karen Gomyo is on the Partita no. 3’s own page:,_BWV_1006_(Bach,_Johann_Sebastian)
Recommended viewing:
Alina Ibragimova’s intense version, best for viewing technique:
Gidon Kremer is great, but camera work is dreadful:
Sigiswald Kuikjen is calmer, much better camera work:
Explore YouTube for other versions, and other sonatas and partitas as needed.

• Niccolò Paganini, 24 Caprices for unaccompanied violin, Op. 1 (Caprice no. 24).
The Peters Edition is the most readable and carefully edited.,_Op.1_(Paganini,_Niccolò)
Recommended viewing:
Hilary Hahn’s 24th, with great camera work:
Playlist of all the Caprices with scores:

• Eugène Ysaÿe, Sonata in E minor for unaccompanied violin, Op. 27, no. 4
Even with the clefs chopped off by the scanner, the Schott version is still the best.,_Op.27_(Ysaÿe,_Eugène)
Recommended viewing:
Alina Ibragimova is once again superb:


Compose a work for unaccompanied violin using the following parameters:
• 2-3 minutes in length
• focus on lyricism and strong craft
• avoid overusing any one technique
• compose in your own artistic voice and idiom (such as film, concert, crossover, etc.)
• consider that this work may be read and possibly performed – so don’t make it difficult for difficulty’s sake! Appeal to the performer as much to your own artistic vision or the audience.