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The present Violin Series is the fifth edition of this acclaimed series originally published in 1992. This new edition builds on the strong foundation of previous editions, and has been updated, refined, and expanded to meet the needs of teachers and students. 

The Violin Series serves as an official resource for The RCM Certificate Program. It embraces a progressively levelled, multifaceted approach, systematically organizing material into separate components: Repertoire, Orchestral Excerpts, and Technique, Etudes, and Musicianship.  

One of the most exciting aspects of the Violin Series, 2021 Edition is the focus on a diversity of styles and composers—almost half of the 2021 edition features new material compared to the 2013 edition and includes many new pieces commissioned by The RCM. Duets were also introduced to promote musicianship, ensemble growth, and a love of music-making in younger students. 

Teachers and students who purchase any Violin Series, 2021 Edition Repertoire book also receive free access to The Violin Online Community, where they can find performance and accompaniment recordings for each selection, performed by renowned violinists Marie Bérard, Jonathan Crow, Luri Lee, Scott St. John, and Andrew Wan.  

Repertoire and Etude Highlights from the Violin Series, 2021 Edition  

Nine progressive volumes contain repertoire that is pedagogically relevant and appealing to students, reflecting a broad range of musical styles and periods. Three volumes of etudes have been selected, commissioned, and arranged for their technical relevance and musical merit, supporting each level’s requirements while assisting students in developing a variety of skills. This varied and balanced selection of repertoire and etudes will provide teachers with the flexibility to choose pedagogically sequenced material that supports their individual teaching style and method. Here are some of the gems from the new series to inspire and excite students of all ages and help them develop technical mastery, artistic maturity, and a lifelong appreciation of music. 

Arirang, traditional Korean folk song, arr. Christine Kim—Violin Repertoire 3: List C 

This traditional Korean folk song was inscribed on UNESCO’S Intangible Cultural Heritage of Humanity List in 2012. This Andante in compound time offers opportunities for subdivisional counting. Students also have the opportunity to explore second position, which is new for Level 3. 

Andante grazioso, op. 38, no. 4 by Jacques Féréol Mazas arr. Christine Donkin—Violin Repertoire 4: List B  

This delightful D Major Andante grazioso features off-the-string articulations interspersed with double-stop harmonies and sculpted couplets to cultivate the student’s understanding of the Classical style. 

Prelude and Berceuse, by Shinichi Suzuki—Violin Repertoire 5: List C 

This arrangement of two traditional Japanese folk melodies, one a carpenter’s song and the other a lullaby, incorporates ornaments, finger slides, harmonics, and sweeping four-note chords set to a maestoso common-time tempo in G minor. Students will enjoy learning about pacing with the lingering fermatas of these beautiful melodies. 

Hymn to Freedom, by Oscar Peterson, arr. Curtis J. Stewart—Violin Repertoire 6: List C  

Written in 1962, this iconic piece with lyrics by Harriette Hamilton became an anthem of the civil rights movement. This spirited arrangement for solo violin with a theme and three variations offers the student exploration of left-hand vibrato, finger slaps, double stops, and left-hand pizzicato alongside soulful resonance and an arpeggiated fanfare finale. 

Cortège by Lili Boulanger—Violin Repertoire 8: List C 

This French composer was the first woman to win the Prix de Rome composition prize. This composition with five sharps brings to life a relationship between the new technical requirements introduced at Level 8 along with passage work, providing a real-life purpose for mastering the techniques of this level. Additional features involve the development of coordination between the hands while switching between arco and pizzicato.  

Chi Miigwetch! (Thank You Very Much!)—Preparatory Etude from Violin Technique, Etudes, and Musicianship: Preparatory–2 

This etude was composed especially for the series by Métis fiddler and member of The RCM’s KUNÉ ensemble, Alyssa Delbaere-Sawchuk. While incorporating a required key for this level—D major—this etude works on contrasting legato/staccato strokes with pulse strengthening through the rhythmic observation of rests. 

Raven Hop, by Carmen Braden—Level 1 Etude from Violin Technique, Etudes, and Musicianship: Preparatory–2 

Winner of the Western Canadian Music Award for Classical Composer of the Year in 2020, Carmen Braden is a composer and performer based in Yellowknife, Northwest Territories. This delightful tone poem invites the students to imagine (with helpful prompts) “the quirky raven” as it “jumps around on the ground” during string crossings in an ascending flight. Later, “the sneaky raven wobbles slowly back and forth” to lower-sounding pitches and “squawks” to conclude this lively etude. 

Sanngiyuulautut (How Strong They Were) by Mathew Nuqingaq, arr. Darlene Nuqingaq—Level 3 Etude from Violin Technique, Etudes, and Musicianship: Levels 3–4 

Mathew Nuqingaq, a drum dancer/composer, and his wife Darlene Nuqingaq, a longtime educator and member of the Iqaluit Music Society, are committed to their lifetime quest of creating access to music education through the inclusion of traditional Inuit music. This abridged version of Mathew Nuqingaq’s personal Inuit drum dance song honors his mother’s memories of her time in a tuberculosis sanatorium in Hamilton, Ontario in the 1960s. The recurring ostinato pattern is like a chorus in a traditional Inuit pisiit (song). Usually the words are “ai ja” (“ai” is slightly emphasized and “ja” is pronounced “ya”). The beat of the “drum” (melody) is silenced to commemorate those who were not able to return home; during this passage, the violinist is to sweep their bow above the strings in the air. Then the drum begins to beat again as open-string double stops in celebration of those who recovered, like Mathew’s own mother. 

Lift Every Voice and Sing!, by J. Rosamond Johnson, arr. Curtis J. Stewart—Level 8 Etude, from Violin Technique, Etudes, and Musicianship, Levels 5–8 

This well-known hymn—written originally as a poem by James Weldon Johnson—has here been arranged by the Grammy-nominated violinist and member of the PubliQuartet, Curtis J. Stewart. Highlights of this arrangement include a rubato tempo, a variety of ornaments, fingerboard exploration, fiddle chopping, and spoken words from the original poem: “Yet with a steady beat… Have not our weary feet… till heaven and earth ring… lift every voice and sing!” 

Learn more about the Violin Series, 2021 Edition and Violin Syllabus, 2021 Edition at rcmusic.com/violin

<sub>Acknowledgments  

For their dedicated efforts in developing the Violin Series, 2021 Edition, The Royal Conservatory extends its sincere thanks to compiler Kelly Parkins-Lindstrom and consultants Carla Birston, Jonathan Crow, Hibiki Kobayashi, Barry Shiffman, and Irene Tandberg.  

In addition, The Royal Conservatory acknowledges the invaluable advice and suggestions of reviewers Janice Amsel, Marie Bérard, Conrad Chow, Margot Jewell, Jacob Lakirovich, Aaron Schwebel, Terence Tam, and Mimi Zweig.</sub>