Best Violins for Intermediate Players (2026)

Quick Comparison

The table below summarises every item in this roundup by what it actually is, what it is best for, and the specification class or content it delivers. Prices are given only as market tiers because instrument and sheet-music listings move constantly.

How We Chose

This roundup is built from published product listings, manufacturer specifications, standard lutherie practice, and the well-documented needs of players in the intermediate band — roughly the two-to-five-year stage where a student can hold a tune, read notation in first position, and is now chasing tone, projection and shifting. We did not test, play, or handle any of these items, and nothing here should be read as hands-on experience.

Three filters shaped the list. First, category fit: an intermediate player needs either a better instrument than a starter box or material that forces technical growth, and only items that clearly serve one of those two jobs made the cut. Second, specification class: for instrument kits we looked at construction class (solid vs laminate top), included accessories, and size availability, because a badly set-up violin will hold back a developing player more than any other single factor. Third, upgrade path: a good intermediate purchase should still be useful in two years — either as a second instrument, a travel fiddle, or a practice companion to a nicer main violin.

For the books and sheet music, selection criteria were progression speed, era and style spread, and whether the content supports ensemble or solo playing. A method book that never leaves first position and a duet collection with one easy part are both weak choices for this stage, so breadth mattered more than page count. Finally, we weighted how each bundle compares against its nearest alternative in this same list, which is why every product section ends with a head-to-head.

1. The ABCs of Violin for the Intermediate Player – Best for Structured Method Study

This is the item in the roundup that is not a violin at all, and it earns its place first because the single biggest bottleneck for intermediate players is not hardware — it is technique. The ABCs of Violin for the Intermediate Player, published by Carl Fischer Music, is a progressive method book aimed at players who have finished a beginner method and can read notation but whose bow control, intonation and position work are still inconsistent. It suits students working with a teacher, adult returners rebuilding fundamentals, and self-taught players who have plateaued and do not know what to practise next.

What the listing tells you

• Format: Printed method book with progressive units, not a loose anthology.
• Level: Explicitly intermediate — the title is the grading claim.
• Publisher: Carl Fischer Music, a long-established music publishing house with a large educational catalogue.
• Focus areas implied by the format: note reading, bow distribution, tone production and position readiness.
• Best used alongside: a teacher or a structured practice routine rather than as casual sight-reading material.

Why it works at this stage

The intermediate plateau is real and predictable. A player at this level can usually play in tune in first position on slow music, struggles with consistent tone in the upper half of the bow, and has never systematically learned how the left hand behaves outside first position. A method book attacks this in order, which is the point: isolated exercises on string crossing or bow speed are boring, but they are the exact things that make the next 200 hours of playing sound better. Sketches and short studies in a graded method also give a player something measurable to finish, which matters enormously for motivation at the stage where progress stops feeling automatic.

The trade-off is that method books are only as good as the practice they trigger. Without a teacher checking position and bow hold, a determined player can spend three months reinforcing a bad habit. That is not a defect of this specific book — it is a property of the entire category — but it is the honest reason this section carries the caveat rather than a glowing claim.

Pros

• Graded and progressive, so progress is structured instead of random.
• Reputable educational publisher with a long-standing catalogue.
• Cheap relative to any instrument upgrade and reusable for years.
• Fills the technique gap that a nicer violin will not fix on its own.

Cons

• Not a violin — it cannot improve tone if the instrument itself is the bottleneck.
• Requires discipline; it will not teach itself to a passive reader.
• Analytical progress is slower and less immediately rewarding than learning a piece for a performance.

Compared with the nearest alternative in this list

Against the Majosta 50 Violin Solos book, the choice is between development and repertoire. The ABCs method builds technique through ordered exercises; the Majosta anthology gives you 50 finished pieces at intermediate-to-advanced level, which is better for performance practice, sight-reading stamina and finding music you actually want to play. If your playing has stopped improving, buy the method book. If your playing is fine but your repertoire is thin, buy the anthology. Players with both a plateau problem and a recital coming up often own both, and they are complementary rather than redundant.

2. A Musical History Book 1: Duets for Violin and Cello (Majosta) – Best for Ensemble Practice

The second item is the sleeper pick of this roundup. A Musical History Book 1 collects 21 duets for violin and cello arranged across four centuries of music, from the 16th to the early 20th century. It suits intermediate violinists who have a cello-playing partner — a sibling, a parent, a teacher, another student at a similar level — and anyone who wants sight-reading practice that is more interesting than staring at an exercise. It is also a sensible choice for a violin student in a small school ensemble who needs to learn how to hold an independent part.

What the listing tells you

• Contents: 21 pieces, arranged for violin and cello.
• Historical span: 16th to early 20th century — Renaissance, Baroque, Classical and Romantic-era material in one volume.
• Level: Suitable for intermediate players; both parts are written out for their instruments.
• Use case: duet performance, lesson material and ensemble reading practice.
• Price tier: Budget — one of the cheapest genuine development tools in this list.

Why it works at this stage

Playing alone hides problems. A duet exposes timing, intonation and balance instantly: if your note sits a hair sharp against a cello’s C string, you hear it, and no teacher has to point it out. That feedback loop is exactly what an intermediate player needs, and it is why chamber-style duet playing is standard pedagogy at this level. The historical spread is a second, subtler benefit. Playing a Renaissance-style line teaches you that this music was written for gut strings and limited bow techniques, while a Romantic-era melody demands a much wider dynamic palette. Switching between the two in one sitting forces stylistic flexibility that a single-era anthology never will.

The main constraint is logistical rather than musical: you need a cellist. A violin-only duet book is a solo book with extra steps. If no cellist is available, the Majosta 50 Solos volume or the ABCs method book are better aligned to solo practice, and this is the one place where this item loses to its list-mates.

Pros

• Very affordable way to add ensemble playing to weekly practice.
• Four centuries of repertoire in one volume keeps sight-reading fresh.
• Duets give immediate, objective feedback on intonation and rhythm.
• Good long-term value — the same book stays useful as both players improve.

Cons

• Requires a cello partner to be useful at all.
• Arrangements rather than original duet repertoire, so it is not a substitute for real chamber music study.
• As a budget volume, expect functional print quality rather than a luxury edition.

Compared with the nearest alternative in this list

Against the ABCs of Violin intermediate method book, this is the difference between a training tool and a playing tool. The method book is a solo development curriculum; the duet collection is repertoire that happens to be pedagogically excellent. If your problem is a lack of structured practice, choose the method book. If your problem is that you only ever play by yourself and your timing is shaky, choose the duets. Neither replaces the other — a player who owns both has a study book for the week and a duet book for the weekend.

3. Violin Sheet Music Book: 50 Violin Solos For Intermediate To Advanced Players (Majosta) – Best for Repertoire Building

This Majosta volume is the repertoire engine of the roundup: 50 separate violin solos graded from intermediate up to advanced, which makes it the natural next purchase for a player whose technique is sound but whose music library is three photocopied pages and a method book from childhood. It suits intermediate violinists preparing for lessons, auditions or casual performance, adult returners rebuilding a repertoire, and teachers who want a single cheap source of varied material for multiple students.

What the listing tells you

• Contents: 50 solo pieces for violin.
• Grading: Intermediate to advanced — a deliberate span, not a single-level volume.
• Format: Solo violin sheet music, one part per piece.
• Publisher/brand: Majosta, a budget sheet-music imprint.
• Price tier: Budget, which is the whole point of an anthology at this scale.

Why it works at this stage

The intermediate-to-advanced span is load-bearing. A volume graded strictly intermediate runs out of challenge within a year; a volume graded strictly advanced is mostly unusable for a player who is still solidifying fourth position. A book that spans both lets you start at the bottom, finish pieces quickly, and grow into the harder material without buying anything else. Fifty pieces also solves a specific and underrated problem: sight-reading stamina. Reading a brand-new piece every week is the single most efficient way to make notation decoding automatic, and 50 pieces gives you roughly a year of weekly new material if you rotate through them — a worked commitment that no single-composer collection can match.

The honest limitation of any budget anthology is editorial variance. With a 50-piece span, difficulty will not be perfectly consistent piece to piece, and fingering or bowing suggestions are often minimal. For a player working with a teacher, that is a non-issue. For a strictly self-taught player, it means occasional works that need outside help to interpret. That is normal for the price tier and true of every large budget anthology on the market.

Pros

• 50 pieces at a budget price — very low cost per work.
• Spans intermediate to advanced, so it grows with the player.
• Excellent for sight-reading and for building a performance-ready repertoire list.
• No partner or ensemble required, unlike the duet volume.

Cons

• Editorial quality and difficulty consistency vary across a 50-piece anthology.
• Solo-only — it does nothing for ensemble or intonation feedback.
• No structured technique progression, unlike the ABCs method book.

Compared with the nearest alternative in this list

Compared with the ABCs of Violin intermediate method, this book wins on breadth and loses on structure. The method book tells you what to work on; this anthology assumes you already know and just need material. Compared with the Majosta duet collection, it is the same brand and price tier but a fundamentally different job: solos for performance and reading stamina versus duets for timing and intonation against another player. The clean decision rule is this — if you practise alone and want a shelf of varied music, buy this; if you have a cello partner, buy the duets; if you are stuck and not improving, buy the ABCs method book first.

4. Eastar 3/4 Violin Kit – Best for Smaller-Framed Students Ready for Intermediate Work

The Eastar 3/4 violin is the smallest instrument in this roundup and the natural landing point for a player — usually a child aged roughly nine to twelve, or a smaller adult — who has outgrown their first violin and needs a fractional instrument that can survive the next stage of technique. It ships as a full kit with a hard case, rosin, shoulder rest and bow, so it is genuinely playable out of the box rather than a body that still needs a shopping trip.

What the listing tells you

• Size: 3/4 — the fractional size below full size, suited to smaller players.
• Type: Acoustic violin, traditionally shaped.
• Construction class: Solid-wood construction, typical of this brand’s kits.
• Included accessories: Hard case, rosin, shoulder rest and bow — the four things a player actually needs on day one.
• Price tier: Premium within the beginner/student kit category, which buys the accessory bundle and finish rather than orchestral-grade tonewood.

Why it works at this stage

Size selection is the most consequential decision for a growing player, and it is a measurement question, not a taste question. The standard method is to hold the violin under the chin and reach the left hand around to the scroll: if the palm can cradle the scroll with a slightly bent wrist, the size is right. A 3/4 typically fits a player whose arm reaches in the 51–56 cm range, though body proportions matter as much as raw arm length and a teacher should confirm. Moving up too fast to full size is a common and damaging mistake — it forces the left hand into a stretched, collapsed shape that ruins intonation and can cause discomfort within a single practice session.

The kit format also matters more than beginners realise. Rosin, a shoulder rest and a bow that matches the instrument remove three failure points from the first month. And because a 3/4 is by definition a transition instrument, the hard case is doing real work — this violin will be carried to lessons and rehearsals for two or three years, then either sold or passed down, so condition directly determines resale value.

Pros

• Complete kit — case, rosin, shoulder rest and bow included.
• Solid-wood construction class, appropriate for students moving past a first instrument.
• 3/4 size is the correct fit for many players in the nine-to-twelve bracket.
• Hard case makes transport and storage realistic for a student schedule.

Cons

• Fractional instrument — it will be outgrown and replaced, so resale timing matters.
• Premium pricing within the student-kit bracket does not equal concert-grade tonewood or projection.
• Factory setup varies; budget for a luthier check of bridge height and soundpost position.

Compared with the nearest alternative in this list

The nearest alternative is the SYLVATA 4/4 starter kit, and the comparison is almost entirely about size and player. The SYLVATA is a full-size instrument for adults and older teenagers; the Eastar is a 3/4 for smaller frames. If you are choosing between them for the same person, the person’s arm length answers the question, not the price or the accessory list. Buy the 3/4 and get the fit right; buy the 4/4 and accept that a smaller student will fight the instrument. The Mendini by Cecilio 4/4 is the other full-size option and, like SYLVATA, is aimed at the same player profile — so the 3/4 Eastar really stands alone here for anyone who needs the smaller size.

5. Mendini by Cecilio 4/4 Violin, Black Solid Wood Flamed Set – Best for Full-Size Players Wanting a Complete Kit

The Mendini by Cecilio 4/4 is the most accessorised full-size kit in this roundup: a flamed solid-wood acoustic violin in black finish, bundled with a case, a tuner and further accessories so that a new or returning full-size player can start without a second purchase. Cecilio’s Mendini line is a long-established student-instrument brand, and this listing sits at the premium end of that student bracket. It suits adult beginners, teenage players who have grown into full size, and anyone who wants a visually distinctive instrument that doubles as a complete starter package.

What the listing tells you

• Size: 4/4 full size — the standard adult and older-teen size.
• Finish: Black, with a flamed solid-wood body class.
• Type: Acoustic violin, traditionally proportioned.
• Included accessories: Case, electronic tuner and additional kit items as listed.
• Price tier: Premium within the student-kit category.

Why it works at this stage

Two things earn this violin a place in an intermediate-focused roundup. The first is the tuner. At the intermediate stage, players are expected to tune independently and to hear when a note is drifting; an electronic tuner shortens the feedback loop dramatically in the first months and remains useful later as a reference before practice. The second is the flamed solid-wood body class, which in principle supports a livelier, more resonant response than a plain laminate student instrument. That difference matters most precisely when a player starts asking for dynamic range and projection — the point where a beginner box starts sounding thin under the ear.

The black finish is a genuine divider of opinion and worth being honest about. A coloured or black violin is a legitimate aesthetic choice and, in a student instrument, motivation is not a trivial factor — a player who likes looking at their instrument practises more. But at this price tier you are buying the finish and the accessory bundle rather than bench-made tonewood, and a conservatory-minded teacher may prefer a natural-finish instrument from the same budget. Neither position is wrong; they are different priorities.

Pros

• Complete kit including a case and electronic tuner.
• Flamed solid-wood body class, appropriate for a student stepping up.
• Full-size with a distinctive black finish that some players genuinely prefer.
• Established student-instrument brand with a broad catalogue and support ecosystem.

Cons

• Finish and accessories are part of what the premium price buys; tonewood is not orchestral grade.
• Factory setup may need adjustment — bridge, nut and soundpost checks are worth the luthier fee.
• Coloured finish is a divisive choice for teachers and ensemble directors.

Compared with the nearest alternative in this list

The direct rival is the SYLVATA 4/4 full-size starter kit, which occupies the mid-range tier with a similar hard-case-and-accessories formula and a more conventional natural finish. Choose the Mendini if you want the tuner, the flamed body class and the black look, and you are willing to pay the premium tier for them. Choose the SYLVATA if you would rather put the difference toward a professional setup or a better bow — which, for a player actually chasing tone and projection, is frequently the smarter allocation of the same money. The Eastar is the third overlapping option but only in 3/4 size, so it drops out of the running for a full-size adult player.

6. SYLVATA Violin 4/4 Full Size Starter Kit – Best for Adults and Older Students Starting Full Size

The SYLVATA 4/4 is the value play of the roundup: a full-size acoustic violin with a hard case and accessory bundle, priced in the mid-range tier rather than the premium one. Its listing explicitly names students, beginners and adults, which is exactly the audience this roundup serves — adults who want one sensible purchase rather than an upgrade cycle, and older students who have finally reached full size and want an instrument that will carry them through the intermediate years.

What the listing tells you

• Size: 4/4 full size.
• Type: Acoustic fiddle/violin, standard proportions.
• Construction class: Solid wood.
• Included: Hard case and accessory bundle.
• Price tier: Mid-range — the same formula as the premium kits but at a lower tier.

Why it works at this stage

Where this instrument earns its place is in the budget allocation. A student kit at the mid-range tier leaves money on the table for the two purchases that most reliably improve an intermediate player’s sound: a professional setup and a better bow. A luthier setup — bridge height, nut slots, soundpost position, string spacing — typically costs a modest fraction of the instrument price and can transform a factory violin from stiff and uneven into something that responds predictably across all four strings. A bow upgrade does something similar for tone and control. If you buy the premium kit instead, you have less budget left for both, and the difference between a well-set-up mid-range violin and a poorly-set-up premium one is usually audible within thirty seconds.

The kit format also suits the adult beginner’s practical reality. Adults practise in the gaps between work and family, often late, often without a teacher present. Running the instrument through an electronic tuner before a session, keeping it in a hard case so it stays protected between sessions, and having rosin and a shoulder rest ready all reduce friction — and reduced friction is the single biggest predictor of whether an adult keeps playing past month three.

Pros

• Mid-range price with a hard case and full accessory bundle.
• Leaves budget for a professional setup and a bow upgrade.
• Full size, explicitly targeted at students and adult learners.
• Solid-wood construction class appropriate for the intermediate years.

Cons

• Setup out of the box may be basic, so a luthier visit is realistically part of the cost.
• Included bow and accessories are serviceable rather than good.
• Less visually distinctive than the Mendini’s flamed black finish, if that matters to you.

Compared with the nearest alternative in this list

Versus the Mendini by Cecilio 4/4, both are full-size complete kits, and the difference is tier and finish. The Mendini is premium with a tuner and a flamed black body; the SYLVATA is mid-range with a conventional look. For a player whose priority is sound per dollar, the SYLVATA plus a professional setup usually beats the Mendini out of the box. For a player who wants the tuner included and values the finish, the Mendini is the reasonable pick. Versus the Eastar 3/4, it is purely a size decision — same formula, different body size, different player.

How to Choose

Choosing at this level comes down to six variables, and the order you consider them in matters almost as much as the variables themselves. Below, each one is broken out with concrete numbers, materials and use cases.

1. Size comes before everything

Size is not a preference; it is a measurement. The standard method: extend the left arm sideways, place the violin under the chin, and reach the hand around the scroll. If the palm can cradle the scroll with a comfortably bent wrist, the size fits. A rough arm-length guide, typical of published sizing charts, runs approximately 48–51 cm for a 1/2, 51–56 cm for a 3/4, and 56–60 cm and above for full size — but these are guides, not rules, because forearm-to-upper-arm ratio and neck length vary between players. Two consequences follow. First, a growing student should not be pushed to full size early; a stretched, collapsed left hand ruins intonation and makes practice painful. Second, an adult should almost always be on full size — adult 3/4 players are rare and usually the result of a mis-measurement rather than a genuine need. When in doubt, ask a teacher to check the fit in person.

2. Construction class: solid top versus laminate

The single biggest factor in how a violin sounds at this price level is whether the top is solid wood. A solid-wood top vibrates as a plate and produces a more complex, resonant tone with more overtones; a laminate top is stiffer, more durable and more resistant to humidity swings, but generally sounds flatter and projects less. For an intermediate player chasing tone and projection, solid wood is the target. Be realistic, though: a solid-wood student violin is not the same as a hand-carved, aged-tonewood instrument. The honest expectation at the student tier is a solid top with factory-carved back and sides — good enough to develop on, not a lifetime instrument.

3. Setup accuracy is worth more than any spec on this page

Setup — bridge height and curvature, nut slot depth, soundpost position, string spacing at the nut and bridge, and peg or fine-tuner function — determines how the instrument feels under the fingers. A violin with a bridge 1 mm too high is painful to play in higher positions and discourages shifting, which is precisely the technique an intermediate player is trying to develop. A soundpost set a few millimetres off can choke the lower strings. Because setup is invisible in a listing, the practical rule is simple: budget a professional setup on any factory-fresh violin, and factor it into the total. On a mid-range instrument, setup plus a bow upgrade is a better use of a fixed budget than moving up one price tier on the instrument itself.

4. Projection versus under-ear tone

These are different things and intermediate players routinely confuse them. Under-ear tone is what you hear while playing, dominated by the body and neck of the instrument; projection is how the sound carries to a listener across a room. A violin can sound warm and full to the player while disappearing in a hall, or sound thin under the chin while cutting clearly in an ensemble. If your goal is solo or ensemble performance, prioritise instruments and bows that project — usually associated with a livelier solid top, a responsive bridge and a bow with adequate stiffness. If your goal is practice and personal enjoyment, under-ear tone is the more relevant metric. Neither is superior; they simply point at different purchases.

5. Accessories: what is genuinely required

A functional intermediate setup needs, at minimum: a bow, rosin, a shoulder rest, a hard case, a spare set of strings, and ideally an electronic tuner. The kits in this roundup cover overlapping subsets of that list. Rank the accessories by how much they change daily practice:

• Shoulder rest — affects posture, shifting and comfort on every single note. Highest priority.
• Bow — a stiff, straight bow with good hair transforms tone and control. Highest priority after the shoulder rest.
• Electronic tuner — shortens the tuning feedback loop and trains the ear. High priority for self-taught players.
• Rosin — cheap and essential; there is no reason to run out.
• Hard case — protects resale value and keeps humidity swings manageable. Essential for anyone transporting the instrument.
• Spare strings — a broken string mid-week should not end practice.

6. Materials, method books and decision matrix

For accessories and consumables, the materials that matter most are the bow (pernambuco or a good composite, straight grain, adequate stiffness, fresh hair) and the shoulder rest (padding that actually contacts the collarbone, adjustable feet, secure grip). Fancy finishes, decorative inlays and coloured varnish are cosmetic and should not drive the decision at this tier — with the deliberate exception of a player whose motivation genuinely depends on liking how the instrument looks, which is a legitimate factor for beginners and returning adults.

The matrix below maps reader situations to a recommended choice from this roundup. It is the fastest route through the article.

Frequently Asked Questions

Do I need a new violin to play intermediate repertoire, or is my beginner instrument enough?

It depends on what is limiting you. If your tone is thin, the instrument will not respond to dynamics, and the strings feel stiff and unresponsive, a better instrument or — more cheaply — a proper setup and a bow upgrade will help. If you can produce a decent sound but you cannot shift cleanly or control the bow, the instrument is not your bottleneck and a method book is the better purchase. In practice, many intermediate players get more improvement from a professional setup plus a better bow than from an entirely new violin.

Is a 3/4 violin appropriate for an intermediate player, or should they already be on full size?

Size is determined by the player’s physical fit, not their playing level. A skilled ten-year-old may still need a 3/4, and a small adult may need full size. The reach test — palm cradles the scroll with a bent wrist — is the guide, and a teacher should confirm it. Never move a student up a size to signal progress; forcing full size early teaches a stretched, collapsed left hand.

How much should I budget in total, including setup?

Treat the instrument price as roughly two-thirds to three-quarters of your initial outlay. Setup costs vary by market and luthier, but a bridge adjustment, nut work and soundpost check is a modest one-time cost relative to the instrument. If your total budget is tight, buy a mid-range kit and spend the difference on setup and a bow rather than stepping up a tier on the violin itself.

Can I use these violins for fiddle, folk or non-classical styles?

Yes — these are acoustic violins in standard proportions, and the same instrument serves classical, folk and fiddle traditions. What changes between styles is technique, string choice and setup preference, not the body of the instrument. Fiddle players often prefer a slightly flatter bridge curvature for double stops and a brighter string set, both of which a luthier can configure during setup.

Which accessory actually matters most for an intermediate player?

The shoulder rest, followed closely by the bow. The shoulder rest changes posture, comfort and how easily you shift, on every note you play. The bow determines how much control you have over tone and dynamics. A tuner is the next most valuable addition for self-taught players, because it shortens the feedback loop when learning to tune and hear pitch.

How do I know when it is time to upgrade from a student violin?

The practical signal is when the instrument stops responding to what you are trying to do. If you can play the dynamic contrasts written on the page and the violin simply cannot produce them, or if a teacher’s violin feels dramatically more responsive than yours, you are at the edge of your instrument’s capability. That usually happens somewhere in the intermediate-to-advanced transition, and it is the right moment to consider a step up — with the professional setup again factored in.

Are the method book and the solo anthology redundant if I own both?

No. They do different jobs. The method book sequences technique — bowing development, position work, tone production — while the anthology supplies finished repertoire for performance and sight-reading stamina. A typical week might use the method book for twenty minutes of focused technique and the anthology for reading through new pieces. The overlap is small and the combination is stronger than either alone.

Does the duet book work if my partner plays a different instrument, such as flute?

The volume is arranged specifically for violin and cello, and the cello part sits in a range and clef suited to that instrument. A flute could technically read the upper line but the balance and registers would change the character of the arrangements. If no cellist is available, the solo anthology and the method book are the better-aligned choices from this list for a violinist practising alone.

Final Recommendation by Reader Situation

If you are shopping for a growing student in the roughly nine-to-twelve bracket, buy the Eastar 3/4 Violin Kit — get the size right first and accept that it is a transition instrument.

If you are a full-size adult or older teenager and want one complete kit with a tuner and a distinctive finish, the Mendini by Cecilio 4/4 covers everything in a single purchase.

If you are full-size and want the best sound per dollar, buy the SYLVATA 4/4 Starter Kit and put the savings into a professional setup and a better bow — that combination outperforms a premium kit left unadjusted.

If your instrument is fine and your playing has stalled, buy The ABCs of Violin for the Intermediate Player and work through it with a teacher; no hardware purchase will fix a technique plateau.

If you practise alone and need material, buy 50 Violin Solos for Intermediate to Advanced Players for reading stamina and repertoire, and add A Musical History Book 1: Duets the moment you find a cello partner — the duets will improve your timing and intonation faster than any solo book can.