Expert-selected instructors you can trust. Our musician-led team personally interviews and evaluates every teacher.
Caño Martin Peña, Puerto Rico
Try adjusting your filters.
Bring music you’re already working on. A strong first lesson should give you a clearer diagnosis, an immediate change you can hear, and a practical next priority.
Flexible scheduling No contracts Start or pause lessons anytime
Half-hour lesson
Sign Up$35 per lesson
Sign Up$50 per lesson
Sign Up$65 per lesson
Sign UpAll Major Payment Methods Accepted
The violinist can sustain substantial repertoire and now needs refined control of intonation, shifting, bow use, sound, style, and performance consistency.
Advanced students need a teacher who can hear the musical problem, explain a correction clearly, and assign work that fits the week.
Lesson With You has taught more than 70,000 lessons with a 4.9/5 average lesson rating.
Organize repertoire, technique, musicianship, and performance preparation around the goal that matters now.
Bring one unedited complete take and one close study of its weakest passage. Ask the teacher to identify the first musical or technical limit without allowing polished fragments to stand in for the complete recording.
Ricochet groups multiple rebounds within one bow impulse rather than initiating each note as a separate stroke. Rebound count and bow location are passage-specific, so a grouped fast event should be diagnosed as a single coordinated impulse before individual notes are patched.
Record the violin and pianist in the same acoustic where required, document microphone and camera positions, and distinguish formal exam logistics from ordinary online collaboration. Do not combine separately connected feeds and call them equivalent evidence.
RCM remote violin exams from Level 5 upward still require the collaborative pianist to be physically present with the player rather than joining through a second online connection. This current policy concerns exams rather than ordinary online lessons, but it defines one legitimate recording constraint.
Practice scales, arpeggios, exercises, and double stops from memory in bounded blocks, then return immediately to the audition repertoire. Verify current application requirements from La Resistance Music Store in Caño Martin Peña, and record whether technical recall improves the complete take.
RCM requires its violin scales, arpeggios, exercises, and double-stop technical tests from memory even though some other exam components may use music. It is an exam requirement rather than a rule that all practice must be memorized, so the actual audition controls.
Test spiccato at several bow locations and speeds, then record the passage at its intended style and level. Reject a larger bounce that looks impressive but creates uneven timing or excessive room noise.
Spiccato is an off-the-string stroke whose usable bounce depends on bow location, speed, and natural resiliency. Exact height and initiation vary with tempo and style, making the recorded musical result more important than a fixed visual target.
Students and parents use Lesson With You for teacher fit, weekly consistency, and supportive one-on-one instruction.
"Aubrey is not only an amazing technical instructor but her music history and breadth of knowledge is incomparable. And top that off with her being a truly good human being and positive influence for me."
- Susan, Violin Lessons
Lesson With You charges $35 for 30 minutes, $50 for 45 minutes, and $65 for 60 minutes. The first 30-minute lesson is free, so you can hear how the teacher works before choosing a weekly schedule.
Advanced students often choose 45 or 60 minutes when a lesson needs room for assessment, repertoire, technique, musicianship, and performance preparation.
Compare the raw recording with the score or transcription, noting technique, timing, improvisation, and phrase. Keep what can be heard distinct from what notation reveals, then explain the interpretive choice.
Berklee's contemporary-string survey uses both recordings and transcriptions to analyze technique and improvisation, separating what must be heard from what can be inspected in notation. This college-course method is not a complete transcription protocol, but it supports evidence from both forms.
Make the full take from entrance through ending with the required forces, including any rhythm-section or pianist balance. Verify current submission information from Coca-Cola Music Hall in Caño Martin Peña, and retain the original file and conditions.
Berklee's improvisational string ensemble combines a string quartet with a rhythm section, changing the violinist's time, balance, and interaction references from an all-bowed quartet texture. The course-specific texture demonstrates why the recording setup must match the ensemble evidence being evaluated.
Set chair, stand, violin, microphones, and camera so all required evidence is visible and the left arm can change with string level. Stop at pain or instability and avoid a visually neat angle that distorts ordinary movement.
Left-elbow angle changes with string level so the finger frame can remain organized across G, D, A, and E strings. Exact angle depends on player and instrument, so the recording should show functional variation rather than enforce one pose.
Mark da capo, dal segno, exceptional repeats, page turns, and recording settings before the final session. Verify current materials from Tropical Music - Puerto Rico in Caño Martin Peña; follow the score and current rules rather than editing around form.
ABRSM requires da capo and dal segno returns but normally omits ordinary repeats unless the repeated passage is very short. The score and current syllabus control exceptions, and that exam convention illustrates why form must be documented before a take is accepted.
Yes. Advanced students may apply it in Kreutzer or Schradieck while an earlier-stage player uses Wohlfahrt or preparatory material. Choose the study that isolates the needed motion at a playable level.
A down-bow naturally places the stroke's heavier end near the frog, while an up-bow begins near the lighter point; this asymmetry helps explain conventional downbeat and upbeat bowing choices. Connect the terms to the player's existing sound while preserving exceptions demanded by the phrase.
Fiddle learning by ear involves hearing melody, beat placement, bow and left-hand ornaments, dynamics, chord changes, and moving inner lines as separate layers of one phrase. Preserve those regional-style layers while changing the physical solution that supports them.
Describing what happened, what changed, and what to hear next checks your diagnostic understanding. Fluent words support the audible result but do not prove the change is stable.
ABRSM requires da capo and dal segno returns but normally omits ordinary repeats unless the repeated passage is very short. Organize the current score and run notes around that convention while preserving any stated exception.
It lets the teacher focus feedback on one bowing, left-hand, intonation, rhythm, or phrasing mechanism. Return to the whole phrase once the corrected action can survive without constant prompting.
Juilliard's current live-audition rules make memory optional for music composed since 1960 while requiring earlier violin works from memory, so memory policy can depend on repertoire category rather than one blanket standard. Verify the current cycle before rehearsing program order and stops.
RCM Level 10 expands chord identification beyond triads and dominant or diminished sevenths to include major-major and minor-minor seventh chords. A weekly assignment can preserve that diagnosis, but it is an aural task rather than a violin fingering drill.
Instrument support is shared among collarbone, head, and left arm rather than supplied by a single clamp point. Change equipment only when controlled repertoire comparisons show the same limit, allowing for anatomical variation.
Bow-hand balance changes across the stick: the fingers counterbalance the bow differently at the frog than at the tip, so a fixed hand shape cannot serve the whole bow equally well. Prepare the required audition passage while allowing anatomy-appropriate adjustment.
Learn from the Best. No contracts ever.
