Grade 6 ABRSM violin is where the instrument doubles itself. Double stops — two strings sounded together — become a syllabus requirement. The right hand learns flying staccato, the left hand uses all positions through 5th regularly, and chromatic scales add 12-note fluency. The repertoire is now full Baroque sonatas, mid-Romantic showpieces, and the first complete concerto movements expected at concert level.

Series map: 00 Beginner → 01 Grade 1 → … → 05 Grade 5 → 06 Grade 6 (this post) → 07 Grade 7 → 08 Grade 8.

Learning Outcome

Play 3rds and 6ths double stops through one octave on selected keys.
Play chromatic scale (one or two octaves) starting on G or A.
Use 1st–5th positions fluently in a single piece.
Play three-octave scales in G, A, B♭ major (and some minor).
Use staccato volante ("flying staccato") in showpieces.
Identify ornaments + execute trills, mordents, turns idiomatically.
Perform a complete sonata movement + a Romantic showpiece.

Chapter 1 — Double stops: the violin singing in two voices

A double stop is two strings bowed simultaneously, each producing a different pitch. The bow must contact both strings at once.

Bow angle for double stops

The bow normally tilts to one side to contact one string. For double stops, the bow lies flat on both strings at the same angle. Bow arm height adjusts to suit.

Easy double stops: open string + stopped string

Examples:

Open E + 1st finger B on A = B4 + E5 (a 4th)
Open A + 1st finger F♯ on E = A4 + F♯5 (a 6th)

These are the entry-level double stops; you've been hearing them in pieces since Grade 3 (as the drone effect).

Stopped double stops: 3rds

Two fingers on adjacent strings, both stopped. For a 3rd in 1st position:

1
2
3
4 A string: 1=B
E string: 1=F♯
sounding: B4 + F♯5 = a 5th... wait, that's a 5th

To get a 3rd, you need two fingers, one per string, giving notes 3 letters apart. In 1st position on A + E:

1
2
3
4 A string: 3=D
E string: 1=F♯
sounding: D5 + F♯5 = a major 3rd

The Grade 6 syllabus typically asks for a one-octave scale in 3rds in keys like G major.

6ths

1
2
3
4 A string: 1=B
E string: 2=G♯
sounding: B4 + G♯5 = a 6th

Two-finger spread; the two fingers are usually on different strings, one slightly behind the other.

Three double stops on the A and E strings on the staff and on the fingerboard: a fifth, a major third and a sixth

Where I got stuck: my fingers couldn't independently stop adjacent strings at different positions. Fix: very slow practice with a tuner on each note separately, then together. 5 minutes per day, 6 weeks, before any scale in 3rds was reliable.

Chapter 2 — Chromatic scale

12 semitones in one octave, played either with traditional fingering or sliding-finger chromatic.

Traditional fingering (G chromatic ascending, one octave on G + D string)

1
2 Open G → 1=G♯ → 1=A → 2=A♯ → 2=B → 3=C → 4=C♯ → open D ...

The same finger plays two consecutive semitones by sliding (1 plays G♯ then A; 2 plays A♯ then B). The finger slides up about ½ a finger-width.

Galamian's chromatic fingering

Uses a different finger pattern that avoids slides. Faster but harder to learn.

Trick: the slide-finger chromatic is more idiomatic and what most pieces expect. Practise it very slowly with metronome. The "click" of the finger sliding between two semitones should be inaudible — the bow disguises it.

Chapter 3 — Flying staccato (staccato volante)

A series of bouncing staccato notes all on one bow direction, the bow lifting between each.

1
2
3    .  .  .  .  .  .
↓  ♪  ♪  ♪  ♪  ♪  ♪    = 6 staccato notes on a single down-bow

Distinct from slurred staccato (which stays on the string). Flying staccato lifts.

How to learn it

Solid up-bow staccato first (easier direction). 4 notes per bow at slow tempo.
Each note: bow stops and lifts a millimetre, then drops for the next note.
Build to 8 notes per bow.
Reverse to down-bow staccato.

Used famously in: Sarasate Zigeunerweisen, Wieniawski concertos, encore showpieces.

Trick: the wrist + fingers produce the "stop+lift" motion; the arm stays steady. If your arm is jerking, you're forcing it. Relax, slow down.

Chapter 4 — Higher positions: 6th, 7th, half position

Half position

The hand sits below 1st position — 1st finger plays just one semitone above the open string (B♭ on the A string). Used for low chromatic passages.

6th and 7th positions

6th pos on A: 1=G♯5.
7th pos on A: 1=A5 (an octave above open A).

In 7th position, the hand sits over the body of the violin. Thumb adjusts to a different position; left hand has limited mobility. Used mostly for very high passages in concertos and showpieces.

Where I got stuck: my left wrist collapsed in 7th position — the angle felt wrong. Fix: explicitly lift the left elbow forward (more underneath the violin) when shifting above 5th. The hand pivots more from underneath.

Chapter 5 — Ornaments executed idiomatically

Grade 6 demands playing, not just identifying, ornaments.

Trill (tr or ⟵⟶)

Rapid alternation between the written note and the note a step above. In Baroque: starts on the upper note. In Classical/Romantic: starts on the written note.

1
2 Trill on A4: A B A B A B A B ... (very fast)

The 2nd finger trills (lift-drop) while bow sustains. Trill speed: 6–10 oscillations per second. Practise slowly first, build speed.

Mordent (𝆚)

Quick three-note ornament: written note → step below (or above) → written note.

1
2 Lower mordent on A: A G A   (very fast, takes maybe 1/8 of a beat)

Turn (∾)

Four-note ornament: above-note → written → below-note → written.

1
2 Turn on A: B A G A

Appoggiatura (small note before main note)

Takes half the value of the following note in Classical music.

Acciaccatura (small note with slash through stem)

A "crush" note — played as fast as possible, then immediately to the main note.

Chapter 6 — Suggested Practice Pieces

Suzuki Vol. 6 staples

Piece	Composer	Why
La Folia	Corelli (arr. Suzuki)	Theme + variations; double stop practice
Sonata in F	Handel	Full Baroque sonata
Allegro	Fiocco	Bright Baroque showpiece
Gavotte	Rameau	Dance with ornaments

ABRSM Grade 6 alternatives

Piece	Composer	Why
Concerto in A minor, complete	Accolay	Standard student concerto
Romance in F	Beethoven	Romantic lyrical line
Méditation from Thaïs	Massenet	Full version of the dream piece
Hungarian Dance	Brahms (arr.)	Rubato + showpiece
Czardas (excerpt)	Monti	Aspirational virtuoso piece

Étude staples (Grade 6)

Kreutzer 42 Études — Nos. 2, 8, 9 standard.
Mazas Op. 36 Book 2 — continued.
Dont Op. 37 — etude introduction.

Chapter 7 — Aural / Listening Skills

Grade 6 aural expands:

Sing/play back 4-bar phrases with modulations.
Identify modulations to dominant, subdominant, relative minor.
Identify chord progressions including II-V-I, secondary dominants.
Identify formal sections (binary, ternary, rondo).
Sight-sing 8-bar phrase with chromatic notes.

Modulation identification

Listen for the new key's tonic as the resolution point. The dominant of the new key (V/V if modulating to dominant) often precedes it.

Trick: practise modulation identification using piano hymnals or simple chorales. Sing the new tonic when it arrives. Build the habit of locating "the new home".

Chapter 8 — Common Grade 6 Pitfalls

Pitfall	Fix
Double stop sounds scratchy	Bow weight balanced between strings; even contact
Double stop intonation wrong	Tune each note separately first; combine slowly
Chromatic scale uneven rhythm	Metronome with subdivisions; slow practice
Flying staccato becomes legato	Visible lift between notes — film yourself
Trill speed inconsistent	Slow trill drill: 60 bpm @ 4 notes per beat → 8 → 12
7th position cramped	Lift left elbow more; pivot wrist position
Ornaments start wrong (Baroque vs Classical)	Mark the start note above the trill in pencil
Sonata movement memory failure mid-performance	Memorise in chunks (4 bars per session)

Useful Shortcut

Cheat-sheet

What	How
Double stop bow	Flat on both strings, balanced weight
3rds	Two fingers, one per string, 3 letters apart
6ths	Two fingers, different strings, slight stagger
Chromatic finger slide	Same finger plays two semitones (½ finger-width)
Flying staccato	Bow lifts between each note, same direction
Half position	1st finger lower than 1st position
7th position	Above 5th; elbow lifts forward
Trill (Baroque)	Start on upper note
Trill (Classical)	Start on written note
Appoggiatura	Half the value of the main note

Daily routine (90 min)

Block	Time	Content
Tune	2 min	Tuner + 5ths
Bow warm-up	8 min	Long bows + spiccato + flying staccato drill
Vibrato + tone	5 min	Slow vibrato on each string in turn
Scales (single notes)	10 min	1 three-octave + 1 two-octave
Scales (double stops)	10 min	3rds + 6ths in selected key
Chromatic scale	5 min	Slow → fast metronome
Shifting drill	5 min	1↔3↔5↔7 silent shifts
Étude	15 min	Kreutzer or Mazas
Sight-read	5 min	New 16–24 bar piece
Repertoire	20 min	Full sonata or concerto movement
Cool-down	5 min	Slow open string + favourite phrase

Suggested listening (context)

Piece	Performer	Why
Bach Sonatas & Partitas	Hilary Hahn	The Mount Everest of solo violin
Beethoven Violin Concerto	Anne-Sophie Mutter	Standard concerto repertoire
Sarasate — Zigeunerweisen	Sarah Chang	Flying staccato + Romantic fire
Wieniawski — Légende	Anne Akiko Meyers	Lyrical Romantic showpiece
Tchaikovsky Violin Concerto	Hahn	Adult repertoire; aspirational
Saint-Saëns — Introduction & Rondo Capriccioso	Sarah Chang	Spanish flavour; flying staccato finale