The Society produces teaching videos as a service to our members and to the broader viol community. We welcome your questions, comments, and suggestions for topics and teachers.
Please contact Video Coordinator Zoe Weiss with your ideas.
Some of the older videos on this page are of lower visual quality but the content remains useful. Catharina Meints' Art of the Viol videos from 1986 can be found on the vintage viol pedagogy page.
Don't know what level you are? Use our self-rating guide. N.B. the level ratings of the videos are very approximate!
Use the tags below to filter the videos by topic or level.
No results found!
Finding a Comfortable Left Hand Position
Adaiha MacAdam-Somer shows how to move your hand and arm to place your left hand comfortably on the fretboard, on each size of viol: bass, tenor, and treble.
Everything You Need to Know About Frets
Tobi Szuts demonstrates the easy way to tie your own frets (including choosing the gut, what tools to use, and how to actually tie the knot); how to tie split frets; how to make a tastino; and how to tighten a loose fret.
Practicing with Both Sides of Your Brain
Brent Wissick explains how to practice effectively by using both your "left brain" (intellectual side) and your "right brain" ("feeling" or affective side), demontrating with a variety of vocalizations and breathing techniques.
Sitting with the Viol
Julie Elhard shows how to sit comfortably and pain-free with all sizes of viols (bass, tenor, treble).
No More Tears Approach to Diminution Playing
Pat Neely examines an approach to diminution playing using Schop's Lachrime Pavan and Dowland's Flow My Teares.
Shifting on the Viola da Gamba
John Moran talks about how to make your shifting more accurate and consistent.
John Pringle tells us how to safely and correctly put a new string on the gamba.
Lisa Terry tells us what to do with thumb, forearm and hand shape so that extensions are most comfortable.
Getting Comfortable With the Extremes of Your Instrument
Elisabeth Reed shares a lesson to make us more comfortable at the extremes of our instruments.
Micro Memory as a Key to Effective Practicing
Jack Ashworth describes a practice technique he calls "micro-memory", with demonstrations by Gail Ann Schroeder.
A Bow Maker Addresses Questions He's Always Wanted to Answer
Harry Grabenstein answers questions about taking care of your bow.
Choosing a Bow: How We Do It
Brent Wissick, Lisa Terry, and Gail Ann Schroeder discuss how they evaluate and select a bow.
The Bow Hold and Basic Bowing Exercises
Gail Ann Schroeder shares the way she holds her bow and her manner of bowing.
Safe and Accurate String Crossing
Joanna Blendulf's step-by-step method.
Slow on the String, Fast in the Air
Rosamund Morley and "Making Friends with Both Ends of Your Bow".
Fret Tying Made Easy
Charlie Ogle demonstrates his quick and easy fret tying technique.
Doing One Thing at a Time
Martha McGaughey on "Separating Your Right and Left Hands".
Finger Exercises Away from Your Instrument
Improving Hand Strength and Flexibility with Catharina Meints.
Finding Your Optimum Bow Speed & Arm Weight for Each String
Josh Lee explains how it's different for each string.
Craig Trompeter gives a Feldenkrais® lesson showing how to sit.
Bent Out of Shape?
John Pringle gives a demonstration of how to straighten your own bridge.
Strategic Bowings - Part 2
Mary uses examples from Dowland, Marais and Gibbons to address additional bowing strategies.
Exercises for Playing Continuo
David Morris gives us some practical suggestions and exercises for playing continuo.
Expressing Song Text and Meter
Larry Lipnik talks about expressing song text and meter with your bow.
Basics of Continuo Part 1
Margriet Tindemans and Larry Lipnik explain and demonstrate some basics of playing continuo - supporting the soloist.
Basics of Continuo Part 2
Margriet Tindemans and Larry Lipnik. Rhythmic patterns in the bass line.
Strategic Bowings - Part 1
Mary Springfels uses Dowland's "Flow My Tears" to illustrate a variety of bowing strategies.
Yukimi Kambe - Legato Playing
Yukimi Kambe demonstrates how to move the arm, crossing strings smoothly to create a singing voice.
Where Does Your Hand Begin?
Elisabeth Reed on paying attention to your muscles.
Brent Wissick explains proper fretting technique.
Plucking with the Bow
Julie Elhard shows you how to put a crisp edge on your bow stroke.
Wendy Gillespie shows you how to get your group in tune quickly and accurately; non-equal temperaments are also briefly discussed.
Multiple Bow Gestures
Laurie Rabut demonstrates on the treble viol a method for grouping notes into phrases.
Beginning with La Folia
John Mark Rozendaal uses this popular viol tune to teach bowing techniques to a young student.
Introduction to Reading Tablature
Martha Bishop shows how to read tablature notation and teach yourself lyra viol technique.
Slow Practice with Fast Motion
Brent Wissick demonstrates a method for practicing string crossing with good sound.
Introduction to Pardessus de Viole
Tina Chancey demonstrates the pardessus de viole.
Making a Beautiful Sound
Grace Feldman on treble viol. A beginning method for holding the bow and practicing bow strokes.
Bow Lifting and Replacing
Robert Eisenstein demonstrates a method for practicing getting the bow "off the string."
Finding the Slot
Sarah Mead shows a method for "getting the feel" of where to bow on the string.
Alice Robbins shows us a method for practicing relaxed and healthy bow strokes.
Lisa Terry demonstrates an exercise for bow control she calls "the airplane."
Introduction to the Baryton
Roland Hutchinson gives a demonstration of the baryton with its plucked sympathetic strings.
Lucy Bardo demonstrates how beginners can put their instruments in good tune.
Strengthening the Left Hand
Judith Davidoff demonstrates exercises for strengthening the left hand.
Lisa Terry on using the fingers of your left hand the right way, avoiding squeezing with the thumb.
The Gamba Speaks
Sarah Mead shows how to imitate consonant and vowel sounds through different bowing techniques.
No Squeeze, Please!
Julie Elhard gives exercises to train the left hand to NOT squeeze the fingerboard.