Violin is one of the hardest instruments to master.

I'd like to preface by saying that I have been playing the violin for over a decade now and that I have excelled in both Kiwanis Competitions and RCM Examinations. I play over three hours every day with no exceptions and I am counseled by an esteemed Russian virtuoso. I'd like to mention the forbiddance of semantic traps. I would like my opponent to abstain from questioning the phrasing of the proposition or attempting to justify his stance by referring back to the semantics of the proposition. Now, to proceed to the content of the debate. Technical Requirements Violin is a very technical instrument. I emphasize this point to its maximum capacity because it is the keystone of the instruments difficulty. The first component to the technical aspect of the violin is bow control. It involves tilting the bow at a specified angle (required with ultimate precision in the European style of playing) and maintaining the extreme degree of tilt even whilst playing highly expressive and technically difficult (fast and energetic) pieces that require spiccato, accents and cadenzas in non-stop repetition and flawless synchronization. To be able to manipulate the bow at high speeds is a very daunting task. It implicates thousands of hours of discipline to grounding the mechanics of bow division and bow control, as the deficiency of one of these aspects will lead to a terribly played interpretation of a piece. The bow is one of the most demanding components of the violin. I justify this by saying that it is held up by the pinkie, and if the pinkie is abruptly dropped, the bow will essentially collapse in an instant. The pinkie is one of the most fragile and delicate parts of the human body, and using this finger as the token of bow control demands for utmost intricacy and discipline to master - in addition, it must be able to articulate between four tonally distinct strings with pristine and mint sound quality. The second technical requirement for violin is the fingering. In rudimentary playing, the fingers play more of a down-tuned role in the expression of music, as the bow is the core of the dynamics and fire in the music. But as you begin to progress to more advanced pieces, for instance, pieces composed by Mendelssohn, Vittorio-Monti and Bach, fingering plays a more pivotal role in the musicality and poignance of the piece. Fingering is the highly sensitive and meticulous movements of the fingers across the fingerboard. What makes fingering a very difficult challenge to violinists is a) shifting too higher and often extreme positions by extending the elbow b) applying vibrato (the trembling of the fingers to enhance sound quality) to faster, more well articulated pieces and c) maintaining tonality. I'd like to emphasize point c) in the previous statement, which addresses the difficulty in tonal precision and accuracy. The intervals on a violin are not evenly spaced, nor does there exist a distinct pattern of spacings between the strings. This clearly distinguishes its caliber of difficulty from other widespread instruments such as the piano (white and black keys in sequential order) and the guitar (clearly marked frets with ingrained tonal progression). To be able to memorize the positions of the violin with perfection or near perfection can take thousands of focused hours of practice. Co-ordination between bow and fingers Co-ordinating two immensely difficult tasks on their own is a huge gauntlet to violin mastery and even violinists of the highest class in society cannot obtain this. Mastery Mastery is to acquire complete knowledge or skill in (an accomplishment, technique, or art). I'd like to emphasize the complete portion of the definition, which idealizes the notion of complete understanding and perfection in all aspects of the violin. I believe it is highly difficult if not statistically improbable for anyone to obtain this to a high degree of proficiency and consistency. I eagerly await my opponent's arguments!