This research analyzes emerging pedagogical practices in the teaching of the Brazilian Popular Violin, focusing on methodologies observed in courses and workshops dedicated exclusively to this style. It initially explores the distinctions between the violin, fiddle, and rabeca, positioning the Brazilian popular violin at the intersection of classical technique and oral culture, creating a unique identity that bridges popular and classical traditions. The study highlights the recent formalization of Brazilian Popular Violin teaching, evidenced by the creation of pedagogical methods that systematize its learning. This development is compared to the evolution of jazz violin teaching, particularly in France, which has notably influenced Brazilian practices. By examining the methodologies employed by educators, identified as belonging to non-formal education, a common focus on creativity, improvisation, and oral traditions is observed, fostering student autonomy. The research delves into rhythmic and harmonic aspects, which are central elements in the teaching of the popular violin and examines how freedom in repertoire choice fosters self-awareness and artistic authenticity. The conclusion is that, despite the absence of a formal school dedicated to this practice, there is a growing movement towards the organization and recognition of this hybrid and inclusive pedagogical practice, which integrates elements of jazz, rabeca, and classical violin, reflecting the richness of popular music in Brazil.