Gavotte from "Mignon" (Violin Play Along and Tutorial)
Hi everybody, Joel Kennedy here with Kennedy Violins. In this week’s Suzuki playalong, we’re diving into Gavotte from Mignon from Suzuki Book 2. I’ll play it through, break it down with a metronome, and give you some key tips on bowing, rhythm, and finger placement to help make this tricky piece much more approachable.
If you’ve been following along with the series, you know how it works—every week we pick a new Suzuki piece, and at the end of the video, I throw a dart at the Dart Board of Destiny to determine what’s next. (Spoiler: we’re almost out of Suzuki pieces, so get ready for something new soon.)
Quick Overview: Key and Time Signature
We’re in the key of G major, which means just one sharp—F♯. Here’s a quick guide to the finger patterns:
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High second finger on G and D strings
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Low second finger on A and E strings
Time signature is 2/4—that’s two quarter-note beats per measure. Simple enough, but it plays into how you approach the bowing and articulation.
Articulation: It’s All About the Staccato
This piece is full of staccato dots, so let’s clear that up right away:
You're going to want to play these on the string—not off. That means staccato, not spiccato.
And most of the time, you should stay in the lower part of the bow.
To play clean staccato:
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Use short, even bow strokes
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Always play each note using the same part of the bow
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Don’t wander up or down the bow—stay consistent
When you have two down bows in a row (which happens a lot), retake back to the frog so you’re ready to start again in the same place.
That consistency is what gives your playing clarity and control.
Rhythm Practice: Break the Slurs
There are some tricky sections in Gavotte from Mignon, especially where the rhythms get dense—think 16th and 32nd notes.
Big tip: Take the slurs out when you practice.
Playing everything separately helps you hear and feel the rhythm more clearly. Then, once you’re confident, you can add the slurs back in.
When you get to the 32nd-note sections, set your metronome slow (around 50 bpm) and count carefully. Practicing without slurs at this tempo will lock in the rhythm without overwhelming you.
Playing in Tune: Watch Your Finger Relationships
This piece has a lot of accidentals, so intonation can get dicey fast if you’re not careful. Here are two things to keep in mind:
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Touch your high 2s to your 3s.
High second finger should be right next to the third—no gaps. If they’re not touching, you’re not playing it right. -
When you play a low 1, aim for the nut.
Don’t just “guess” low—actually get your finger all the way to the nut. That’s your target.
There’s a particularly tough passage three lines from the bottom of the piece—use your first finger as a foundation. Keep it down, and place every other finger in relation to that. It’ll make playing in tune much easier, especially with those low 4s and half-step intervals.
Bonus Tip: Pizzicato at the End
Near the end of the piece, there’s a pizzicato section. To make this easier:
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Use the two up bows before the pizz to get your hand in position
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When you pluck, do it over the fingerboard, not down near the bridge
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For finger placement, practice a simple 1–2 pattern:
Place your first finger on the A string, second on the E, and make sure they’re touching
That last pizz section sounds great when it's played cleanly—and it’s a nice detail to end on.
What’s Next?
After all that, I threw the dart—and next week’s piece is... Long, Long Ago from Book 2. We’re keeping it going until we run out of Suzuki material (which is coming up soon!).
If you’ve got questions or suggestions, drop them in the comments. I read and respond to everything. And if this video helped you out, hit that like button—and maybe even subscribe, especially if you’ve been watching for a while and just haven’t gotten around to it.
Thanks for practicing with me, and I’ll see you next time!
