Hi everybody, Joel Kennedy here with Kennedy Violins.

Today we’re diving into Seitz Concerto No. 5, first movement from Suzuki Book 4. This is a long, exciting movement — so instead of tackling the whole thing at once, we’ll break it down into sections. I’ll play a bit, then talk through the tricky spots, bowings, and stylistic things you should pay attention to.

Let’s get started.

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DOWNLOAD THE PDF TO FOLLOW ALONG 2/2

 

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Key, Time Signature, and First Impressions

We’re in D major — two sharps (F♯ and C♯). That means:

• High 2 on G (B natural)

• High 2 on D (F♯)

• High 2 on A (C♯)

• Low 2 on E (G natural)

The time signature is cut time (2/2). That “C” with a slash through it means you feel two beats per measure, each one equal to a half note. If you’re using a metronome, set it to the half note at performance speed.

The opening is marked resoluto — so think bold, blocky, and almost march-like. Those first accented notes? Start from the string with a stopped bow to get that strong, decisive sound. It shouldn’t sound like you’re sliding into the stroke — plant the bow, then go.

Pay close attention to the dynamic swells (crescendos and diminuendos) in the first few measures. They come back often in this piece, and they add shape and excitement to your playing.

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Section 1: Triplets and Spiccato

Before long, Seitz gives us those fast triplet figures. Here’s the key:

• Play them in the lower part of the bow

• Keep them short and light

• Don’t try to force a big bounce

If you stay relaxed, the bow will naturally want to leave the string just a little. Think of it as light spiccato that happens on its own when you speed up. Practice slowly with short, controlled strokes, and let the bounce emerge naturally as you gain speed.

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Section 2: Three-Note Groupings

Later we see repeating three-note figures. The trick here is consistency:

• Each group should use the same amount of bow

• They should occur in the same part of the bow every time

After every up-bow, reset yourself back toward the frog. That way, when you get to the next group, you’re not stuck at the tip with no room to move.

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Section 3: Double Stops

As usual in Suzuki, we get some double stops that are written as three notes but meant to be played two + two. For example:

• First play the lower pair (open D + A)

• Then the upper pair (A + F♯ on the E string)

Practice them slowly, focusing on intonation. Big sound here is better than small and timid.

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Section 4: Contrasting Characters

One of the fun things about this concerto is the contrast.

You’ll go from:

• Short, accented notes (play them from the string, aggressive)
  to

• Singing, legato lines (play long, smooth, and with vibrato).

Seitz even gives us railroad tracks (//) in the score to indicate a break and a shift of character. Respect those changes. They keep the piece exciting and engaging for the listener.

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Section 5: Bow Planning

This movement will test how well you plan your bow.

For example, in the aggressive forte sections with accents on A, you want to be in the lower half of the bow to keep things short and crisp. If you drift too far toward the tip, the accents become weak and the short strokes clumsy.

Rule of thumb: anytime you see triplets or accented short notes coming up, make sure you’re already working your way back toward the frog.

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Section 6: Tranquillo Dolce

Later, Seitz writes tranquillo dolce — a completely different character. Sweet, lyrical, almost like a song.

Tips for this section:

• Keep vibrato going on every note (if you’ve got vibrato — if not, this is a great place to start practicing it)

• Use long bows, smooth and connected

• Roll the bow slightly onto its side to soften the sound

• Think of it as singing, not marching

This is your chance to really change the color of your sound.

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Section 7: Spiccato Challenge

Toward the end, we get another spiccato/staccato passage. This is tough — lots of short strokes, sometimes with string crossings.

Here’s how to practice:

• One measure at a time — don’t try to nail the whole section at once

• Keep the strokes short and at the lower part of the bow

• Stay relaxed — if your hand tightens (especially pinky and index), it won’t work

• Use a metronome and build speed gradually

If the string crossings are messy, it’s almost always because of tension. Breathe, relax, and trust the bow to do its job.

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Section 8: Fifths and Final Double Stops

At the end, we get those double-stop fifths. Two important reminders:

1. Stand your finger up — don’t play on the pad, play on the tip.

2. Keep the first finger down — don’t lift it between D and A. Place it right in the middle so it covers both strings like a pivot.

These little details will make the ending strong and confident, rather than wobbly.

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Final Thoughts

This concerto is all about organization:

• Organize your bow strokes

• Organize your sections in practice (small chunks, slow tempo, then build)

• Organize your sound by changing character when Seitz asks you to

Dynamics and accents are critical here — they make the difference between a bland performance and one that really grabs attention.

If you take it step by step, Seitz No. 5 becomes not just manageable, but really fun to play.

Now, go practice — and have fun with it!