Hi everyone, Joel Kennedy here from Kennedy Violins! Today, we’re diving into another playalong—this time it’s Minuet from Suzuki Book 2, written by Boccherini. If you’re following along with the Suzuki method, this is a great piece to help develop your technique and musicality.

At the end of this video, I’ll throw a dart at my trusty dartboard and choose the next piece for next week’s playalong. But for now, let’s jump into Minuet!

Here's the PDF to download of the Minuet if you want to follow along.

But remember you would do yourself good by purchasing the full book of Suzuki pieces!

Playing Through "Minuet"

First, I’ll play through the piece without the metronome, and then again with the metronome at a comfortable tempo of 113 BPM. This is in 3/4 time, so there are three beats per measure, with the quarter note getting the beat. Feel free to slow it down or speed it up as needed to match your comfort level.

Playing with the Metronome

I find it helpful to practice with a metronome, especially when building speed or ensuring consistency in your timing. For this piece, we’re aiming for a steady 113 BPM, which will give you enough space to work through the phrasing and technical elements without rushing.

Mapping Out the Piece

Before we practice, it's essential to map everything out. As always, I recommend you start by looking at a few key details:

• Time Signature: 3/4 time, meaning three beats per measure.
• Key Signature: Three sharps—F#, C#, and G#. This puts us in the key of A major.

When practicing, your goal is to play it correctly as many times as possible. If needed, slow it down, then gradually build up speed.

Left Hand Positioning

The three sharps in this piece directly affect your left-hand finger placement:

• F#: First finger on the E string, positioned where you naturally place your first finger across other strings.
• C#: High 2nd finger on the A string, touching the third finger.
• G#: High 2nd finger on the E string, again touching the third finger.

About halfway through the piece (around the Trio section), the key changes to D major with two sharps (F# and C#). You’ll need to adjust your high second finger on the E string to a low second finger for G natural.

Understanding Dynamics

This piece incorporates a variety of dynamics that help bring out its musical character. We start with mezzo piano (medium soft) and move between mezzo forte (medium loud) and forte (loud) throughout the piece. Remember, dynamics are all about contrast—it’s the difference between your soft and loud sections that makes the music expressive.

Mastering Articulations

You’ll find several articulations in Minuet, including staccato and dotted rhythms:

• Staccato notes, indicated by dots above them, should be played short and detached. You’ll find these especially in the ascending scale of the Trio section.
• Dotted rhythms: These add rhythmic complexity and should be counted carefully to ensure the timing is precise. For example, in the second line, you’ll encounter a dotted quarter note, which receives one and a half beats.

Repeats and Endings

Repeats can be tricky, especially with all the first and second endings. Here’s a quick guide:

1. Play through to the first ending, then go back to the beginning.
2. The second time, skip the first ending and move to the second ending.
3. In the Trio section, you’ll repeat again, going back to the previous set of repeat signs.

At the very end, you’ll see “DC al Fine,” which means to go back to the beginning and play through to the Fine (end) without taking any repeats. Always take the second ending during this final pass.

Technique Tips: Accents and Bow Control

Throughout this piece, you’ll encounter accents (the sideways "V" markings) that indicate you should add extra emphasis to specific notes. To achieve this, add a little weight with your bow hand and index finger, giving the note a slight push.

• Bow Placement: For the staccato notes, aim to stay in the middle to lower part of the bow. This gives you better control over the short, detached notes.

Practicing Trills

The trills in this piece may be challenging at first. In the second-to-last measure of the second line, you’ll find the first trill. Suzuki wants you to start the trill with the printed note and end with the lower note. Practicing trills slowly and systematically will help you master them over time.

Wrapping It Up: Phrase Direction and Rhythm

Remember, music is storytelling. Every phrase has a direction, and dynamics help guide that. In this piece, you’ll see crescendos that lead you to important notes, like the high E on the E string. Think of these crescendos as showing you where the music is headed—this helps give your performance a sense of flow and purpose.

One common challenge is the rhythm toward the fourth line from the end, where rests and syncopated rhythms appear. Use your metronome to count these out carefully, and you’ll get a clearer sense of timing.

What’s Next?

Thanks for playing along! Now, let’s throw the dart and see what’s coming up next. For next week’s playalong, we’ll be diving into Song of the Wind from Suzuki Book 1, perfect for beginners.

Be sure to hit the like and subscribe buttons so you don’t miss it! If you have any questions or comments, drop them below, and as always, happy practicing!