Suzuki Book 3 - Humoresque (Violin Play Along and Tutorial)
Hi everyone, Joel Kennedy here with Kennedy Violins.
Today’s play-along is Humoresque from Suzuki Book 3 — a student favorite that’s both playful and elegant. This piece has some tricky rhythms, bow management challenges, and even opportunities for alternate fingerings, but once you break it down it’s really fun to play.
Let’s walk through it step by step.
Key and Time Signature
We’re in D major — two sharps (F♯ and C♯).
That means:
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High 2 on G (B natural)
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High 2 on D (F♯)
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High 2 on A (C♯)
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Low 2 on E (G natural)
Our time signature is 2/4. The quarter note gets the beat, so you’ll feel two steady pulses per measure. When you use the metronome, set it so the quarter note is the click.
First Impressions – Don’t Be Scared!
When you first look at this piece, it can feel overwhelming — lots of black notes, 16ths, and even 32nds. But here’s the good news: it just looks scarier than it really is.
Why? Because the tempo is fairly slow. Those 32nds aren’t lightning fast — they’re just subdivisions of a comfortable beat. Once you feel it in two or even subdivide into four, everything clicks into place.
Practice Strategy for the Opening
Here’s how to simplify:
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Count in two first (each quarter = one beat).
Example: quarter, quarter, half note… eighth, eighth, eighth, eighth, sixteenth group. -
If that feels hard, double your metronome so you count in four. This way, every bow change lands on a click, which makes it easier to align rhythm and bowing.
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Start with short sections. Even two measures at a time is enough in the beginning.
Bow Management – The Real Trick
One of the biggest challenges in Humoresque is planning where you are in the bow.
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For the opening, play in the middle of the bow for control.
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When you see those long notes, make sure you’re drifting toward the frog so you have bow to sustain them.
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Suzuki sneaks in a skill here: you’ll often have to work your way down the bow gradually so you’re ready for a big, held note later.
Pro tip: use that fourth finger note near the end of a phrase as a chance to make a big up-bow and reset yourself at the frog. That way you’re always prepared for the next section.
Rhythm Workouts
This piece has several rhythmic “puzzles.” Here are strategies to solve them:
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Clap and sing it first. Forget the pitches — just make sure you can fit the rhythms into the beat.
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Example: clap the dotted-eighth + sixteenth and sing “long-short.”
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This ensures you know where the beats land.
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Take out the slurs. Play everything separate bows first. Once the rhythm feels natural, add the slurs back in.
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Use the metronome creatively. If you’re struggling, subdivide by doubling the tempo. Once it feels secure, go back to playing in two.
Articulation and Style
Notice the little rests in the opening. They look like 32nd rests, but don’t panic — all it means is: stop your bow. Create silence between the paired notes. That’s what makes it sound light and playful, instead of mushy.
Also, watch for the tenuto marks (short horizontal lines) over eighth notes. That means “full value” — play them long and connected, not short and bouncy.
Alternate Fingerings (and Why They Help)
This piece gives you some great chances to practice third position to avoid string crossings.
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In one passage, instead of crossing strings with awkward fingerings in first position, shift into third and keep everything on the D string. It not only sounds smoother, but it’s physically easier.
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Same with the F natural at the end — you can play it in first position with a low 1, but in third position it feels more secure and cleaner.
Important tip: if you’re doing extended fourth finger stretches in first position, keep your third finger down while playing the fourth. This teaches your hand the stretch and helps keep intonation consistent.
Dynamics – Don’t Skip Them
Suzuki marks Humoresque with some really fun dynamic contrasts — from mezzo-forte to forte, and even piano and triple piano at the end.
Make sure you:
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Use big bows when the music swells to forte.
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Roll the bow slightly on its side and use lighter weight for piano.
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Really commit to that triple piano ending — it makes the piece end like a whisper, which is so much more effective than just “stopping.”
Final Thoughts
Humoresque is one of those rare Suzuki pieces that works at many tempos. You can play it slowly and thoughtfully, or speed it up and make it bounce like a rabbit. Either way, it’s fun and rewarding.
Remember:
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Break rhythms into smaller chunks
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Stop your bow cleanly on rests
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Plan your bow in advance
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Explore alternate fingerings for smoothness
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Pay attention to dynamics
Do all that, and you’ll turn what looks intimidating into something that feels playful and expressive.
