Suzuki Book 4 for Viola — Telemann Viola Concerto: Second Movement
Hey everyone, Joel Kennedy here from Kennedy Violins! I’m excited to share some viola content with you today, as I’ve been getting a bunch of requests lately to dive into pieces for this beautiful instrument. In our latest video, I’m breaking down the second movement of the Telemann Viola Concerto—a staple in Suzuki Book 4 and a fantastic piece for violists looking to refine their skills. If you haven’t checked out the video yet, I’d love for you to watch it alongside this post. Here, I’ll walk you through my approach to this movement and share some tips to help you make it sing.
Starting with the Basics
Right off the bat, this movement is in G major—pretty straightforward with one sharp (F#) and a 4/4 time signature. I like to start by focusing on the articulation, which is key to bringing out the viola’s warm, resonant tone. For most of this piece, you’ll want to play in the middle of your bow—that “fatty, squishy” part I talk about. It’s the sweet spot for a détaché stroke, where you don’t have to work too hard to get a good sound. Avoid the frog or the tip unless the music calls for it; staying in the middle keeps things efficient and lets the instrument ring naturally.
Bow contact is everything here. If you’re positioned between the fingerboard and the bridge with relaxed pressure, you won’t need to force the sound—it’ll just happen. Take those sixteenth notes, for example: keep the bow in the string, feel the connection with your index finger, and let the tone stay focused. Less effort, more resonance—that’s the goal.
Tackling the Bowings
Since I’m playing from the Suzuki Book 4 edition, I’m sticking with its bowings, which can feel a bit tricky at first. My strategy? Practice slowly and stay in the middle of the bow. If you’re at the tip, you’ll waste energy adjusting; at the frog, it’s just too clunky. A relaxed bow arm is non-negotiable—keep your shoulder down, elbow loose, and let your wrist do the work. I love this old trick: practice the stroke on open strings (like G to D) to build that wrist flexibility. It’s all about smooth, efficient motion.
Dynamics and Double Stops
The dynamics in this movement—like the forte-to-piano shifts—add so much character. For instance, on the last measure of the second line (second page), I set up the forte by releasing the weight of my arm, then ease into the piano with control. For crescendos, use tied notes to gradually build volume, but always aim to end up back in the middle of the bow—don’t get stranded at the tip or frog.
Double stops can be a challenge, especially later in the page. My advice? Break them down. Start by placing your fingers first, then bow—two notes at a time. For tougher ones, like that fifth, focus on the lower finger first, then layer the next one on top. It’s all about finding the right angle with your fingertip—every hand is different, so experiment until it’s in tune. Once you’re solid, speed it up gradually.
Pitch and Finger Placement
On the second page, pitch becomes a bigger focus. Keeping certain fingers down as a frame for your hand is a game-changer for intonation. On the first line, for example, keep that first finger planted while stretching to the fourth—it’s a stretch you’ll want to memorize. Same goes for later runs: anchor your low fingers and build from there. It’s tempting to lift everything, but trust me, you’ll stay in tune more consistently this way.
When we shift to third position later on, pay attention to finger spacing. A natural third to fourth finger is a whole step, but in third position, it’s a half step—knowing that relationship keeps you on track. I also suggest a specific fingering for the last section: third position with a whole step to third, then second, then back to first. It’s just one option, so feel free to tweak it to suit you.
Bringing It All Together
Overall, this movement is about finesse, not force. Practice slowly, keep your bow stroke in the string and in the middle, and don’t overwork yourself. Stop the bow before starting notes to make them crisp—especially in those sixteenth-note runs—and let the viola do the heavy lifting with its natural tone.
I hope these tips help any violists out there tackling this piece! I’m planning to cover the third and fourth movements too, so stay tuned. If there’s another viola work you’d love me to explore, drop it in the comments—I’m always inspired by what you all suggest. For now, grab your viola, have fun practicing, and I’ll catch you next time!
