Hi everyone! Joel Kennedy here from Kennedy Violins. Today, we’re diving into something special—one of Vivaldi’s concertos from Suzuki Book 4. Specifically, we’ll tackle the first movement, and I’ll break it down for you section by section, highlighting the key technical aspects as we go.

Click here to download a PDF of the piece and follow along as we go!

This piece is quite a bit longer than the others I typically cover, so we’ll be focusing on the high points and skipping the finer details that would normally take several lessons to master. But don't worry, I’ll make sure you get the essentials so you can confidently tackle this piece! 

Measures 1–9: Key Basics and Bow Placement

Right off the bat, we need to consider the fundamentals—key signature, time signature, and bowing decisions. We’re in the key of C major, which means no sharps or flats, so all your fingers are going to be in their natural positions. We’re also in 4/4 time (common time), so we’re counting four beats per measure.

In these opening measures, the dynamic is marked forte, so play with confidence and strength. But be sure to pay attention to the articulation markings as well. By measure 9, you’ll see some staccato notes (marked by dots), which means you need to separate them slightly by stopping the bow between each note. When you see an accent (marked by a sideways “V”), give those notes a little extra punch.

Measure 9–13: Accent and Sforzando in Action

These measures introduce some interesting articulation, especially in the final measure (measure 12). Here, we have staccato notes with accents—you’ll see those two dots above the third and fourth fingers, meaning short, separated notes that are accented. But the big one to note here is the sforzando (sfz) marking on the D natural. This means we want to really attack this note. The trick with sforzando is to strike the note with force but maintain control so it doesn’t sound too aggressive or messy.

To nail this, try starting from a near-stopped position with the bow. I find that being close to the frog of the bow helps give you more control over that attack.

Measures 13–20: Legato and Phrase Shaping

In this next section, the articulation shifts to legato (smooth, connected notes). Take a look at the lines above the notes—those indicate that we should be connecting everything smoothly. If those lines weren’t there, or if there were staccato markings instead, it would sound more separated. But here, you want to aim for seamless, flowing sound.

Around measure 17, you’ll also see the phrase markings (the “alligators” as I call them) which guide you in shaping the music. The music should swell toward the middle of the phrase and then fall away. This kind of phrase shaping gives your playing a sense of direction and keeps it from sounding flat.

Measures 21–28: More Accents and Articulation

By the time we reach measures 21–28, you’ll notice some familiar articulation marks from earlier in the piece. We see another martellato marking (indicating strong, detached notes) along with staccato. Here, it’s important to keep the bow movement crisp and deliberate. Stop the bow after each note, especially in the martellato sections—this adds clarity to the passage.

The mezzo forte dynamic marking here means we should pull back slightly from the forte in the earlier measures. As we progress toward measure 28, we move into piano dolce, a softer, sweeter sound. This is a great opportunity to change the character of your playing, switching from bold to delicate.

Shifting and the Upper Bow

You’ll notice that we move from the lower half of the bow to the upper half. This allows you to maintain a light, airy sound while still keeping control of the accents on the downbeat.

In measure 24, you’ll see an accent on the first note of each group of four. Use your index finger and the weight of your arm to give that accent the strength it needs without losing control.

Also, notice how I’ve changed the bowings from the original Suzuki markings. I prefer a smoother, more natural bowing that fits the musical phrasing better. While the original bowings are more challenging, I think mine stay true to the spirit of the piece while making it more enjoyable to play.

Here’s a practice tip: slow down and practice the section without the slurs first. Focus on getting the notes in tune, then gradually add the slurs back in once you feel confident. Another tip is to practice the passage with altered rhythms—this strengthens your left hand and helps you lock in the shift.

Remember, when you’re shifting, make sure your thumb moves with your hand. Keeping the thumb in sync with the hand will make your shifts much smoother and more accurate.

Measures 28–34: Staying in Third Position

Now we’re staying in third position, and in measure 29, you’ll notice the bracket over the third finger, signaling you to keep it down. Try not to lift your fingers too much—this helps keep everything grounded and more in tune.

You have the option to use a low first finger or a low fourth finger here, depending on what’s more comfortable for you. The key is to minimize finger movement, so you’re not picking up your fingers and placing them back down every time. You want the transition to feel smooth.

Wrapping Up: From Measure 61 to the Final Note

At the very end of the piece (measure 77 onward), we see sforzando markings again, along with staccato accents. The final note is marked with rallentando (gradually slowing down), so take your time here and really make the final moment of the piece feel significant. Stay close to the frog for extra control, and let that last note land with a solid finish.

What’s Next?

That wraps up our look at Vivaldi’s concerto! I hope these tips help you feel more confident as you practice this piece. Please check the video above as it is much easier to explain the full process when someone is talking you through it as you're playing along. And don’t forget to like this video and subscribe to the channel for more violin tips and playalong videos.

Until next time, happy practicing!