I Can Play Bach: Viola, Piano Book

Dabczynski wrote these pieces specifically to fill a gap in viola repertoire for early players. Rather than duplicating Suzuki material, he drew from the Bach keyboard and orchestral catalog to give violists their own collection of dignified, recognizable music. The careful fingerings and bowings reflect his decades of training string teachers, so every marking serves a pedagogical purpose.

These arrangements capture the formality and grace of Baroque dance forms and arias. The melodies have a natural elegance that feels rewarding to play even at this early stage, with the piano providing harmonic support that grounds the viola part without overwhelming it. Each piece is short enough to master quickly, building momentum in the student's practice life.

Beginning violists in their first or second year of study who are ready for short solo repertoire with piano accompaniment. Equally valuable for adult learners joining community orchestras or string ensembles who want to build confidence with genuine Bach material. Studio teachers will appreciate having nine distinct pieces to assign throughout a season without reaching for Suzuki books.

• Establish the bow distribution for each piece by marking the bow strokes lightly in pencil before the first rehearsal; this prevents confusion later when tempo and phrasing become more important.
• Coordinate with the pianist on dynamics and phrase shape early, since the viola often carries the melody and needs the accompaniment to breathe with it rather than against it.
• Take time with the dotted figures in pieces like the Polonaise and Gavotte; students tend to rush these rhythmic gestures before they feel natural.
• Record yourself or have students listen to different Bach interpretations of these pieces to hear how tempo and articulation change the character dramatically.

Open a winter or spring concert with one or two of these pieces alongside other Grade 1 viola solos to showcase young players in a formal context. They work equally well as recital material for studio students or as supplementary repertoire in group lessons to reinforce reading and bowing skills. The Baroque context also makes them natural programming companions if you're teaching music history or exploring early compositional forms.

• Clear articulation of Baroque bow strokes (separate, détaché, and basic slurs)
• Reading and executing marked fingerings accurately without relying on ear
• Phrasing across multiple measures with a logical sense of direction
• Rhythmic accuracy in dotted figures and dance-form patterns
• Coordinating with a piano accompanist and responding to harmonic support