I Can Play Mozart: Viola, Piano Book

Dabczynski understood exactly what beginning violists need: repertoire that sits naturally on the instrument without forcing unnecessary stretches, paired with the kind of clear fingerings and bowing indications that prevent students from developing bad habits. The fact that these pieces avoid duplication with existing Suzuki volumes means you're giving your students genuine variety in their early repertoire while they build fundamental skills.

These are genuine Mozart moments scaled for young players. The minuets dance with grace and clarity, the arias sing with surprising depth, and the magic glockenspiels sparkle. Every piece rewards careful listening and thoughtful interpretation, inviting violists to discover that early music can be expressive and engaging, not just a stepping stone.

Beginning violists in their first or second year of study who are ready to move beyond method books but need music with guided fingering and bowing. Teachers looking to build a curated library of accessible solos that support technique without feeling like technical exercises.

• Balance the bow pressure between your own viola line and the piano part; these pieces are written so the melody carries forward, but a light touch will prevent the accompaniment from drowning out the soloist.
• Pay special attention to how each minuet differs in character and phrasing; comparing them teaches students that identical forms demand different musical choices.
• Use the printed bowings as your foundation, but encourage your students to experiment with where they breathe between phrases once the mechanics are solid.
• Find the gentler tempo at which your student can execute the printed fingerings cleanly; rushing to a "correct" tempo sacrifices intonation and bow control that these pieces are designed to develop.

Assign these as solo performance pieces for student recitals or studio showcase concerts where you want to highlight growing independence and musicianship. They work equally well as supplemental repertoire during the latter half of the school year when your beginning student needs material that extends beyond weekly lesson assignments. The variety of moods across the collection makes it easy to program several pieces in sequence without the concert feeling repetitive.

• Following printed fingerings and bowings while developing interpretive independence
• Sustaining melodic phrasing across multiple phrases without relying on technique as the primary focus
• Balancing intonation with vibrato choices appropriate to Classical style
• Coordinating rhythm and articulation with an accompanist
• Performing major and minor key tonalities in early positions