The Chaconne in G minor is a Baroque composition for violin and continuo, traditionally attributed to the Italian composer Tomaso Antonio Vitali. The origin of its composition has been debated. Differing somewhat from the major archetypes of ground bass variations, the chaconne features a descending tetrachord in the continuo part, the lowest voice (this bass-line pattern is traditionally associated with lament and figured, at a time, more prominently in the passacaglia), above which the violin part presents increasingly complex variations on the original theme. There are several abrupt changes in the key between variations, atypical of other chaconnes from the Baroque era.

The chaconne was first published in 1867 by the German musician Ferdinand David in the second volume of his Die hohe Schule des Violinspiels, a collection of eighteenth-century compositions for violin. David gave the composition its "Chaconne" title and substituted the continuo accompaniment with a piano part. He also embellished the violin part with advanced techniques, adding octaves, double stops, and more dramatic changes in dynamics. The Italian-American cellist Luigi Silva later arranged the Chaconne for cello and piano.