This is a public version of the members-only Violin with Nathan Cole, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Violin with Nathan Cole.
Join Now

Beginner Violin
Intermediate Violin
Advanced Violin
Orchestral Excerpts
Concertmaster Solos
30 Day Challenge
«Prev of Next»

Violin Lessons: Brahms - Piano Concerto #1 3rd Mvt (2nd Violin), mm. 238-274

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +

+Beginner Violin

+Intermediate Violin

+Advanced Violin

+Orchestral Excerpts

+Concertmaster Solos

Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   

This video lesson is available only to members of
Violin with Nathan Cole.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Violin with Nathan Cole. This is only a preview of what you get when you take Violin Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
So this short excerpt from the Brahms
first piano concerto is there's a good
reason that it's asked and
that's because when this moment in the
last movement comes,
in a performance, it never fails to take
everyone by surprise and
so the committee wants to see how you
handle a very steady pulse,
controlled sound with some rhythmic
Now, what happens in the performance, and
you can see when you look at your music,
if you have the piano cue, the piano
soloist plays right up until this entrance
and then as soon as you get to rehearsal
E, the entire orchestra drops out and
it's only second violins starting this
fugue and so
it's just as scary in performance as it is
in an audition and
that's a lot people ask why the auditions
are so unnatural,
you'll never face you know, a pressure
like this on the job.
This is one of those moments,
where on the job, it feels just like an
audition, it just feels very naked.
So you have to have a rock solid plan for
how to get this started.
As usual, it's from the string staying
close to the string.
And despite the dots,
they really aren't very short notes.
The dots are there for separation but you
might think of speaking them,
as if there were words or syllables to
them, rather than a bow articulation.
Again, I get my bow back to
the string before the sixteenth note,
so I get it there during the rest.
And, of course, I replace my
bow right at the bouncing point.
Those sixteenth notes need to sit back.
The most common thing that happens in this
excerpt is that when
you reach the sixteenth, you suddenly move
forward in the tempo.
Another rhythmic challenge are the
syncopations that come
they need to be counted exactly so that
they fit in the pulse.
They can have a tendency to slow down.
So this is
a great one to do with
the metronome on big beats.
For example, a whole bar, so that you're
seeing really if you're lining up,
if each bar is the same length.
You can also place the metronome on the
tempo of a bar but
have it sound on the half bar, so it's
sounding every half note but
it's sounding in the middle of the bar.
That's a good way to really see if even
the middle of your bars are lining up.
As usual when you need to get louder in
this excerpt,
you increase the amount of bow rather than
getting more off the string or
getting a harder sound.