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: Rachmaninov - Symphony #2, 11 before Reh. 33 - 4 after Reh. 34

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.
In this second violin excerpt from
Rachmaninov, this is a control excerpt,
except it's mostly in forte and
So you have to control the sound.
It's usually a little easier than
controlling in the piano,
but you still wanna stay within the bounds
of good sound.
And you want the notes to come out
So the baseline stroke for this.
Or in fortissimo, a little more bow.
So the challenge is you want to have
the bow clearly on one string, when it's
on one string, and
then handle the string crossings and still
only ever hear one string at a time.
Now, there's room for a little bit of
grit, a little bit of noise in this one.
So it doesn't have to be as clean as, say,
the Mendelssohn Scherzo.
But you still want to pace yourself so
that you save the grit for
the, the most powerful moments.
There is an accompanying rhythm.
You switch between the, the main tune.
That kind of steady eighth notes.
You switch between that and
an accompaniment figure that needs
strength in the rhythm.
Now, in a more classical piece,
you might interpret that with a short
quarter note.
But here, it's, it's more romantic.
It's heavier, so make a difference between
the quarter note and the eighth.
And the way that you cut off the quarter
note should
be informed by the character, too.
It's, it's a full quarter and abrupt
That also helps control the rhythm so
that it doesn't run.
This is what often happens in this excerpt
is that the rhythm runs ahead there during
the accompanying moments.
Now, the only time you get soft is near
the end.
And then that happens pretty quickly, so
you have to shrink the bow in a hurry.
And then expand
it back again.
The same way you do in, in other excerpts.
More bow for the more powerful dynamics
and shrink it back
horizontally, not vertically, when you
want a piano.