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
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Violin Lessons: Rimsky-Korsakov - Scheherazade, 1st Mvt Opening Solo

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
 
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   
Information
 ≡ 
Course Description
 ≡ 

This is only a preview of what you get when you take Violin Lessons at ArtistWorks. 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.
X
Log In
X
[MUSIC]
The solos from Scheherazade
are all about beauty and variety of sound.
And, and this opening solo is the best
example.
Here, you have all the registers of the
violin to use.
And so you need to help people hear what
the violin is capable of, or
what all the different registers sound
like.
You also like to avoid repetition when you
can,
repetition in rhythm, repetition in sound
and shape.
The very first note has a chance to
develop.
[MUSIC]
So the bow should change at the very point
when the sound has reached its, its lowest
point or,
or when it doesn't have any more
interesting changes to make.
If you change after that, then you're
basically having a,
a few inches of dead sound, a few inches
of dead bow at the end of the note.
So better to change too early than too
late.
[MUSIC]
And of course, you want the beginning
of the up-bow to sound the same as the end
of the down-bow.
Now, all the glissandi that you make in
this solo should be the expressive kind.
So, for example, when you're at the
bottom.
[MUSIC]
Of course,
they don't always have
to be the same speed.
But they should not be hidden.
They shouldn't be rushed over.
So these are, these are glisses that you
want to hear, and
you wanna make the most of them.
At the very end, you can span the whole
register of the violin.
[MUSIC]
So on each string,
you should be making a,
a representative sound on that string.
So if you're starting at a low dynamic on
the G string, as I just did,
you want a, a husky G string sound.
Not just piano or weak, but something
husky.
And then it gets more silvery as it goes
up until finally you have
the brilliance and the singing qualities
on the E string.
[MUSIC]