When It All Clicks

I’m sure you’ve all been there at one time or another, maybe innumerable times. ‘The zone’, that blissful state where action feels effortless, where time is suspended. It all clicks.

When I was an even younger man, a few decades ago, I had a unique opportunity. I was engaged to play the Mozart ‘Symphonie Concertante’ with the Los Angeles Chamber Orchestra, Neville Marriner conducting. We did it not just once but 6 times.

These were not the first concerts I had played under Marriner’s baton. Having been a member of the chamber orchestra for two years I knew his abilities well.

He was, at that time, I very tidy musician. A violinist himself he understood string playing and knew where the technical challenges were. He used rehearsal time efficiently.

What he didn’t know was how to get an orchestra to ‘flow,’ particularly in Mozart. For one thing his beat was rather pedestrian. More importantly, however, was he didn’t understand the subtlety of Mozart’s meters.

Many Mozart first movements have what I would call a ‘subdivided two’ feel. They are not really in four and they are not in two either. They are in an in between meter where the second and fourth quarters of the measure receive less stress than one and three.

Conductors, for some reason, have trouble with the beat pattern that must be used to indicate this.

When we began rehearsals for these concerts it became quickly apparent that Marriner was not going to place the orchestra in this deliciously subtle meter. He beat the music in ‘common time’, 4/4.

I appealed to him several times. ‘Can we play this movement in a subdivided two,’ I implored.

‘Quite,’ he would respond, in his crisp English accent. Again we would start the music, and again he would conduct in four. He could not hear that his beat pattern was in opposition to his intellectual intent. The music, therefore, could not flow.

We played five very tidy, competent performances this way. Always impeccable, always clean, always Flat.

At the last performance, however, something happened. Partly it was the orchestra and both soloists taking matters into their own hands, partly it was the overflowing audience (the presenters had to set up a camera and broadcast the performance into an adjoining space), and partly in was the ‘Maestro’ showing the beginnings of a subdivided two beat pattern.

In any case, it all clicked.

Not just the first movement but the whole piece (the last movement is in another ‘subdivided’ meter). And it was one of the most satisfying experiences of my career.

The reason I’ve related the story isn’t to make myself feel good, or to ‘dis’ Neville Marriner.

Give this a try in your own playing of ‘classical period’ music. Consider counting ‘one-and-two-and’ instead of ‘one-two-three-four’ in the first movement Allegros. In finales, marked in ‘two’, try thinking, or counting, in a subdivided one – one-and-one-and.

There are exceptions to this. But only enough to prove the rule.

All the best,

Clayton Haslop

P.S. The days are a getttin’ noticeably shorter. So is the time before I will raise the price on the Masterclass/Seminar.

On Finger Pressure…

One of our fellow Seekers wrote in yesterday about a problem he is having relative to finger pressure. I thought some of you might find it applies to you as well so I am sharing my thoughts about it here.

He writes, ‘I have been struggling with finger pressure issues for a long time. Everyone has a different idea about it. I find myself going through a cycle every few months of very little pressure not being satisfied if I need a big sound, then using more pressure until finally I’m really tense and I go the other direction again.’

The obvious answer, which may or may not be appropriate here, is to work on separating the hands. In other words, watch out for the tendency to do with your left what you are doing with your right. Just because you are weighting the string more to produce a bigger tone does not necessarily mean you need to use more left hand pressure.

Naturally I recognize that when the string is vibrating more vigorously you need a little more pressure, but only a little.

I would try playing some scales, both in single notes and in double stops and experiment with left hand versus right arm pressure. Getting the maximum in volume with the minimum of pressure.

Here’s something else to check out. Sometimes violinists tighten their left hand in an attempt to increase vibrato speed in passionate music. Really what happens, I think is that their emotions ‘run away with them.’

Don’t forget that we are actors. Behind all the outward appearance of passion – and I’m not saying it shouldn’t be heartfelt – is a cool calculating artist who is sticking to a well-mapped plan.

OK, you want room for spontaneity. Just don’t let it take you over the top to where you are tying yourself up in knots.

Some of you may remember a figure skater by the name of Oksana Baiul, she won the gold medal over Nancy Kerrigan in the ’96 Olympics. Whether or not you think she deserved the gold medal, she was a beautiful skater at the time. Soon after, however, she became her own worst enemy. She began making her skating ALL about her. Every single emotion from her challenging life was indulged to the fullest on the ice with the result that her technique collapsed around her.

I have, in the past, gotten myself in trouble for becoming the emotion of the music rather than remaining its advocate. There is a big difference.

Guess I got a little farther a field than I meant to here but these things are good to bear in mind as performers.

All the best,

Clayton Haslop

P.S. Though I do not speak about finger pressure directly in Vol. 1, my approach to #9 is all about finger control, pliancy, and balance. These are of great assitance in ridding the hand of excess tension.

The Horse Master

If you’re anything like I am, you must also love seeing people who are masters at what they do. Especially where it involves some type of physical skill that relates back to music.

Over the weekend we met a true ‘horse whisperer.’ It was really a matter of serendipity, really. Our daughter is going through her ‘horse phase’ at the moment, and she wanted to see the heavy horses the Biltmore Estate keeps for wagon rides and such.

When we drove over to the barn area, not far from the Inn where my Masterclass will be held, we found a Fall festival in progress.

One of the ‘attractions’ was a real life cowboy giving talks and demonstrations on horsemanship. Clara immediately insisted we go over to him, even though we passed by a booth containing several live owls and hawks I could have admired for hours.

Turns out she was on to something exceptional.

The cowboy’s name is John Scott. As we arrived he was talking about the tack he used; reins of braided horsehair, bridle of woven cane, no bit. All hand made.

Even talking about these seeming incidentals he exuded a passion that held the thirty or forty people before him in rapt attention.

‘What I can feel the horse can feel,’ he said. ‘If I care about everything that goes on my horse the horse knows that I care about him. It builds the trust that out success together depends on.’

When it came to putting his horse through its paces his true artistry came out. With hand movements so subtle you had to watch for them he led his mount through some very complicated maneuvers.

Afterwards he said some things that sent chills down my spine.

‘If you have a bond of trust with your horse, if you have demonstrated that you are a leader and not a dictator, if you understand the nature and true needs of the horse, the horse will respond to your commands with virtually no physical input.’

‘Horses, like people, like to belong to well-managed societies. When you create the right environment for them they will live to follow you. It all comes from and goes to the heart.’

Standing there I realized how what he was saying could just as easily apply to the relationship between orchestra and conductor. I have played for many, but few have gone that extra mile of self-examination to know the moment to moment truth of the heart.

Those are the ones who anticipate respond to the needs of players even before the player is aware of them. Who put music before their own desire for self-gratification. Who listen and respond to playing that comes from the heart because they themselves are beings OF the heart. The are at once self confident and humble.

I hope you all have the great pleasure and satisfaction of playing under such a one.

All the best,

Clayton Haslop

P.S. John Scott also talked about ‘quick fixes.’ They are of no more use to a horseman than they are to a violinist. You must first cultivate a vision of violin mastery before your hands can manifest it.

The Mind/Hand Connection

In the Waldorf educational system, based on the teachings of German intellectual and spiritualist Rudolf Steiner, young children are introduced to many arts and crafts that utilize their hands. Steiner’s belief, back at the beginning of the 20th century, was that these activities stimulated and strengthened the brain.

Numerous studies have since born him out.

Turn’s out what’s true for children is also true for adults. Now we are finding, contrary to the conventional wisdom of the last several decades, that adults can produce new gray matter as well.

This should make us feel very good. We are, after all, violinists.

What got me thinking of this was some blowback I’ve seen about my site. It seems the word is out that I might know a thing or two about playing the fiddle.

Somethun’ ought to have rubbed off after three years with Milstein, right?

One of the most provocative notions, and one that has stirred some interest out there is the idea of holding the fiddle with the left hand.

Now, I’m not going to repeat what I’ve already said on the subject. If you want to see it you can head over to my site and click on ‘Violin Secrets’ to look at past newsletters.

What I do want you to consider, in your next few practice sessions, is how much more clever, flexible, and strong your left hand must be to hold the instrument at the same time you finger it – I know what some of you are thinking, don’t go there on me.

Mind you, I’m not calling for you to hold it in the air while you play.

No, just fully support it. Make a ‘V’ between your thumb and hand for it to rest in. Don’t let it slip down to the saddle between your thumb and hand. That will limit your ability to get around.

Experiment with it. Play slowly enough that you can think ahead – you should always be doing that. Feel how balanced the hand becomes. The fulcrum for the finger pressure on the strings is now localized right under the neck, rather than at your shoulder.

OK, if you find some new life coming into your left hand as a result of doing this, great, now keep one further thing in mind. As with any newly acquired habit, you will tend to revert back to the old way of doing things when the pressure is on. It takes courage and mental discipline to stay the course.

You might even have to risk a few ‘spills’ as you reinvent yourself.

I used to have moments when my violin would slip off my shoulder momentarily. Yes, this can be mildly disconcerting, but at the same time I felt that I was gaining so much in terms of fluidity, control, and tactile pleasure from the switch that I stayed the course.

Bottom line, my left hand now illuminates the process of playing the violin in a way it never did before. As a result my phrasing, fingering choices, and overall satisfaction have been impacted.

I hope you will reap similar benefits.

All the best,

Clayton Haslop

P.S. Just so you know. I still have seats left for the January Masterclass/Seminar. And as I have had a large influx of new subscribers recently I’m going to extend my ‘early bird’ discount for a short while longer. Get yourself a hot seat against the winter chill right now.

Give Us This Day Our Daily Practice

In case you’ve been thinking your email provider has been holding out on you, rest easy. What’s comin’ at you is the first newsletter I’ve been able to write this week.

I hope and trust you’ve made good use of the couple minutes each day you would have otherwise spent reading my thoughts. Of course by good use I’m talkin’ a few more minutes of quality practice.

Practice that nourishes your soul; that gently, yet purposefully stretches your hands and mind. Practice that leaves you refreshed and activated for the next activity in your day.

In short, if your practice hasn’t been the most blessed part of your day then you need some new practice habits.

Number one on my list of importance is breathing. Proper breathing fuels your focus and relaxes your body.

Once you’re feeling relaxed, drawing some beautiful tones and feeling awake, begin ramping up your focus.

You begin counting and visualizing.

With all three of these powerful tools up and running you’re truly open for business.

When you’re rested and fresh it may only take a couple of minutes. For me, evening sessions can require 10 or 15 minutes before I’m fully functional.

And yes, there is the odd session now and then when all the cylinders just won’t fire. On those days I will usually just content myself with a warm up and stretch using scales and double stop etudes.

Those of you with concerts, auditions, etc. coming up need to create plenty of space around your practice. By that I mean limiting other activities and distractions and getting plenty of rest. Your mind and body need that space to deeply absorb the music you are preparing. Walking is excellent for this purpose.

Remember that practicing too much is just and counterproductive as not practicing enough. What you must watch for is the quality of your focus. Once you have lost the ability to visualize what you are playing its time to stop.

Rarely is it healthy to do more than three hours in one session. With breaks it should take more like three and a half hours to do this much. It’s also better to do two sessions of an hour and a half each to get the most out of those three hours.

Heifetz once said that he rarely practiced more than three hours in a day. He went on to remark that if you need more than that to play well you should consider taking up something else.

He also said, ‘If I don’t practice one day, I know it. If I don’t practice for two days, my housekeeper knows it. If I don’t practice for three days, my public knows it.’

From these remarks one should understand that steady, intelligent, and consistent practice is the ticket to mastering the violin. So, find yourself some good, quality time and enjoy!

All the best,

Clayton Haslop

P.S. We are now taking orders for Vol. 2 of ‘Kreutzer for Violin Mastery’. Though they will not be available to ship for another three weeks, you may place your order now at a specially discounted ‘prepublication price’.