Mr. Slow Motion

When I was a rambunctious lad, perhaps a few years ago, I loved gliding across the ice at our local skating rink. And every time I stepped on the ice there was one man – he was always there – who caught my eye.

He was an African American fellow, but that’s certainly not why I noticed him. I noticed him because he was the coolest skater in the house.

His raiment never changed; black, tight fitting pants, electric blue jacket, black skates. And on the back of the jacket, in embroidered gold, was written, ‘Mr. Slow Motion.’

That’s how he skated, in slow motion. Lap after lap, hour after hour he stayed in his crouch, undulating back and forth like a magnificent pendulum.

I got to thinking about Mr. Slow Motion whilst practicing today. About how he sailed effortlessly around that rink lapping me and all my boyish friends so effortlessly, in spite of our best exertions to stay with him.

I realize now that Mr. Slow Motion knew the real secret of speed.

And that secret applies equally to velocity on the violin. Understand profoundly how to play slowly and you are given passage to almost limitless velocity.

The key is in your power of resolution.

It’s about seeing yourself play with eyes that don’t flinch when confronted by awkwardness. Eyes that WILL have an accounting for every movement taken. Eyes so acute they can apprehend the FLOW of time embedded in the blink of an eye.

It’s about meditation. It’s about self-fulfillment.

When Milstein said, ‘It’s now what you play, but how you play it, that counts,’ no truer words have ever been spoken.

I wish you a most rewarding and prosperous New Year. But before taking my leave, may I suggest taking a little quiet time to Count the blessings that have come to you in the passing year; to Visualize the blessings you would have for yourself in the coming year; and to Breathe deeply in joyful gratefulness for both.

All the best,

Clayton Haslop

P.S. For more than a few, I know that one blessing of 2006 came in the form of ‘Kreutzer for Violin Mastery.’ Those who have yet to take the plunge may still do so before the sand runs out on ol’ 2006. It’ll be a party you can enjoy for months, if not years, to come.

Doing What You Fear

A few years back I was invited to perform with one of our better ‘community’ orchestras in Los Angeles. Under normal circumstances I would think nothing of such an invitation; this one was different.

The conductor had his heart set on one concerto. A concerto I had only toyed with now and again over the years. One that I didn’t feel particularly in love with, and, to be honest, one that intimidated me as well.

I’m talking of Tchaikovsky.

So I took a deep breath, thought for a moment, and said, ‘Yes, I’d love to.’

About a year in front of the concert I spent some time ‘putting my hands on the thing.’ After a few weeks I thought I had a decent sense of it, and, as other concerts needed attention, I put it aside.

My serious work started about six months out.

One of the problems I’d had with Tchaikovsky, incidentally, is the way in which it is often approached. That is, as a ‘war-horse’ that is dug into from start to finish. No, I would see it as essentially balletic music.

My other problem with it had been its length. The Tchaikovsky is a VERY long song.

Nevertheless, when I agreed to take it on I also made a pact with myself to play it from memory – perhaps some of you younger people, or ones with the memory of an elephant, may be thinking, ‘what’s the big deal.’ The rest of you, however, will know ‘what’s the big deal.’

It’s not only long; it’s complicated, and dangerous. I knew very quickly that I would need some powerful strategies to make a success of it.

Fortunately I’d been working with my counting method for some time before this. I had also been using visualization as a tool since my days with Milstein.

But I needed more.

The preparation for that Tchaikovsky performance led me to new levels of violinistic efficiency. I had to play smarter than I’d ever played previously.

Now I know where a good deal of the fear I felt about Tchaikovsky came from. It was the fear of stepping out from what was comfortable. The fear of, what was for me, uncharted waters.

At 42 I stepped up to the plate and gave my first performance of a centerpiece of the violin repertoire. And I gave it without sacrificing or compromising the standards I hold for myself. Indeed I believe I outdid myself.

You can do the same.

And if you’d appreciate some new tools to help you do so, I recommend you internalize every concept and technique to be found in ‘Kreutzer for Violin Mastery’. Mind you, there will be more to follow, but the tools found therein will take you very, very far.

All the best,

Clayton Haslop

P.S. This morning I took up the Tchaikovsky for the first time since that performance 7 years ago. I was delighted and amazed by the level of ‘muscle memory’ still in place. I must have done my work well.

How to Think in Gestures

Just had a very productive practice session, and thought you might be interested in the following insights that came to me.

When playing fast moving passage work, try thinking in terms of visual gestures. For instance, scales can flow like fast moving water. Broken arpeggios like cascading water.

In fast moving 16th note passages – I was practicing Paganini #5 when this game to me – try visualizing your fingers moving in like Celtic dancers. That is, the hand is like their upper bodies; relaxed and calm. The fingers dance on the string in a light, independent kind of way.

If you’re playing fast in the upper half of the bow, try thinking of yourself as a fencer, with a foil in your right hand. Your torso is again very calm, your right arm is making quick, darting movements. Movements of the upper arm become decisive but lacking in excessive force.

The idea is to place yourself in a context that both relaxes and maximizes your efficiency.

I can’t think of a better way to immerse yourself in efficient movement than by working through Kreutzer for Violin Mastery. It’ll be ‘just what the doctor ordered.’

All the best,

Clayton Haslop

P.S. Oops, I appear to have been misinformed in grouping ‘Praeludium and Allegro’ with the other hoaxes Kreisler penned to confound critics and other violinists. Pugnani was I real, and important musical figure of the baroque and classical period. Thanks to Pamela Buell-Husinger, who hails from Germany, for setting me straight!

Blowin’ Smoke On Bach

Just been glancing over the January issue of Strings magazine and happened on the following pronouncement that has me steaming like a teakettle on high heat.

In an article entitled, ‘Towering Titans’, a mister Laurence Vittes says, of the greats artists of 50 years ago, ‘Even the greatest violinists played the works as if they were exercises. And in truth, that is what they had become, as much for the superstars as for the students.’

He must be joking.

Szigetti, Milstein, Grumieaux, Elman, and Kreisler played Bach ‘like an exercise?’ It’s an outrage!

It is true that many an ACADEMIC of the mid-20th century played in that manner – like a student – it’s equally true today. The fact that many of us own ‘baroque’ bows doesn’t make us any better violinists than our forbearers; nor artists, for that matter.

And to pretend that today we ‘know’ how Bach himself would have played his music is ridiculous.

OK, I’m taking a deep belly breath, letting it out; yes, I’m feeling calmer now.

Forgive me if I got you all riled up as well. It is, after all, the Holiday Season and I should be more sensitive to the prevailing spirit of things. I’ll now get on with what I really meant to say.

The fact is, it’s a great time of year to play Bach. The nights are long; reflection and deep sentiments are the order of the day; and many of us finally have a little breathing room after the rush up to the ‘Mother of All Holidays.’

Actually we kept things very simple at our house this year; just a couple of presents for Clara, some beautiful, purifying music for our souls, and some fun handcrafts in the afternoon to share time together. That was it.

Now, getting back to Bach. Many of you should have Bach and Kreisler for Violin Artistry in your hands. This is a wonderful time to begin; just take your time, and enjoy. I wish you great success with it.

If, on the other hand, you haven’t ordered your copy yet, there’re enough days remaining in ol’ ’06 that you could order today and be playing your way into ’07 in style.

All the best,

Clayton Haslop

P.S. And if you haven’t been through Kreutzer for Violin Mastery, Vol.1, and aren’t well into Vol. 2, I think they could be your real target for the New Year.

My teacher and My Practice Partner

When I was 15 my family relocated from Southern California to Northern Virginia. It was the best thing that could have happened to my violin playing.

Up to that point I had been studying under a fine pedagogue and teacher by the name of Sybil Maxwell. The only problem was, she had been in a serious auto accident prior to my working with her. That event severely restricted her ability to play the violin herself.

In the early years this was not so important. She could play well enough to get some of the basic fundamentals across. But by the time I finished middle school I was beyond the point she could inspire me with her own playing.

And I’m the kind of person who is very impressionable.

Seeing or hearing another person play with skill immediately gets my juices flowing. First thing I want to do is go grab my fiddle.

When Mrs. Maxwell could no longer reach me that way I was do for a change.

To my great fortune, upon moving east, we were recommended to a violinist in the National Symphony.

Guido Mansuino was everything I could have wished for; passionate about violins and violin playing, energetic, continental – he was Italian, and a real bon vivant.

Suddenly my enthusiasm for the violin went off the charts. A good part of that renewed interest, however, was due to the fact that Guido began seeing me several times a week, gratis.

He had found that practicing along with me assisted him in staying in shape on the violin as well. The arrangement turned out to benefit both of us.

Now, I recognize that not everybody is going to be so fortunate. That is why the Kreutzer Vol. 1 has not only the 2nd violin accompaniments and ‘at tempo’ performances but the slow practice play along material as well.

The point is that slogging away on one’s own can become monotonous and even counterproductive. If you don’t have a practice partner to help focus and motivate, you then ‘Kreutzer for Violin Mastery’ just may be what you need.

All the best,

Clayton Haslop

Let Your Fingers Do The Walking

Received an email from a gal a couple of days ago. It touches on an insight shared with me recently, so I’ll share both with you. She writes;

‘Hello Clayton, I really loved your performance on youtube. My teacher studied extensively with Erick Friedman, she also has me hold my violin with the left hand. My fingers get tense over time, and it is difficult to keep my wrist steady when I move into different positions. Do you have any tips regarding these problems? Thank you in advance.’
Thierry

Well, I suppose everybody’s fingers get tense over time to some extent – particularly if your spending a good deal of time playing scales in tenths and fingered octaves.

Let’s assume, however, that you aren’t pushing yourself to such extremes. In this case you could be getting tense as a result of trying to force your hand into a position that is untenable for it.

I suggest the following.

Rest the violin in the cleft formed by your thumb and the base joint of your index finger; breathe, relax; and then just think of the fingers of the left hand meeting the fingerboard where the pitches are that you would like to play.

In other words, ‘let your fingers do the walking’.

Now, this isn’t to say that you shouldn’t keep fingers out over the string when not in use. I still think this is a good idea. Just don’t make a federal case out of doing it.

Keep it simple, and let the hand, wrist and arm just follow the fingers to the notes you want to play. If you focus on keeping the left hand relaxed as you do this, you may find you are able to accomplish extensions with much greater ease as well.

This wisdom isn’t just my own, by the way. When I said that an insight was shared with me recently, I was referring to a friend who related to me words Ruggiero Ricci had spoken recently on the subject.

Both he and Nathan Milstein would have been in ‘lock step’ where the left hand is concerned.

All the best,

Clayton Haslop

P.S. I did ship a large number of orders today for ‘Bach and Kreisler for Violin Artistry. So many, in fact, that I was unable to contact my webmaster to remove the ‘prepublication price’ from the order page. It’s still a great time to get a hold of this groundbreaking program.

How To Avoid Bowing Meltdowns

So what, you may ask, is a ‘bowing meltdown.’

Well, a more accurate phrase to describe what I’m going to talk about would be, ‘bowing discombobulation.’ But that was too long to fit in an email title. In any case, they boil down to the following.

Let’s say your playing a piece with a lot of fast, separate notes requiring tons of string crossings. Perhaps the Bach E Major ‘Preludio’ or Kreisler ‘Praeludium and Allegro’ comes to mind.

A ‘bowing discombobulation’ occurs when the upper arm and the forearm of your right side are working at odds to each other. Usually this happens when there is no understanding of Who is doing What, When, so to speak.

In ‘Kreutzer for Violin Mastery, Vol. 1’ I made it quite clear when you should change strings with the forearm, and when you should accomplish the feat with the upper arm.

Under NO circumstances can you be pivoting from the elbow and pivoting from the shoulder to effect a string crossing simultaneously.

The result is akin to two people trying to talk at once. Jibberish.

In other words, sometimes the forearm elevates the bow to a new string – via a pivot from the elbow – and sometimes the upper arm elevates the bow to a new string – via a pivot from the shoulder.

Now you just need to know when each is appropriate. And boy will you get that message loud and clear when ‘Bach and Kreisler for Violin Artistry’ arrives on your doorstep.

In the meantime, I hope you are having a wonderful and peaceful Holiday Season.

Using Big Muscles For Little Things

You may have gathered, from things I’ve written, that I made a lot of changes in my playing after coming to work with Milstein. ‘Tis true.

It’s also true, however, that by most standards I had some very good training before I arrived in London.

You know, the violin can be played in any number of ways. Just look, for instance, at the playing positions of gypsy players or bluegrass fiddlers.

But the demands on classical players are unique. Physically your body is more challenged playing the Brahms or Tchaikowski Concertos, Paganini Caprices, or Bach unaccompanied Sonatas than the typical set of ethnic tunes.

Numbero uno, the tunes aren’t as long. Numero dos, you aren’t generally playing without the aid of a microphone to a thousand or more people each night.

Let’s face it, classical violin playing isn’t for wimps.

So, although it is possible to play the violin, even classically, with all manner of cock-eyed positions for a while, you aren’t going to enjoy a very long career doing it. At least not at a very high level.

To have the kind of lasting career of a Milstein, you must do things in an incredibly efficient manner.

Let’s just talk about the bow arm.

When I arrived at the Milstein class I came from a background in which the fingers and wrist of the bow arm were trained to be very active in a number of bowing techniques; martelé, spiccato, changes of bow direction, etc..

Milstein’s comment to this was the following; ‘when an eye surgeon makes an operation, he/she uses very heavy tools. Why, because that causes the large, steadier muscles to work and gives the surgeon greater precision and less shakiness. ’

He felt the same applied to the violin.

Rather than use the muscles in the hand and wrist to make smooth bow changes, he used the flow of the whole arm. Rather than grip the string with the fingers of the right hand to initiate a martelé stroke, he applied weight from his arm.

The Milstein approach was as elegant as it was simple. He didn’t need a ‘death grip’ on the bow because he was using the large, sure muscles of his arm to control it.

I think this also accounts, in part, for the extraordinarily long concert career he enjoyed. I don’t know of any other violinist of the 20th century that played at such a high level for so many years. Truly amazing.

P.S. Doing more with less is what the ‘Kreutzer for Violin Mastery’ is all about. And believe it or not, I still have one ready to ‘Priority Mail’ to you today.
All the best,

Clayton Haslop

P.S. Just so you know. ‘Bach and Kreisler for Violin Artistry’ will ship on Wednesday. That means it SHOULD arrive to those who have purchased at the sale or prepublication price before the weekend. Come to think of it. There’s still time to take advantage of a great discount AND have it arrive in just days.

How to Master Your Fingerboard

Once upon a time there was a young and somewhat cocky violinist who thought he just about had the violin all figured out.

So one day, whilst ‘talking shop’ with an old-timer, he listened with a very skeptical ear as the codger stated the following. ‘To have consummate knowledge of the fingerboard you must be able to place a finger on any note, no matter where it is on the violin, without any preparation. Just out of the air.’

‘Huh’, thought the young hotshot, ‘I bet he’s not talking about notes way up on the E string. There’s no way to put your hand on those without SOME kind of preparation. I mean, they’re so close together up there. I bet he’s confusing his wishful thinking for reality.’

As the years went by the cocky young violinist became a not-so-young and somewhat less cocky violinist.

His eyes and ears began opening to levels of playing in which feats described by the old-timer were taken for granted.

Fortunately, for the maturing player, his desire for improvement proved stronger than his skepticism. He desperately wanted to raise the level of his game.

And finally, he saw that to do so meant to develop in ways that stimulated and grew his mind.

He began to appreciate the POWER of mental visualization; and, more importantly, how to harness it to the specific task of mastering the violin fingerboard.

Though a challenge at first, the new way led to great security in performance and pleasure in practice.

After many years of benefit, the now fully seasoned and much wiser fiddler recognized the need to pass these secrets on to others.

And thus, ‘Kreutzer for Violin Mastery’ came into being.

All the best,

Clayton Haslop

P.S. I thought to finish the little story above with a ‘The End’. But then I thought, ‘no, there is no end to worthwhile practice, just endless joy. Therefore my story should not be said to end.’

P.P.S. To join the story, if you’ve not already done so, pick up your copy of Kreutzer for Violin Mastery today.

How To Get To Carnegie Hall

You may’ve heard this one before, but I’m going to tell it anyway.

A young person, holding a violin case, stops a passing cab in New York city and asks the driver, ‘Can you tell me how to get to Carnegie Hall.’

The cabbie, without hesitation, quips, ‘Yea, practice.’

Yes, it does take practice if you want to take your fiddle onto the stage of Carnegie Hall. No getting around it. But certainly How you practice affects your chances of doing so as much, if not more, than How Much you practice – and yes, I do realize we don’t all intend or desire to get ourselves on stage at Carnegie Hall.

But I bet you want to make the best use of your time that you can.

Here’re a couple ways you can improve practice efficiency.

Don’t be in such a hurry to play fast. When I was doing a lot of private teaching I found that virtually ALL my students tried to play things faster than they were ready.

Big waste of time.

Now, don’t just drift along playing slowly either. The point of slow practice is to get your hands AND mind around the music. This means inputting into your brain all the physical feelings associated with carrying out the music. It means making sure you are moving as efficiently as possible, playing in tune, coordinating shifts and string crossings to perfection, etc.

When you make a mistake, pause for a few seconds to allow your body and mind to sort itself out.

If you want to see a picture of somebody being ‘reined in’ for not taking time to Think, go to my website and find the picture of Milstein
standing next to me restraining my bow arm. I was being guilty then of exactly what I’m preaching about now. I’d made a mistake, and immediately launched back into the passage, making exactly the same mistake again.

It’s one of the biggest lessons a player can learn. Take a moment, breathe, visualize what you want; then repeat.

Now, if the same mistake happens a third time, look for some underlying cause for the problem; a bad fingering or bowing, trying to play too fast, incomplete visual picture, etc.

And finally, use your imagination to listen objectively to what you are doing – ‘How does what I am doing sound to someone seated across the room.’

This is a handy way to put yourself on the spot. To get the juices flowing and your best efforts coming forth. I use this tactic all the time.

From what I’ve said it’s pretty evident what a successful practice session requires is a high level of consciousness; not just of what is, but with what can be. A consciousness informed of vision; a vision fueled by passion; a passion aroused through inspiration.

Find a continuing source of inspiration and you’ve found the wellspring of meaningful practice.

All the best,