I’m happy to report that last night’s premiere of Tania’s 3rd string quartet was indeed a resounding success.

As I mentioned previously, the commission was funded by the estate of a dearly loved member of the Tucson community. About 20 family members and friends traveled, from as far away as Honolulu and New York City, to hear the performance.

The last two movements of Tania’s quartet transported us to an exquisite state of peacefulness; many of the audience members commented on feeling the effect. It’s why I called this email ‘A Musical Healing.’

Actually there’s another reason, but we’ll get to that.

The Artis Quartet of Vienna acquitted themselves beautifully throughout the entire concert. Theirs is a style of playing that is rarely heard in this country; always elegant, polished, subtle, and nuanced. You are swept away by the exquisite wealth of detail.

Happily, today I have some other exciting news
. I’m unveiling it for the first time Right Now. Go to check it out Now.

All the best,
Clayton Haslop

P.S. You won’t want to miss this special announcement.

Yesterday Tania and I visited with friends. Being music lovers they asked me to play.

Now, just to give you some context, we’d gotten together to do a little planning for a seminar on ‘prosperity thinking’, which will be conducted in Asheville next month by a very wise fellow named Peter Ragnar.

Our conversation had rather a philosophical bent to it – we’d just been musing on how one’s thoughts tend to become one’s reality. An interesting notion, to say the least.

After a few moments reflection on this, I was invited to play.

What came to mind was the 24th Caprice of Paganini. I had spent some time on it that morning, and thought I would test myself in this impromptu performance.

What I was not expecting, as I presented the theme, was how our conversation would inform and transform all that followed.

As I began moving through the variations I was struck at how each represented an entirely new and unique possibility that could emerge from the theme.

If the theme was seen as a moment in time, the variations were aural representations of the infinite possibilities that could spring from it.

Feeling that freedom as I moved from one to the next gave my performance a freshness and spontaneity that was quite remarkable.

The ‘colors’ and moods we all enjoyed could not have been calculated ahead of time. All I found myself doing was surrendering to moment, and going with the flow.

It also reminds me of Louis Pasteur’s famous line, ‘Chance favors the prepared mind.’

Well, I got myself prepared – as much as one can in an hour or so – yesterday morning. Then I allowed ‘chance’ to work its magic.

To get yourself prepared for a lifetime of violinistic possibilities add ”Kreutzer for Violin Mastery” to your library. You’ll absolutely love the results.

All the best,

Clayton Haslop

I’m not talking about snuggling Your neck, but rather the neck of your violin, and with your left hand. Yes, a nice warm, fuzzy feeling that brings relaxation and fluidity to your playing.

This morning I put a couple of ‘bonus chapters’ on the Vol. 3 instructional DVDs. The first, something many subscribers have sought clarification on, is dedicated to holding the violin with the left hand.

I think you’re going to love the increased ease and pleasure it brings to your playing.

And by the way, the technique is very much in the Russian tradition (Auer, Milstein, Heifetz, etc.) and is an essential part of the fluidity and facility those masters enjoyed.

Chapter two is on acquiring a relaxed, well-formed vibrato. First I demonstrate and explain the exact movement of the hand.

Then I give you the ‘vacuum exercise’. You’ll drive the dog and your family bonkers with this one – but it’s most effective.

You might also be pleased to know, if you haven’t already reserved a
copy of Vol. 3 and 4, that I’m going to accept reservations for them at the special rate for 2 more days. This is in honor of the 2 ‘bonus chapters’ I created today.

All the best,

Clayton Haslop

P.S. Yesterday morning my daughter joined me in listening to Schubert’s transcendent ‘Octet’ for strings and winds performed by the Melos Ensemble. As we listened to the first movement I was reminded of a characterization a colleague made of chamber music. He said, ‘It’s like a conversation in which everyone speaks at once, and yet all are understood.’ So true of Schubert.

Then we danced around the room to the wonderful 6/8 Scherzo that followed.

Believe it or not, there are people who will get nothing from my courses. I hope you’re not to be one of them.

But just for the sake of argument, let me make a case for such a person. Oh yea, I’ll give him a name; how ‘bout Liaf.

Liaf, ‘I believe the breathing exercise is a little weird, and a waste of time. After all, playing the violin is about moving fingers, hands, and arms. Changing my way of breathing and staying aware of it doesn’t seem like it’s going to help me at all’.

Liaf, ‘I’ve done a lot of slow practice over the years. It gets me nowhere.’

Liaf, ‘the counting thing; I tried it for a while, but I keep misspeaking and getting confused. I can’t see as how it will ever help me improve.’

Liaf, ‘and trying to visualize; I should be able to just play. It’s too much work for me to create mental images as I play. When I see great players they make it look so easy. It doesn’t seem possible they are going to such trouble.’

OK, you get the picture. The problem with Liaf – have you read his name backward? – is, he wants some easy answers. Ones that won’t require him to question his fundamental relationship to the violin; toward the process of learning in general.

This takes a great deal of maturity.

The folks that are getting results from my methods, and I trust that you’re one of them, are passionate, committed, and are not resistant to going about things quite differently.

In fact, they’re embracing the challenge of it because they sense long term benefits.

They aren’t hell-bent on playing this or that concerto, they’re interested in deeper, more meaningful relationship with their violin. One that transcends What they’re playing; one that is all about How they are playing.

For the past several days my mother has shared her room with a woman dealing with the unfortunate effects of diabetes. She may be down, but she is most definitely not out.

Until November 7, as Barbara tells it, she had not missed more than a hand full of days in 25 years as a special education teacher.

She is one lively, passionate, and fiercely independent lady.

In early November, however, the diabetes she had kept under control for some 50+ years struck with a vengeance, requiring emergency vascular surgery to save one of her legs.

Now one of the deep incisions just won’t close. She’s currently on a constant drip of powerful intravenous antibiotics.

In any case, a couple of days ago I was practicing in a staff room just across the hall from their room; my door was open, theirs was closed while my mother napped.

Since I was playing with a practice mute I figured I was pretty much inaudible, unless someone entered the room in which I was playing.

Suddenly I looked up to find Barbara sitting near the door.

‘I could hear almost every note you were playing, even with the door closed’, she said, ‘and I just had to come over and watch you.’

Bear in mind, Barbara is not knowledgeable about ‘classical music’. But there she was, drip and all, totally enthralled by the music of Bach.

After sharing her observations I realized just how sensitive and conscious a woman she is.

I was inspired to continue.

What came to me was the ‘Adagio’ of the G Minor Sonata. As I played I counted, in a very broad four. Within that beat I felt the music undulate, ebb, and flow like the long ocean swells following a passing storm.

I have rarely felt myself play the movement with as much understanding and feeling as I did in that moment.

Barbara’s grace and acute interest, made all the more potent by her inescapable vulnerability, literally drew it out of me.

Both yesterday’s and today’s emails point to the importance of sharing your music with interested, sympathetic people. It’s certainly not about showing off. It is simply about the mutual expression of love.

And if you ever find yourself short of an audience, you’ve only to visit the nearest nursing care facility and offer your services. They’ll be begging you to play.

All the best,

Clayton Haslop

P. S. As of this writing we have only 8 copies left of Kreutzer Volumes 3 and 4 at the special prepublication rate. I know you will derive years of use and pleasure from this course. And there won’t be a better time than right now to insure it becoming a valued part of your musical library.