Today I’m announcing the dates of the next two Masterclass/Seminars. But first, I’m so worked up from the practice session I just finished I’ve got to tell you about it.

A little background – In two weeks I will be at the Vermont Mozart Festival where my duties will include performing the D and A Major Mozart Concertos, a few sonatas, a few Paganini Caprices, ‘Ferdinand the Bull’, some Bach, AND the Mendelssohn Concerto. The performances take place over 4 days, mind you.

But the important thing for you to know, unless you’re ready to book a flight to Vermont, is what happened today as I played through the Mendelssohn Concerto.

When I’m playing for memory I want to see clearly the actual notes I’m playing in my ‘mind’s eye.’ Today I was not only ‘seeing’ the music, I was seeing myself count the music as I played as well.

If you’ve incorporated counting in your practice, as I suggest you do, you might think, ‘Yea, I do that.’

But what I was doing today was a little different, actually. I was observing myself counting silently in my mind’s eye while I was visualizing the music, and at full tempo, and while playing all out.

Wow is it exciting when you KNOW you can’t miss, from one end of a concerto to the other.

Now, speaking of ‘can’t miss’ the next pair of masterclass/seminars are certainly in this category. The dates are now up on the website and I’m thrilled to say you will be able to attend these events for less than EVER before…providing you are one of the first 6 to register!

We are even getting a better deal on rooms at the Biltmore, if you choose to stay there. But again, the Biltmore has only guaranteed 5 rooms at this amazing rate.

AND, as an added bonus, I will be throwing in a recital for those able to arrive by 4 PM on the Friday before each class.

In a moment I’m going to send you to page on the website from which you can register. But first, just consider these words from Bill Paquin, a recent attendee;

‘You said on your website that the experience would change my life… and I believe you have succeeded! Your techniques do bring a greater sense of enjoyment, accomplishment, and relaxation while practicing. I cannot thank you enough for the delightful time I had, and would not hesitate for one second, recommending it to all violin players regardless of their level of playing. I plan on attending many more in the future.’

Just so you know, I’m looking for my first sellouts on these. The tuition is starting at the lowest rate possible. But I must raise it after the first 6 seats are spoken for at each event. Come reserve yours now.

All the best,

Clayton Haslop

P.S. Butler University just ordered the complete Kreutzer a couple hours ago. I trust all their fiddlers will be ready for Paganini by next year so if you want to get the jump on them you’d better reserve your copy of ”Kreutzer for Violin Mastery” right now.

You know, in all my teaching, the recent masterclasses included, I can count on one hand the number of people who did not have an issue with tension in the left hand.

Part of this I think stems from a misunderstanding of proper relationship the fingers of left hand should have with the strings.

We’re just pushing them down too hard!

It’s time to lighten up, to focus on gently stretching the hand along the horizontal plane of the fingerboard, and acquiring an independence of the fingers.

So here’s a little exercise that I just gave participants at the recent masterclass. Start with all 4 fingers resting on the G string in first position. The first finger will be on A natural. The others on B, C, and D respectively.

Now, without pushing the string down, and without moving the other fingers, gently slide the first finger back to A flat. Next, SLOWLY lift the other fingers so they are poised just over the string.

Now, put some gentle pressure on the string with the first finger but not enough to push the string all the way down to the fingerboard.

Now you are ready to begin playing a chromatic scale moving up the G string in half-steps; 1-1,2-2,3-3,4-4. You will arrive at D#.

As you go keep the fingers you have played down, gently resting on the string.

After the G string you can gently extend your first fingers back and over to E flat on the D string. Again, gently lift 2, 3, and 4 off the string but keep them suspended out over the string. Now repeat the process going up the D string.

Do this slowly using one bow for each finger’s movement.

And remember, the string should never be pushed all the way down to the fingerboard. Play this in piano listening for a very transparent quality to your tone. Do use a full bow for each pair of notes, however.

This little exercise will relax your hand, give it the proper shape over the string, and stretch it laterally. It is important to us a very light touch on the fingerboard.

OK, I said I was going to make an announcement about the next masterclass and share something written by an attendee at the recent class. These will have to wait until tomorrow. I suggest, however, that you stay tuned.

All the best,

Clayton Haslop

P.S. This is the kind of approach that makes violin practice akin to meditation. ”Kreutzer for Violin Mastery”
will take you deeply into this way of playing.

Putting your ‘practice’ out in the public eye can be a risky thing to do. After all, my recorded-at-home wonder of the #24 is right next to Heifetz’ glitzy 1940’s production with accompaniment.

So, does it measure up? Well, for me it depends on my mood. Sometimes I can look at the performance as a flow of intention. When I am in that space – usually when I’m relaxed and rested – I see a marvelous focus, intensity, and expense of energy toward specific goals.

I can see, and sense the energy behind the commitment to each technique encountered, the musical intention of each variation, and the ability to shift mood on a dime. Oh, yes, not to mention a sense of respect for anyone who CAN hang in there for 11 mind/body tweaking variations.

And then there are times when I just see…

You don’t need to hear that part. A comment identifying that tired, unsympathetic, got-to-show-how-much-you-know state of mind has already been deposited on the YouTube posting of the performance.

Bottom line is, however, I want to you go over and watch the performance. But please, be rested, relaxed, and on good terms with your significant other before doing so.

All the best,

Clayton Haslop

P.S. I mentioned I’m having a French week yesterday. It continued with the film recording session I played. Maurice Jarr was the composer. Does ‘Doctor Zhivago’ mean anything to you? He wrote the score for it. Part the best French connection of all is Kreutzer. He is the man to connect the dots from Jean-Joseph Mondonville to Maurice Jarr. Come put your playing on the ’Super Efficiency Diet’today.

Last Wednesday the first copies of ‘Paganini for Violin Virtuosity’ left our doorstep for destinations both near and far. By today there must be many getting a taste of the ‘pudding’ that lies inside. I hope it satisfies beyond expectation.

Now, for those of you still unconvinced by what you’ve read, I’ve some news. My webmaster has been so good as to augment the Paganini page with video

By clicking the link below and scrolling down a bit you can listen and watch me perform #24.

Some of my colleagues have expressed disbelief that I would present such ‘unvarnished’ offerings – not that they’ve seen or heard them.

‘After all,’ they maintain, ‘the public is used to viewing and listening to highly edited and mastered products these days. Where every note can be electronically pitch-tuned and every scratch eliminated.’

Well guess what, I’m betting there are a lot of people left in this world that are tired of slick, ultra-doctored recordings that leave you wondering what the person actually would sound like if in the same room with you.

That’s not how I listened to Milstein for three years, mind you. And let me tell you something, it was incredible to be an arms length away from his violin while he poured his soul right into it.

Did I hear a little scratch now and then, an e string whistle or two?

You betcha.

But for me they added to the spontaneity of the moment and in no way marred the effect of what was coming through him.

So, how about playing to an empty room. Was it difficult for me to perform for just a microphone and video camera as my audience?

Well, I won’t say it was the easiest thing I’ve ever done.

In fact, without a fairly developed power of visualization I’d say it would’ve been near impossible.

What I did was to visualize a person standing in place of the camera. And that person was YOU, my intended audience.

By giving you the ‘unvarnished truth’ I want you to hear and see exactly what is possible by following my methods. Now go, taste some pudding, and then get your violin out for a really terrific practice.

Here’s the link. Remember, once you’re there you will need to scroll down a bit to find the video.

All the best,

Clayton Haslop

P.S. Bear this in mind as you watch, I practice between 1 1/2 and 3 hours a day. I don’t say this to brag. Merely to point out how effective my methods are in achieving a high level of performance without spending the 3, 4, even 5-6 hours a day many violinists feel they must put forth for this kind of result. Come, have a look-hear.