Vibrations of the Mind

You know, sometimes it is darned difficult to say something truly meaningful and accurate about the process of violin playing.

Today, however, I think I have something good to share with you.

And for this one I recommend getting the fiddle out before reading further – shame on you if you’re reading this at work! I’m just joking, of course, but really, why not move on to other unread emails and save this for the beginning of your next practice session.

OK, here we go. I want you to play a few long tones on your violin. When you play these tones the first time I want you to do them very casually. In other words, play basically without thinking beyond which finger you’re going to depress and what speed you’re going to draw the bow.

After you’ve done a few whole notes this way I want you to stop and do the following. Play the notes you just played again, but only in your mind. Not only do I want you to FEEL the bow moving through space and the sensation of your finger tip on the string, I want you to get your head ringing like a bell with the sound of the tones.

I want the experience to be nothing short of glorious, utterly relaxing, and deeply gratifying.

OK, go ahead and do it.

You must be feeling pretty good now.

Now, look over at your violin and imagine how you would pick it up to play as you just played in your head. Take your time. Feel the neck in your hand as you grasp it. The bow in your right hand, all the fingers embracing it as one.

Now place the violin under your chin. Bring the bow up to just where you want it to be before starting to play.

Good enough.

The last part of this little exercise is to take up the violin just as you visualized doing it. Put it under your chin and play the tones for the third time.

While you’re playing I want you to send out the sound you visualized previously to meet the sound of the violin coming at you. There will be a joining of the external and internal the takes place in the process.

If you’re anything like me, you will find this whole experience rather cool.

Do you think it might help you master the repertoire you’re studying, if you did this as part of your daily practice?

All the best,

Clayton Haslop

P.S. The inspiration for this newsletter came whilst creating ‘vibrations of the Mind’ while I played Kreutzer #38. That would be Kreutzer, Vol.4, in case you’re wondering.

Good Posture Rules

The past several days I’ve been doing exercises to strengthen my shoulder. Already I feel the results. And in doing these moves I’ve been reminded afresh just how important good posture is to a successful outcome.

In just about anything.

Take the exercises I’ve been doing. When I take a brief moment to assume good posture and draw a belly-breathe before I begin the set, I notice immediately that I am stronger and feel less pain in doing the moves.

I’m more relaxed, confident, alive, and tuned-in to what I’m doing in that moment.

Of course, when there’s serious injury and pain, the body’s natural response is to curl in the fetal position. Believe me, I was there a couple weeks ago, and standing up straight was not an option.

But once healing begins it is imperative to regain that true posture that separates us from any other species on the planet.

Over the years I’ve had many people ask me how to deal with nerves. Well, posture, along with diaphragm breathing are key elements of my strategy.

Bare in mind, however, you’re not going to get much of a lift if you ONLY do these things at concert time. You’ve got to practice them in.

In short, good form and proper breathing must be a way of life, for a becoming life.

Remember Jack LaLanne – he’s still going strong, at 90 something – he always said in talking about exercise, ‘Do it for life.’

One could say the same about posture. And boy, Jack’s posture was, and is, amazing.

Well, that’s it. Don’t exactly have a course on posture, though it’d be a great addition to any library. But I do have a pretty good one to get you breathing in a way that’ll transform your playing, and no doubt add some quality time to your life.

All the best,

Clayton Haslop

P.S. A few folks have written asking about the ‘Demo’ Tania and I produced a few years back. By contract I cannot offer it for sale. But there is nothing that prevents me from Giving it away. Well, I just may do that and a whole lot more. For details look for my Father’s Day greeting Sunday.

The Hot Seat, or the Sweet Spot?

You may find this hard to believe, but before last night I had never seen “The Red Violin.” Now, in case you also have managed to miss seeing it, it must rank as the finest film ever made with the violin as subject matter.

In fact, never mind the violin, this is just one great film, period.

And it was particularly stirring for me to watch during this time. As you may know, I have not been able to hold a violin up for two weeks. My left shoulder and arm are yet sore, weak, and tingly from the dislocation of two weeks ago.

John Corrigliano’s score for the film was brilliant. And of course wonderfully realized by Joshua Bell’s solo playing. As I listened I wanted to get hold of the music and enjoy mastering all its intricacies, now.

But then, with a squeeze of my hand, reality bit me strong and hard. The possibility to do so feels many weeks off.

Don’t get me wrong, I’m not crying for sympathy. I plan to come back from this stronger, and with more to offer as a violinist, than ever before.

It must be so.

Now, I also wasn’t watching alone. A friend here in Asheville has been on my case about this film for many months. Finally he just brought it over and sat me down to enjoy it with him.

After it was over I asked him to wait around a few minutes while I looked for a little something to play for him. It was almost midnight.

The ‘something’ was a cassette ‘demo’ my wife and I had created some 17 years ago to promote my career as a soloist and her career as a composer.

The project entailed hiring a full professional orchestra, LA Phil members and top studio players, and recording movements from 4 violin concerti; among them one written for me by my wife, Tania Gabrielle French.

To say there was a tremendous amount of pressure on both of us would not be hyperbole. The cost for the project, some 27 thousand dollars came out of our own pockets. Additionally, I was standing in front of 60 of my colleagues ‘putting it out there.’

We had 3 1/2 hours to rehearse and record the music. One of the works had never been played or heard before. And to make matters even more challenging, the conductor I’d selected surprised me greatly by not having a handle on Tania’s movement.

Ultimately I had to lead the orchestra with my violin while the conductor played catch-up.

At the end I was completely wrung out. Mentally exhausted.

But last night, as I played Tania’s movement, entitled “Sacred Journey” for my friend, we were swept away. Her music has every bit the sweep and expressivity of Corrigliano’s score, yet it was written several years before.

Anyway, it made for a sweet encore to the movie.

All the best,

Clayton Haslop

P.S. Only a few days ago I was going through our basement doing a little Spring cleaning. I found a box of these cassettes, and I had put them aside to be discarded. What I was thinking I don’t know. Thankfully I was brought to my senses. Now the question is, how to get them in the hands of folks who can truly appreciate them?

P.P.S. Can’t bear to leave you without giving you a chance to benefit your playing in a very real way. Today I’ll just give you the link to my best seller, Kreutzer for Violin Mastery. Take a look for yourself.

21 Days to Make It Your Way

Looking for temperatures in the mid-nineties here today. If it’s this hot in early June, can’t imagine where the old mercury’s going to be come August.

Now, I know that some folks find the things I recommend in my courses challenging to put into daily practice. But bear this in mind.

It takes 21 days of practicing a new skill for it to be hard-wired in brain. Any new skill or change in the way you do a skill requires an investment of energy and focus.

The thing to remember is this. Be consistent. If diaphragm breathing is your bug-a-boo, take a calendar and resolve to tick off each day for 21 days. Hold as your sole thought at the start of each session to breathe well, no matter what it is you play.

If you are faithful to the practice for 21 days I think I can guarantee you will be a different player on day 22.

Counting is another one some find challenging. What I say to that is, play slowly enough that it isn’t a challenge.

I’ve played and counted passages so slowly some might laugh with amusement. In the end, however, it is I who has the last laugh by holding the tempo steady even when all around me are ‘smelling the barn,’ as the saying goes.

Anyway, the point is to stay with the program consistently and patiently for 21 days. The results will speak for themselves.

All the best,

Clayton Haslop

P.S. The ultimate tool for transforming your technique is Kreutzer for Violin Mastery. It can be in your hands in a lot less than 21 days if you order today.

Getting the Kinks Out

The other night my soon-to-be six-year-old daughter and I watched the old Disney animated version of Kipling’s ‘Jungle Book.’ I must say, the music is wonderful, and the music making on the highest level. The film is a timeless ‘classic’, for all ages.

For those of you who recall the movie in some detail you’ll remember the misadventures of Ka, the snake. Every time Ka thinks he has the little man-cub, Mogli, firmly in his coils, the tables get turned quite suddenly.

And Ka ends up creaking away, coils kinked in all directions.

Well, I’ve seen quite a few kinked-up bow arms over the years. They’re the result of sticky joints. And sticky joints are the result of unwanted muscle contractions.

Fact is, you DO need muscle to control the bow. Your bow hold requires muscle; weighting the string to produce a strong tone requires muscle; Counter-weighting the bow to play very quietly requires muscle; changing bow direction requires muscle; and changing strings requires muscle.

That’s a lot of muscle activity.

So what’s all this about being relaxed?

Well, the trick is using only the muscles needed for each action. Take a look at the bow hold. Many folks, particularly beginners, have difficulty holding the bow without tightening the muscles in the wrist as well.

And when arm weight is needed for tone, many tighten and raise the shoulder unnecessarily.

Now, it is certainly my hope that you who are coming to the violin through the ‘Beginner’s Circle’ are avoiding these problems from the get-go. And that the rest of you in my various other courses are effectively ‘getting the kinks out’ by slowing down, internalizing the elements of a fluid bow arm, and breathing those kinks away.

People have often said to me, ‘you make it look so easy.’ That’s because I take the time to think, and Make it easy. It easy doesn’t necessarily come over night. But with the right kind of practice it is imminently doable.

No, not everyone will play the Sibelius Concerto like Heifetz, or the Tchaikovsky as Milstein, but we can all make a beautiful tone on a violin, and in so doing give pleasure to many a listener.

All the best,

Clayton Haslop

P.S. Remember, if you’ve played for some time and yet would like to go back and ‘take it from the top’ to correct bad habits, you can receive all 8 months of the Violin Mastery Beginners Circle by investing in a years subscription.

How to Get the Crunch Out

When I was young I went through a ‘Captain Crunch’ phase at breakfast. It was all I ever wanted. I can still picture the TV ads touting its ability to stay crunchy in milk.

Today about the only use I can imagine for the stuff is to add it to cement as a rock aggregate substitute.

Now, I know a lot of folks don’t have a problem with getting the crunch out of their morning breakfast, but they’d sure like to get it out of their bow arm.

And that’s precisely what I’m going to help you do today.

Naturally we all want to infuse our music making with drama and supreme conviction when it’s called for. But we don’t want to create havoc like a bull in a china shop trying to do it.

He’s what I have to say.

It is possible to strike the string from a good distance above the string and achieve a very dramatic and compelling sound without crunch. But your timing must be spot on. And your bow arm mechanics solidly in place.

What happens is this. The bow is brought vertically to the string with some energy. That’s the easy part. But once it contacts the string that energy must be transferred into horizontal energy. And virtually instantaneously.

That’s where timing and bow mechanics come into play.

As I drop of propel the bow to the string I have a vision. The vision is of my right hand being thrown out from my body – I am assuming a down bow here, though I can make the same effect on an up bow.

My timing is set in motion by my breath and/or my internal count.

Now, we all walk before we swim, or is it run.

Anyway, one doesn’t just accomplish these things in one go, unless your name happens to be Nathan Milstein. Especially so if you’ve become tight by trying to use force to make up for poor timing and mechanics.

But one can unwind bad habits providing your willing to step back and draw a deep belly-breath.

Last month my Allegro Players began working on ‘Air Varie #1’ of Charles Dancla. In this fun little piece there is, in the theme, an excellent opportunity to begin acquiring the very skill I’m talking about. In the instructional DVD I explain and demonstrate how one should practice, slowly and consciously, make it happen.

All the best,

Clayton Haslop

P.S. More advanced players will find the same basic concepts applied toward more difficult music in Kreutzer for Violin Mastery, Volume 3. Specifically, in Caprice #28.

Play Out the Top of Your Head

Got the fiddle out this morning and had a go for the first time since my wee-BOOM last Tuesday. Pretty much a non-starter, unfortunately.

But I Can type with both hands now, and I just learned from my doc that the MRI did NOT reveal any tearing of my rotator cuff.

No Surgery required.

Now I’ve just got to settle in, let the nerves, ligaments, and muscles get over the nasty little stretching I gave them, and I’ll be good as new. The only question is, will this take place to the extent I can demonstrate in this month’s course installments. My guess is I’ll be up and running in another week. Not to worry.

Anyway, there’s something I’d like to share with you today that is quite removed from my left arm.

You see, as a teenager I did a lot of singing. And I was extremely fortunate to live in a school district having the finest choral teacher in California. During my junior high years – before the advent of middle-school – I arrived at 7:30 every morning to sing madrigals for an hour.

It was during this time I learned to breathe, and before long it seemed quite natural to do it whilst playing as well – you know the importance on it today.

But that wasn’t all.

In my ninth grade year I also took private singing lessons from a very knowledgeable vocal couch. And he spent a good deal of time with me on tone production.

Now, a trained singer does something the average belter knows nothing about. A trained singer effectively raises the soft-palette – the roof of our mouth – and directs the air stream toward the back of it. A vibrating soft-palette is what generates a focused tone with great carrying power.

So in an effort to get me to do this, my coach told me to envision the tone emanating through the top of my head. Bare in mind, a 14 year-old kid isn’t too familiar with the ways of a soft-palette.

And to this day, when I want to produce a clear, singing tone on the violin – and that’s about 90% of the time – I find it very useful to think of the same image. Of the tone coming through my arms, into my body, up the back of my neck, and out through the top of my head.

I’ve found that playing with this image in mind really transforms my posture. And my tone resonates beautifully as a result.

You can bet I’ll be doing a lot of ‘long tones’ this way real soon.

All the best,

Clayton Haslop

P.S. And after I warm up with long tones I’ll be takin’ out the ol’ ‘violinist’s Bible’. Now you can beat me to the punch, and get all the insights and practice techniques I’ve honed to a razor’s edge, in Kreutzer for Violin Mastery.