Now See What I’ve Gone and Done

The last of the Thanksgiving leftovers disappeared at supper last night. And having let out a notch on my belt this morning I’m anxious to burn some calories packing up and shipping hot-off-the-press, life-altering DVD courses on violin playing – to You.

Indeed so anxious am I to perform this work that I’ve put together my most dramatic Holiday Saleabration ever. We’re talking 35 to 40 purr-cent off my usual ‘tuition’. Yes, on Everything I’ve created.

I strongly urge you to take full advantage of this opportunity.
There will not be another like it for a good many moons.

All the best,

Clayton Haslop

P.S. I know that things have gotten tight for many people of late. Folks are increasingly looking toward home and hearth to provide meaning and focus in these uncertain times; the same venue in which the magic of the violin bestows its richest rewards. So whether you’re a beginner, an intermediate, or a truly advanced player I hope you will allow me to share with you, in your own abode, the insights of

“Do It For Life” – Jack LaLanne

Those of you of a certain age will remember Jack LaLanne. You don’t see much of him around these days, yet I can assure you he is alive and kicking. Literally.

Jack La Lanne was an early fitness expert on TV, back when it was black and white. In fact, his fitness show ran Nationally for 24 years; critics gave it 6 weeks. His physical exploits are legend. A quick visit to Wikipedia will amaze and confound.

And he still works out 2 hours a day – at 94.

Anyway, Jack’s moto has always been, ‘Do it for life.’ As you can see, this 2nd generation Frenchman has enjoyed a full one.

This morning I received an question. The person wanted to know whether someone who is not far advanced would nonetheless be wasting some time – and money – by subscribing from the beginning of the ‘Beginners Circle’.

This is how I answered;

Dear Bill,

I’ve had more than several people in a similar place ask me this question. I’ve always recommended to them that they become an annual subscriber. Then I’ve sent the entire course – or what was completed at the time – so they could move through the early months at a quicker pace, and yet benefit from insights on playing mechanics in the early months that are incredibly helpful.

Some did not take me up on this. To a person, those that have have offered only praise and thanks for the progress they’ve made from taking my instructions.

Best,
Clayton Haslop

Well, as you can see I do not regard any part of the investment as misspent. There isn’t a DVD of mine out there that even an experienced player can’t learn Something from.

Now, here’s a little secret that pertains to all of this. My next email will announce a way for wonderful way for you to learn the violin from Everything I have to offer for less of an investment than EVER before.

It will be BIG so don’t stray to far from that screen in front of you.

All the best,

Clayton Haslop

P.S. Notice there’s no link to a violin course today? What’s old Clayton playing at here.

Form, and Your Violin Sound

Weather just turned Thanksgiving here in Sedona. Sky’s gray and close; through the mist I see a new whiteness resting on the shoulders of faceted lime and sandstone monoliths; limb and leaf wear glistening tears, sometimes losing their hold and streaking toward Earth.

Ah, well, so much for poetic. Sure feels nice to indulge now and again. Apologies if it comes at your expense.

This morning I was challenged. My body decided over night that it didn’t want to remain that of a magnificently trained and supremely conditioned artiste.

So when I picked up the violin this morning a rather rueful smile broke across my lips. ‘Please make this easier,’ it said.

Well, before THAT was going to happen I had to switch my brain on. Also had to stoke up the fires of passion that had quieted over night.

First order of business; get my form back. That is to say, I had to slowly stretch out stiff and reluctant body parts. Mostly I did it whilst playing, though periodically I stopped to do some stretch moves ‘a capella.’

The next step involved gaining back control and independence of the digits – this is where woke my brain up and asked for strict attention. At the same time I listened to my tone, maximizing the color, richness and penetration in each note.

Finally, I fine-tuned my timing and ability to sustain a musical line. At this stage I’m breathing, authoring the flow of time, and conjuring rich the mental pictures of sensations and details associated with what I’m playing.

Now, for the previous several days I’ve been immersing myself in the melody of Beethoven’s ‘Moonlight’ Sonata, movement 1 as I’ve done all this. I’ve also been on a hunt for the perfect ‘line’ through it.

In the process I’ve moved from notes, to feelings, to notes, to feelings, many times – feelings having somewhat to do with emotion, yet perhaps more to do with physical sensation; both tactile and aural.

This melody just screams violin. In fact it has been such a worthy place for some of my practice time I’m going to teach it to my ‘Allegro Players’ this month. In the bargain I believe they will get a lesson in Adagio Playing that is second to none. You, too, may join the growing ranks of self-motivated learners by becoming a member of my ‘Allegro Players’ today.

All the best,

Clayton Haslop

P.S. Join as a year subscriber to this unique program for Violin Mastery and you will be one of the very first to benefit from the insights revealed each month.

Gravitas, and Your Time

I just got a first-rate full-body workout. And I was playing the violin the whole time. What I was doing to get that workout was pretty profound.

I was exploring the relationship of Gravity to time. It was so powerful I’d like to explain some of the connections I made.

The word ‘gravitas’ has to do with weighted-ness; or mass, to be more blunt. The more weighted a feeling or thing is, the more energy it takes to move it into another state, or place.

Some of us have a natural tendency toward gravitas. Some have the opposite tendency – if ‘space-cadets’ has a familiar ring to it this may be you.

Not to worry, I’m somewhat challenged in that way myself.

Think about this. Imagine a feeling or a thing of un-imaginable gravitas. Let’s even say it’s weighted-ness matches the entire contents of the universe. Well guess what, time ceases to flow. If the mass of the Universe is totally focused on being ‘mass’ there is no energy to create movement. And without movement there is no flow of anything.

Now think of the other extreme; no mass, only energy. In this case there is no partner to energy. Without gravity the ‘flow’ of everything, including time, races to infinity. And beyond the reach of meaning, I might add.

OK, my point here is not to engage in existential Clayton-babble. So let me get to what I did to get such a workout today.

I moved my center of gravity.

Not only did I move it to coincide with beats of music, I also found I could increase my own ‘gravitas’ by propelling my body vertically and adding some kinetic energy into the mix.

I spent most of the morning on Ravel’s ‘Tzigane’. Sometimes I was moving my weight to eighth notes; other times in quarters. Sometimes the transfer was horizontal and fluid; at other times decisive and dramatic.

The really important element I should mention, however, was that this was done consciously. I didn’t just get into an automatic mode. Rather, I verified that each weight shift, bow stroke, and finger placement was authentically MINE, and not simply an artifact of ‘muscle memory’ or the autonomic nervous system in action.

Now if you want to experience this kind of experiential joy try this. Play something you think you know Well while you count the beats and shift you weight from side to side.

You will know you’re on the right track when the control of your body and the music is such that you can Arbitrarily fermata on a beat and a note without ‘falling off’ the beat. In other words, the control of your weight and commitment to the note are such you can hold indefinitely.

Now, after you’ve done this, even if only playing whole notes on an open string, you won’t ever be able to say to yourself again that you don’t know how to ‘feel the beat’.

And one more point, anybody that has learned to stand up and walk is a master of time. Walking represents the balance of physical gravitas with movement. If you can walk, you CAN play in time.

All the best,

Clayton Haslop

P.S. There are a few more things that can help with this whole business of becoming a real violinist and a master of rhythm. Come ‘take it from the top’ and get the skill set of your dreams by becoming a year-subscriber to Violin Mastery Beginners Circle. This course contains way more than a single year’s worth of violin instruction, yet it’s so readily digestible you’ll amaze your loved ones with the speed of your transformation into a real violinist.

Subdivide, and Conquer

I don’t think I need to tell YOU this, yet I’ll say it anyway – We live in a highly changeable world. Such is the nature of the world of form.

And we can either use our creative powers to get out front of changing conditions, and thrill in the new challenges facing us daily, or we can sit glumly on our backsides and just allow them to have their way with us.

Now, nobody’s perfect. We all have our ‘bad hair’ days, I suppose.

Point is, you just don’t want to make a habit of having them. And when you sense yourself slipping into bad habits, the first thing you can do for yourself is to stretch that old abdomen out and grab some good draughts of air.

The key to creative action is fire-in-the-belly. Something I remind myself of quite frequently, these days.

Alright, let’s get to the specific topic of this newsletter. And I’ll be brief.

Sometimes, and some days, it’s just not good enough to label the beats. I had a morning like that this morning. A passage I thought I knew well just was not coming out cleanly.

After several attempts, maybe a couple too many, I took a step back, drew in a few good breaths and began actively sub-dividing in eighth notes.

Wasn’t enough.

So I went right into 16th notes. Ah, I could do it. I even romped about the room in 16th notes for a few minutes until I held each 16th like it was a new girlfriend.

Then I transitioned back to quarters. Badda-bing, badda-bang, there it was; sparkling like a gem in the mid-day sun.

The bottom line is, if it ain’t happening in one pulse, even if I’ve said to play it that way on a DVD, change. Get out in front of the challenge by sub-dividing it down to the level you can handle it.

Then push the speed of those subdivisions and match it with the dynamic power of your breath. My guess is you’ll be quite pleased with the result.

All the best,

Clayton Haslop

P.S. So happens I was revisiting the 16th Caprice of Paganini in the practice I described above. As I sub-divided I had a few other things in mind as well; things that transform mere notes into transmitters of passion. You may get the specifics in my course, ‘Paganini for Violin Virtuosity, Vol. 1.’

My Secret Life with Máiréad Nesbitt

For those of you who don’t watch a lot of public television, and are not into Celtic music, you may not have a clue as to who Máiréad Nesbitt is. She’s a fast emerging star on the international scene, having been the violinist of for some years of the hit group, ‘Celtic Woman’.

My first exposure to her came about 2 years ago when Tania and I happened to catch an ice show on TV in which she performed with her group.

I was quite amazed by the way she was able to cover a very wide area whilst simultaneously and quite energetically dancing and fiddling. I looked closely to see if she was actually doing the playing; I didn’t think it possible to move so dramatically and yet keep a bow traveling horizontally on just one string.

From the camera angles shown I wasn’t able to determine conclusively one way or the other whether she was ‘live’. Yet even if she was pulling a ‘Milli Vinilli’ on me, it was so convincing I figured she must be able to play and dance pretty darn well, no matter what.

The next day I did a little fooling around in our living room; just enough to verify how challenging the feat was.

Now I’m determined to go one up on Ms. Nesbitt. In 11 short days from now I’ll be making my debut as a dancing/unicycle-riding violinist in a parade in the off-off-off Broadway locale of Cottonwood Arizona.

After all, one has to start somewhere.

There is one thing that I’d like to share with you regarding the process. The counting technique I developed some years back to help me to learn music quickly and reliably has been indispensable.

It’s something I bring to all my programs and courses now. I know that the advanced intermediate player will find it most useful in the mastery of Kreutzer’s 42 Etudes/Caprices – A.k.a. the violinist’s Bible.

So if you’ve run aground in your progress on the violin and are looking for a way forward, go take a look at my one-of-a-kind program.

All the best,

Clayton Haslop

P.S. Incidentally, I’m fixin’ to entertain the parade goers with Fritz’s marvelous slow Waltz, ‘Liebesleid’, just so happens it will be the main dish in this month’s edition of ‘Allegro Players’. This course is the ticket for players just entering the ‘lower positions’ of the violin.

Why the Slowest Horse Learns the Best

In my late teens I was a student of martial arts. I had as my teacher a wonderful Korean gentleman, a 5th degree black belt. After an early demonstration of Ki energy, in which he literally chewed up a coke bottle in front of my eyes, I realized how important it was to stay on his good side.

One day after a particularly challenging workout, in which a new technique was introduced that required more flexibility and body control than I possessed, I complained about the slowness of my progress.

He answered with this, ‘In Korea we say, ‘The slowest horse learns the best.’’ Of course, when he said this to me my first reaction was of chagrin. I didn’t take to the idea of being a ‘slow horse.’

Over time, though, I’ve learned to accept the benefits of being the slow horse. Yes, I’ve learned a few things very well indeed over the years.

I’m sharing this with you today because a lot of folks get impatient with their progress on the violin. Some techniques can be a challenge.

The last thing you want to do, however, is force the issue.

A few years ago I resolved to learn the 5th Caprice of Paganini with the 3 plus 1 bowing he indicates in the manuscript. It’s something I’d tried many years before and dismissed as impossible; at least for me.

Fortunately I didn’t allow that thought into my head during the 2 solid months I spent mastering the technique on my return attempt. And today I can, within a few minutes, play any passage of 16th notes with the bowing.

Now the point about being a ‘slow horse’ is not that you practice with an empty head. Not at all. You want good, solid pictures in your mind. In the pictures the form you want to hold must be quite clear; there is just no point in trying to play way out front of what you can visualize. Doing so is the surest way to mediocrity I know.

So, where to the mental images come from.

In part they come from thoughtfully Watching others do what you’re after. Yet often this is not enough. There is much that is unseen to the eye; the Thoughts, the exact Feelings that go along with the doing.

This is where my courses can save you time and a great deal of expense, but only if you are willing to be patient and focused.

Over the weekend I received another email having to do with learning vibrato. From what was written I could tell the good fellow not only didn’t have one of my courses, but that he really didn’t have a clue as to what a vibrato Feels like. He didn’t know where to start.

After receiving my answer to his question – telling him he needed a two-month commitment to practice in a very specific way – he invested in a full year subscription to Violin Mastery Beginners Circle.

A great move on his part. Aside from the very in-depth look at creating a fluid, well-formed vibrato, he also can look forward to many, many hours of coaching covering all manner of fundamental violin technique.

So if you’re even a Slightly discouraged beginning player, and the way forward seems uncertain, this may be just the ticket for you as well.

All the best,

Clayton Haslop

P.S. So many times we hear someone say, ‘You’ve just got to FEEL it,’ without being able to communicate just exactly what the ‘feeling’ is. Well, here’s a great place to have those feelings laid out in a way you, too, can partake.

More Music, Half the Bow

Several weeks ago I stopped in to visit with an ailing friend. He isn’t just any friend; he was a major presence in my early life.

He is also a very serious, and gifted musician.

After attending West Point as a ‘music major,’ on trumpet, he left the military for a life in music education. I met him a few years later. I was six years old.

Same age my daughter is now.

In those days Gerry was a gregarious, passionate man, interested in everything having to do with music, teaching, and having fun.

I know because I remember.

So what brought Gerry and his remarkably gifted wife into our home was this. At the time there were two violinists and a cellist active in my family, but no violist. Gerry was mad to learn the viola so he could say useful things to his students. So a quartet was born.

From six to about 10 years of age I listened to Mozart and Haydn quartets, and the Schumann Piano Quintet – my mom and Linda are pianists – live, in weekly ‘jam’ sessions.

And believe me, the jam could range from sweet-as-can be to toe-jam in the time it takes to drop one finger.

But there was a great amount of music making in the mix, and that was the important thing.

When I arrived to see Gerry I was greeted by the same warm smile and penetrating eyes. Most everything else about him had changed dramatically.

Now, the details of my friend’s condition are not relevant here. I will just say that he was more ill than I realized.

After a little time he asked if I would play for him.

Now, because of my shoulder and nerve issues at the moment, it takes me a few minutes to get things moving. So after playing a couple quiet scales and arpeggios – all of which he was present for – I proceeded to further warm up on Kreutzer #9.

Kreutzer #9 is a series of broken arpeggios. It also happens to be music, for me.

When I finished the run through Gerry looked to his wife, and there already tears in his eyes. He said, ‘he makes more music in half a bow…’, and then he stopped.

Knowing he wasn’t going to finish the sentence I began the D minor Partita of Bach.

Well, I told you the rest of the story before.

Believe it or not those events popped into my head this morning as I was making a wonderful connection between my body and Chopin’s ‘Minute Waltz’ – my ‘Allegro Players’ are celebrating the violin with it this month.

The connection came about through exploring different ways the music could be cadenced. One thing led to another and soon I was Waltzing back and forth in front of my stand like it was New Years Eve.

The value of the exercise – and it ain’t bad for the ole ticker either – is that I was forced to feel AND think more than ever. What’s the result of all this heightened sensitivity and awareness?

Come find out for yourself.

Just hop aboard my express train to violin satisfaction. The ride’s getting better every month.

All the best,

Clayton Haslop

P.S. Oh yea, I forgot to say why Gerry’s cryptic half-sentence was relevant to my practice. Well, getting the body up and moving can really get the musical juices flowing. I’ve always been one to move when I play. Recently I’ve started doing the opposite. Move, then play. Now it’s time to swing!

Why You Don’t Have the ‘Milstein Sound’

I don’t know about you, but what I’m interested in, after the basic necessities have been met, are feelings and ideas.

That’s it.

Now, you may be a wondering why I’m saying this. Well, its cause in the last few days I’ve gotten a few emails from people getting a very wrong impression of me.

I don’t worship anybody or anything. Not even crosses.

I DO celebrate and appreciate plenty. And my appreciation is meted out according to how much this or that does to put food in my stomach, a roof over my head, stimulating ideas into my brain, or loving feelings in my body.

And please don’t for a minute believe I do not have a life in Spirit. Matter of fact, the more I live the more I place value on my life and wellbeing in Spirit. For ‘in Spirit’ is found all the Truth in me. It is the very stuff that identifies me with my Creator.

And believe you me, I get a great feeling from that.

So how does this translate onto the violin. Well, I’ll tell you. The violin is a vehicle for entertaining ideas and feelings leading to celebration and appreciation.

Technique and musicianship figure into this, from my view, only insofar as they assist me on the path. Once I’ve reached a goal they are good enough, until I decide on a new goal. And so it goes.

I guess you could call what I have said the ‘mission statement’ of Violin Mastery. That is, to be of service insofar as you have certain goals to reach and the violin is your vehicle to reach them.

What I try to do, in my courses and programs, is to give you tools with which to lift yourself to new levels of celebration and appreciation.

How you direct it is up to you.

All the best,

Clayton Haslop

P.S. This morning I played a lot of Paganini. As I did so I appreciated and celebrated all that was passed on to me from Nathan Milstein. You too may benefit from his wisdom in my instructional DVD course, ‘Paganini for Violin Virtuosity, Vol. 1.’

Get Your Lungs Full of Abundance

A few days ago a fung-shui expert my wife is friendly with recommended we put a ‘laughing Buddha’ statue in my studio. You must have seen one; huge belly – exposed; hands clasped in front – as if saying ‘thank you’; big, toothy grin spread wide across its face.

Now, before you say ‘witchcraft, superstition, or idol worship’, hear me out. I’m the biggest ‘energy medicine’ skeptic you’re likely to encounter. Unless it’s produced through good old blood, sweat, and tears.

The point is, however you talk about it, this little caricature has worked a little magic on me. It ‘spoke’ to me this morning.

It reminded me, ‘Creating abundance is wonderful. Laugh in the joy of it. Give thanks for the opportunity to FEEL it.’

Before I sat down to write I’d practiced. During that practice I really worked my abdomen. I ‘belly-breathed’ in a big way.

Afterward I came in to my studio and sat down to write a newsletter, not having any idea of what I would say. My eyes landed on an old publicity poster of the ‘Los Angeles Piano Quartert’; way back when I was a member. We were all smiling big, toothy grins.

Next to it, was the Buddha. And then I made the connections, protruding belly = abundance. Belly breathing = abundance. Abundance = Laughing. Laughing = good thing.

There are two things to remember when using your diaphragm to draw and exhale life giving oxygen; to smile, and to give thanks for the abundance it brings into your life.

All the best,

Clayton Haslop

P.S. There is a little DVD course I have called Dynamic Breath Control for Violinists. Quite a few folks have found it a great way to ‘power up’ their playing. YOU may have a copy as well.