Had a couple of interesting responses to yesterday’s newsletter, ‘To Record, or Not to Record.’ One of our subscribers wrote of Heifetz nit-picking his recordings. I’ve got a story about that one.

The other observed how recording oneself may be more valuable for the musical light it sheds, rather than exposing technical imperfections. That one jarred my memory about studies done on the way in which we process music, when listening..

First the story.

Heifetz was recording something or other way back when, and the producer requested he repeat one section several times, saying over the ‘talk-back’, ‘Sorry maestro, we just need that passage ONE more time.’

Finally, in frustration, Heifetz put down his violin, went into the booth and asked what was wrong. The producer, rather sheepishly said, ‘Well, Mr. Heifetz, you seem to have played a D natural instead of the indicated D sharp in this measure.’

‘Let me hear it’, Heifetz quipped.

The passage was played back to him, and indeed he had played the wrong note with each repetition.

‘Well,’ said Jascha, ‘I guess that’s the way I play it. Let’s move on.’

And the misplayed note can be heard until this day. Question is, does anybody KNOW where it is?

Now for the listening studies.

A researcher performed a series of tests in which subjects only heard a piece of music performed and then were able to hear and SEE the performers playing the music. Turns out their reactions to certain features in the music were very different. For instance, when a pause preceded a dramatic entrance in the music, the perceived effect was much greater when the participants could see the musicians prepare for it.

So if it is an improved musical impact you’re looking for, then perhaps you should use video or audio depending on what medium it will be viewed/heard.

And there is one more point I will make about recording. The way a violin sounds on recording is always going to be different from the way it will sound to a listener sitting in a hall. And this is without taking into account the ‘color’ added by the microphone itself.

OK, enough said. I DO acknowledge that there are things to be learned from listening and seeing on tape. I would certainly caution, however, that you do this when you are fresh, and then only sparingly.

All the best,

Clayton Haslop

P.S. If you want to get the real big picture on your playing, I suggest you grab one of the spots remaining to the Singing Hands Masterclass/Seminar.

You all must remember the Fred Astaire film in which he dances with a coat rack. It’s iconic in dance movie history. I just can’t recall the name of the picture.

The point is, though, if you remember that dance you will recall not only how wonderfully he danced, but how beautifully he made the coat rack move. It was an inspired piece of work.

That’s the kind of ‘repoire’ you want develop with your fingerboard. You want it feeling Alive in your hand.

Another way I’ve expressed it, in the past, is to think of messaging the fingerboard. You know, don’t just whack at it with your fingers, get sensuous with it.

Now, if your shoulder and chin have a choke-hold on the fiddle this aint a goin’ to happen any time soon.

Two emails ago I wrote about a little training exercise to help dissipate some of that – what in police lingo is known as – ‘excessive force.’ I’ve gotten a few queries on the subject so let me be a little more specific about how it’s done.

First, don’t feel compelled to throw away your shoulder rest just yet. There are plenty of wonderful fiddlers that use them, and you may be one of them. I, myself feel hemmed in by them, so no matter how much sense they make orthopedically, I aint buyin’.

Besides, I do the shoulder and neck exercises I just sent out to all you customers – trust you have received them by now. They take care of potential aches and pains just fine.

Second, to discover just how much force you grip with, and, more importantly, WHEN you use it, adjust your stand so the scroll of your violin can rest on it, parallel to the floor. If the violin bangs up and down when you play, particularly when you shift, you’re exposing an unconscious muscle reflex that needs chillin’. Don’t forget to belly breathe when you’re doing this. It’ll make you relax, pronto.

All the best,
Clayton Haslop

P.S. If ‘belly breathing’ is not yet part of your playing m.o., I suggest you hop over a pick up a copy of Kreutzer for Violin Mastery, Vol. 1 and find out how it’s going to transform your playing.

Oo-Wee, just finished a very exhilarating practice session. The kind of session that gives back more energy than was put in.

And I put in a lot today.

What I explored very deeply in the hour was just what the title of this email suggests; how to SURRENDER tension.

Many violinists experience some form of tension or muscle stiffness whilst playing. Most, if not all of the tension we arises while we play is based on misconceptions we acquired very early and now are deeply rooted in the subconscious. That is to say, they are habitual.

So, how to you uproot the little buggers.

First of all you must pay very close attention. You must be willing to seek out the very instruction the brain is sending the muscle(s) to contract.

From that point you must first Consciously send a new message to the muscle – stay relaxed – while at the same time allowing the muscles you DO need activated to do their job.

I have Focal Dystonia. For those of you who know what this is you know it is a dysfunction that is WAY beyond your garden-variety stiffness. Many fine musicians have had their careers ended by it.

I will not.

In fact, I believe the techniques I demonstrate at the beginning of both the Kreutzer and Paganini courses are an integral part of my recovery process.

If they work for dystonia they most certainly can help you with eliminating your tension issues.

The counting technique puts your focus on the NOW – your attention is placed on what is right before you. The breathing technique places the body in a state conducive to relaxation. And the act of creative visualization sends the new, corrected message to the muscles.

What the courses also provide is information to better inform your visualizations. This is very worthwhile stuff.

I wish I had the time to go more deeply into how tension becomes reflexive and self-limiting. If you’re interested, there is a book entitled, ‘The Power of Infinite Love and Gratitude’, by Dr. Darren R. Weissman, that you might find extremely enlightening.

All the best,

Clayton Haslop

P.S. Am just getting restocked on ‘Kreutzer for Violin Mastery’ today. Makes for a great time to get this great tension banishing tool for the serious violinist.

I trust you are having a wonderful Labor Day Holiday. It is good to honor the brave men and women that have stood up for safe working conditions, an honest wage, and all the other good and just benefits a hard worker should be blessed with.

So, why must the mind lead? And how does it relate to violin playing? First off, when one does any activity with consciousness – whether walking, breathing, or performing a tune you’ve known for years – there is a satisfaction and pleasure that is not present when the same activity is conducted by rote.

Most of us can play to, say, 90% of our present ability whilst on a kind of autopilot. Surprisingly, this can even be done whilst sight-reading, providing the music is not too difficult.

But there is no way any of us will play to 100% of our ability, or stretch ourselves to new heights, while playing this way. It just won’t happen.

Now, try the following.

Pause for a few moments, and imagine yourself playing the open string exercise I included in ‘Kreutzer for Violin Mastery’ – if you don’t have it you can visualize yourself playing whole notes. Do it with real energy. Breathe, Feel the bow in your hand and the Weight you’re applying into the string. Manage the flow of the bow down the string in your mind’s eye. Hear the full, rich tone rising out of the violin.

Really put energy into the visualization.

Do you feel a little tingling in your right hand where the bow would reside? Are you also aware of a growing warmth spreading down your arm?

If so you’re experiencing the body’s autonomic response to your visualization – e.g. increased blood flow and heightened tactile sensitivity.

When you’re creatively involved with the movements of your body in this way you’ll experience increased mobility, less problems with strain or injury, and a greater impact on any listener within earshot.

I am still raising the percentage of time I spend fully conscious while practicing. It’s amazing how the mind wants to wander. I just keep calling it back, calling it back, and calling it back.

If you do this, with each passing day, week, and month, you will find yourself in a deeper and more effective state of active meditation as you practice.

All the best,

Clayton Haslop

P.S. I’ve heard from many aspiring virtuosi that are having a ball with Volume 1 of Paganini for Violin Virtuosity.

Some of you may recall that several months back I said that Milstein felt tennis was a good sport for a violinist. And this is true, to a point.

Tennis does require you to use the whole arm to strike the ball, and that does compliment the ‘Russian School’ of bow technique.

But the real fact remains that the best thing for violin playing remains violin playing. It reminds me of an injured basketball star talking about getting back in shape.

He said, “You can do all the cardio you want, but the best way to get in shape for playing basketball is to play basketball.” I guess it seems pretty intuitive, doesn’t it?

The real question is, then, how do you play in such a way that you keep the risk of injury low while challenging yourself to build technique and stamina?

First thing I do these days is warm my left arm and hand up with some vigorous massage. Just a couple of minutes are all you need.

While I’m doing this I’m getting my head in the game by visualizing myself playing – scales, etudes, a concerto, whatever inspires me at the moment. This act of visualizing in itself will trigger an autonomic response in the body, sending additional blood out to your hands and arms.

All right, now I’ve got the fiddle in my hands. If I’m feeling rested and energetic very little warm-up is needed. If, on the other hand, I’m tired and somewhat distracted, I’ll spend 15 to 20 minutes warming up slowly, starting with, say, slow scales with a very relaxed vibrato.

Once you get warm you can begin to push yourself – upping the tempo, playing more passionately, increasing the vibrato speed, etc. From time to time pause for some stretching – neck, back, arms, hands, fingers. And I Always have water next to me as I practice.

Hydration is as important to a violinist as it is to an athlete of any stripe. You must take it seriously!

Lastly, let’s not forgot about breathing, especially when playing technically challenging music. And you’ve got to ‘practice in’ the belly-breathing too, or you will almost certainly forget to do it in performance, where it matters most.

Uh, don’t know about belly-breathing yet? Then the time has come for your to get the course that will change the way you think and play the most glorious instrument made by man.

It’s that simple. .

All the best,

Clayton Haslop

P.S. Incidentally, Tania, Clara, and I will be hailing from Scotland for the next 9 days. I will try to post a few newsletters during this time but orders will ship until our return, sorry.