A Trail Lesson

Yesterday I arrived in Vermont to begin final preparations for the 5 consecutive days of concerts I will play beginning on Wednesday evening. Actually on Sunday I play two different performances, so in all it’s actually six concerts and some ten or so rehearsals.

If you’ve been reading lately you already know something of the solo, chamber, and orchestral repertoire I have to look forward to.

Today was my day of rest before the madness begins.

So, after a good practice session what better way of relaxing than by hitting the trail, and summating Vermont’s highest peak in the bargain. The trail was quite steep and exceedingly rocky, with water on it much of the way – one ascends roughly 2,700’ in less than 3 miles. Suffice it to say, on this trail you’d better mind your footing at all times.

As a climbed I played through some of the repertoire in my head.

Now, the demands of the trail made this rather challenging, especially since I was visualizing the actual notes as I did so.

There was, however, one practice habit I share with many of you that made this possible.

All the extra ‘brain power’ that came from verbalizing the beats in practice was available to me as I played passage after passage in my head, and simultaneously scanned the trail several yards ahead.

And given the steepness of the trail I was breathing pretty hard, full diaphragm breaths going right down to the navel. Just the kind you’re going to need playing at full tilt on the last page of the Mendelssohn Concerto.

Got back to the hotel room around six, made some supper, and did some more practice.

All in all this made for quite a beautiful day. The kind of day every violin lover should be enjoying with regularity.

Move Through Your Fear

I understand that one of the great fears many people have today is that of performing before other people.

A couple weeks ago, just days prior to the Novice/Intermediate masterclass, I received a phone call from a participant who was having a severe case of cold feet over this very thing.

Naturally I persuaded him to take the plunge. And he came out the other side feeling better than ever about playing.

You see, performing in public is no different than executing any task you set for yourself. And when we fail at it, it is due to one of two reasons. Either we did not prepare well enough, or we allowed past feelings of inadequacy to spoil the show.

Actually, I find that most people have some combination of both.

My masterclasses are as supportive an environment for growth as you are likely to find anywhere. Why? Because first and foremost it is about getting the goals you have set for yourself accomplished.

Once you see the magic and exhilaration that comes with ‘slam-dunk’ preparation, the little monkey of self-defeatism on your right shoulder just slinks down your back and hightails it for the nearest zoo.

Some of the real highlights at the classes are when a player does something with real purpose and conviction, and simultaneously gains renewed confidence by seeing the response of the other players in the room.

Yesterday I announced the dates and special tuition rate available to the first six to sign up in each class. As I write this we have three seats left at the special rate for the Novice/Intermediate class and five seats left at the Advanced class.

Don’t let these rates slip away, now’s the time to act!

A Must Read, from Clayton

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.

Pliancy Rules

If you were reading between the lines in yesterday’s newsletter, you probably got the significance of the today’s title, ‘Pliancy Rules.’

But before I continue I want to thank all of you that have written, in recent days. I appreciate all your support, comments and questions. I do try to respond to as many as I can, especially if a questions is involved.

Getting back to pliancy. The left hand and fingers need to be pliant on 2 planes of motion, really, vertical and horizontal. This is why I asked you to not press the strings all the way down in the exercise I gave out yesterday.

You may be noticing, however, that keeping the fingers out over the string requires that you gently engage some muscles of the left hand.
This is OK.

If at first you find it difficult to keep your fingers over the string with a little airspace between them don’t worry, it will get easier.

And remember, part of your difficulty may be due to excessive finger pressure on the strings.

Now, let’s assume you are an advanced player reading this. The exercise I gave can be done quite rapidly AND coming down the strings as well as going up.

It’s an excellent way to get blood into your left hand at the beginning of a practice session.

If you missed yesterday’s email and are wondering what all this is about, you may go to Violin Secrets on my website to read it.

All the best,

Clayton Haslop

P.S. We are still trying to get everything ready on the website so I can make the announcement I spoke of yesterday as well. So do stay tuned – guess I mean that figuratively as well as literally since I’m addressing a bunch of players.

Left Hand Intelligence

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.

The Violin Mastery Fraud

Received something in my mailbox over the weekend that gave me pause for thought. Not much pause, really, but I thought you might like to have a look since it sums up the cynic’s view of my courses – Its quite obvious, by the way, that the fellow doesn’t own one.

Here is what he had to say;

‘Your so called “Products” are not true.
The practise is in the violinists’ hands.

There is no such thing as magic;it takes hours of practise.

One cannot play Paganini in just a couple of weeks.
It takes years.

I’ve had masterclasses with Alexander Markov,who says the same thing,”Practise,Practise”
No one plays Paganini Caprices better than him.

If 10 children start violin and five practise,what would the result be?

That’s why there are a few soloists,the ones who study.
None of them used your ”products.”

– D.V

Yes, there you have it, just as it came to me. Funny thing is, I don’t remember saying or writing that merely owning one of my ‘products’ magically transforms you into a Paganini virtuoso.

In fact, the whole idea behind the courses is Practice. Intelligent practice; relaxed practice; creative practice; practice that sets you free of tension and unconscious habits that inhibit the expression of your full potential.

And what I have been very honest about is this. I do not claim to be Heifetz or Milstein. I do, however, make the claim that one can play at a very high level on two to three hours of practice a day. And I support that claim by performing everything I do without recourse to editing, so you can see exactly what is possible by following my example.

Further, I have written previously that I have a nerve disorder in my left hand known as ‘focal dystonia’. That I can even play a scale is a testament to the practice methods I advocate, never mind performing Paganini Caprices live.

In any case, you can go to my website and listen to a lot of repertoire and judge for yourself its merit. And know as you do so that I play, on average 1.5 to 3 hours a day. I think any violinist of real experience would agree that the results speak for themselves.

All right, good to get that off my chest, now let’s talk seriously.

Yesterday I wrapped up the second of two masterclass/seminars held on the magnificent Biltmore estate here in Asheville, NC. To a person everyone that attended was thrilled with the results, and I will share the feelings of one attendee with you tomorrow so you can see just how transformative these experiences can be.

I will also be putting out the dates for the next seminar. So get your calendars for 2008 now. You’ll be wanting to mark off a few days of special importance in them very soon.

All the best,

Clayton Haslop

P.S. One last thing, if ten children start the violin and only five practice, then it’s pretty obvious that the world will be blessed with 5 budding violinists. And when you meet them make sure you have a copy of ”Kreutzer for Violin Mastery” to share with them.

How to Measure Up

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.

French Sizzle

There’s no doubt the French have made a big contribution to the Art of the Violin. But I bet I’ve got a Frenchman in my fingers that would be the envy of almost all of you.

His name is Jean-Joseph Mondonville – how’s that for a name – and he was the talk of Paris in the middle of the 18th century. You know what, I think even the likes of Thomas Jefferson would have known of him, and admired him as a fan might Sting today.

‘So how ‘bout the music,’ you may ask.

I would NOT be guilty of hyperbole if I were to say he was the Tartini of France, or a cross between Rousseau and Paganini.

In other words this is dynamite stuff. Within very stylized and sensual French popular dances is embedded a tremendous variety of technical tricks, including double-stopping, elaborate ornaments, natural harmonics, and quick contrasts in range and dynamics.

When played well each movement has its own unique hypnotic affect similar to ‘Bolero’. On top of that you have sound tapestry that is dazzling in technical complexity.

For you that can’t wait to get your hands of this music, I will say that I am performing his Sonata Op. 4, No. 2.

Kreutzer must have been awestruck listening to this as a lad in Paris learning to play the violin.

He certain intended his 42 Etudes or Caprices to put a player in shape to play this ‘extreme’ music.

And now, for those that don’t have a virtuoso as a private coach – Kreutzer would have thought integral to the process – I have developed my instructional DVD course in 4 volumes, ”Kreutzer for Violin Mastery”.

If you don’t’ have it I assure you that what is inside will take you to a whole different level of appreciation of what it is to play the violin. In other words, it’s more FUN to know what you’re doing!

All the best,

Clayton Haslop

The Proof is in the Pudding

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.

Left Hand Intelligence

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. You can get your copy today at; http://www.violinmastery.com/kreutzer.htm