The Invisible Bow Change

Over the years have heard plenty of poppy-cock where it comes to the dos and don’ts of bow changes. Let me just give you a couple of examples.

One, lightening the pressure of the bow on the string just before you make a change will make for a smoother bow change.

It is true that your bow change will be smoother. What is also true, however, is that you will have a dip in your sound that accompanies the release of pressure. That dip can lead to what I call ‘unsightly bulges’ in your tone, not a pretty effect.

Oh yea, and compounding the problem is the tendency of most players who do this to Slow the bow speed at the critical moment, making the ‘unsightly bulge’ effect’ even more pronounced.

Number two, increasing the bow speed just before the change will make for a smoother change. Again, there is some truth to this, in a perfect world. Increasing the bow speed distributes the pressure on the string over a greater surface area. There will therefore be less of a chance for the string to become ‘trapped’ at the moment of change.

Again, there is a problem here. Many players that do this reflexively Increase the pressure on the string as they speed up the bow. Now you have a reverse ‘bulge.’

Three, actively using the wrist and fingers to ‘cover’ the bow change will make for a smoother change. WRONG.

You have a bow in motion exerting a given pressure on the string. As I have said before, it matters not one twit whether your wrist, fingers, forearm, upper arm, or LEFT arm effect a reversal of direction. All that matters to the tone is bow speed combined with pressure combined with bow placement relative to the bridge.

Ah, that’s a new one. Where the bow is placed relative to the bridge, for a given bow speed and pressure, will effect the smoothness of the change.

So this is what you do. First of all, make it simple. You’ve heard me say THAT before.

As Joey Silverstein once said to me, ‘play up bow until you play down bow.’

I do suggest you use the mass of your whole arm to change direction – this was Milstein’s notion. Just be aware that the bow movement is purely horizontal, in and out of the change.

Once you have the feel of that, do some experimenting. It needn’t take but a few minutes. Try different bow speeds for a given pressure. Once you have a smooth change try moving the bow further or closer to the bridge to see what effect placement has on the result.

In a short amount of time I see you getting an excellent handle on smooth bow changes. Over time it just becomes a ‘feel’ thing.

All the best,

Clayton Haslop

P.S. A smooth bow change is one important ingredient to a first class bow arm. To secure all the ingredients for a gourmet feast, however, I urge you to get cracking on the Kreutzer for Violin Mastery series. You can find them in a jiffy at; http://www.violinmastery.com/kreutzer1.htm.

One Myth That Rattles My Cage

Your playing along in an ‘allegro’ movement, and you come to a longish note – lets say a half note – that’s tied over to another beat for a sixteenth note. Immediately after this tied sixteenth you’re to proceed with string of quick sixteenths.

Now, conventional wisdom states that one should tacet, or rest the sixteenth under the tie before proceeding on to the series of fast notes. The thinking is that by taking this little break one won’t be as likely to be late getting on to the following sixteenths.

I can’t tell you how many times I’ve had musical colleagues remark on the need for this space.

I never have, and I never will, in spite of the fact that almost invariably the lateness tendency is resolved by doing so.

Here are my reasons.

First of all, when people are late off a tie it’s not because they haven’t stopped their sound. If you think about it, stopping and restarting the sound requires a couple of actions. Those would reason for more lateness, not less.

No, the real reason for the lateness was simply a lack of anticipation.

Taking up a pencil and putting a coma before the moving sixteenths, or circling the tied note, merely draws one’s attention to the problem. The solution is then affected in the mind just by taking note – no pun intended

But my strongest objection to the practice is musical; it interrupts the flow of the music. And when it’s really obvious, I find it incredibly distracting.

For me the best policy is to count, and to visualize ahead of where you’re playing. Do those two things and you’ll never be caught ‘flat footed’ playing off a tied note again.

This won’t stop conductors and colleagues from resorting to and perpetuating this myth, however. Many times I’ve worked under conductors who give the impression they’ve decided in advance of the rehearsals what they’re going to say to an orchestra. But that’s another story.

All the best,

Clayton Haslop

P.S. Learning just how to harness the power of visualization and counting is an important part of my Kreutzer course. You won’t get caught ‘flat footed’ rhythmically ever again once you begin using these powerful methods.

Have A Trilling Experience

In ‘early music’ days – pre-baroque – trills were often referred to as ‘shakes’. Now I find that somewhat ironic because as a student I was always cautioned against shaking my left hand when trilling.

There’s actually quite a good reason for this.

The problem with shaking your hand – in effect using vibrato – to produce a trill is that the trill tends to sound wobbly and unsettling. You know, time to take out the Pepto-bismo.

Kreutzer was obviously hip to this. He was also hip to the challenge that many fiddlers have producing clear, facile trills. Trills are made possible by ‘fast twitch’ muscle.

Problem is, we’re not all gifted with the same amount of the stuff.

Some people have too much – resulting in what I call a ‘doorbell trill’ – and some, myself included, not enough.

In any case, Kreutzer has provided us with some wonderfully crafted studies to address all levels of ‘fast twitch’ endowment.

I’m amazed at Kreutzer’s attention to detail in these studies. Each etude covers a very specific way of approaching and executing a trill. Some are intended to be measured, some unmeasured. In all, he dedicates 8 studies to mastery of the trill.

The finger movements required are delicate, graceful, fleet, and subtle. You can see the experience as an opportunity to connect with your ‘butterfly nature’; quite a beautiful thing, really.

All the best,

Clayton Haslop

P.S. Those 8 wonderful studies make up much of Volume 2 of the ‘Kreutzer for Violin Mastery’ series.

No Violin Worshipper

Yesterday I enjoyed a note from a subscriber who shared some details of his violin acquisition. He then asked the following question;

‘Just how important is the instrument (violin/bow) to a concert violinist?’

Let me begin by relating 2 famous stories. In the first Jascha Heifetz was once entertaining well wishers in his dressing room following a concert.

One elderly matron exclaimed, ‘Mr. Heifetz, I just love the sound of your violin.’

Heifetz lifted his violin to his ear and countered, ‘That’s funny, I don’t hear a thing.’

The second is even better. Seems Kreisler was to give a concert in London, way back when. In advance of the concert a well known London Times music columnist wrote, ‘We all look forward to Mr. Kreisler’s performance, particularly to hearing his gorgeous Del Gesu violin once again.’

When this was brought to Kreisler’s attention, he became incensed. He then went to a London violin house and bought an extremely cheap violin.

At the end of the concert, as he was taking his bows to thunderous applause, he lofted this counterfeit into the air and toward the forward rows of the orchestra section. Cheers well replaced by gasps of astonishment as Kreisler spun on his heels and strode to the wings.

Now, to answer the question, let me repeat, I am no violin worshipper. That is not to say I don’t appreciate the work of a great luthier, I certainly do. I just don’t believe that I will ever possess the violin equivalent of a ‘soul mate.’

Violins are tools, for me.

The kind of tool I need has changed over time. I think it likely that I will own several more instruments in my time.

I recognize that others may feel differently. So be it.

The other point I’ll make is that I don’t think one need spend the amount of a home in Beverly Hills to come by an excellent playing violin. I think the cost of a used Corolla is sufficient if you are patient and have a little luck.

Some feel it is the bow that is more important. Even here I beg differ.

Though I will grant that each bow will produce subtle differences in color and volume out of an instrument, I have found that my taste in weight, balance and flexibility all change over time.

In fact, playing with very differently weighted and balanced bows may help reduce stress to your arm and shoulder, to some extent.

Again, the bottom line is, find an instrument whose tone you are drawn to and that is comfortable to play. Price tag be damned.

All the best,

Clayton Haslop

P.S. There are no better works to self-discover the tone you want out of a fiddle than Bach’s exultant ‘Preludio’ and Kreisler’s fetching ‘Praeludium and Allegro.’ And to draw the best tone your violin has to offer while playing them you will need absolutely pure playing mechanics. Begin ‘fine tuning’ yours today.

The 3 Pillars of Violin Playing

Many people talk about a ‘God given talent’ when it comes to playing the violin. I think, rather, that a good mind, the ability to tie your shoes, and a few guiding insights may suffice to fool an awful lot of people.

You see, I the process of playing the violin is much like a stool. It must have 3 legs to stand.

The first leg is insight into the mechanics of the body as they pertain to playing the violin. One must have, whether gotten intuitively through ‘God given talent’ or through insightful instruction, a detailed picture of how to move the parts of the body necessary for playing in the most efficient manner possible.

The second leg is an effective method of practice. Your practice is not just for conditioning your body to a set of automatic movements through shear repetition. It is, rather, to inform the mind so it can be ‘pro-active’ in the process of playing. This is where people without ‘God given talent’ can often make up a lot of ground – I consider myself to be in this group.

The third leg is musical understanding. Of the three this is the most difficult to counterfeit. In fact, if you don’t love playing – you wouldn’t be reading this if you didn’t – it’s a hopeless cause. But if you do love playing, and the elements of musicality – timing, phrasing, ect. – are not intuitively ‘known’ to you, there is much that can be supplied through close contact with a master.

There is one last thing. Having the ability to tie your shoes merely affirms that the manual dexterity is in place to begin or continue the process.

The Kreutzer course is the best way I know for someone without access to a really excellent teacher to craft at least two legs of the stool. If you’re ready for leg number three, ‘Bach and Kreisler’ is your ticket to get started.

Following these you must consider joining me at the next masterclass/seminar.

All the best,

Clayton Haslop

No Violin Worshipper

Yesterday I enjoyed a note from a subscriber who shared some details of his violin acquisition. He then asked the following question;

‘Just how important is the instrument (violin/bow) to a concert violinist?’

Let me begin by relating 2 famous stories. In the first Jascha Heifetz was once entertaining well wishers in his dressing room following a concert.

One elderly matron exclaimed, ‘Mr. Heifetz, I just love the sound of your violin.’

Heifetz lifted his violin to his ear and countered, ‘That’s funny, I don’t hear a thing.’

The second is even better. Seems Kreisler was to give a concert in London, way back when. In advance of the concert a well known London Times music columnist wrote, ‘We all look forward to Mr. Kreisler’s performance, particularly to hearing his gorgeous Del Gesu violin once again.’

When this was brought to Kreisler’s attention, he became incensed. He then went to a London violin house and bought an extremely cheap violin.

At the end of the concert, as he was taking his bows to thunderous applause, he lofted this counterfeit into the air and toward the forward rows of the orchestra section. Cheers well replaced by gasps of astonishment as Kreisler spun on his heels and strode to the wings.

Now, to answer the question, let me repeat, I am no violin worshipper. That is not to say I don’t appreciate the work of a great luthier, I certainly do. I just don’t believe that I will ever possess the violin equivalent of a ‘soul mate.’

Violins are tools, for me.

The kind of tool I need has changed over time. I think it likely that I will own several more instruments in my time.

I recognize that others may feel differently. So be it.

The other point I’ll make is that I don’t think one need spend the amount of a home in Beverly Hills to come by an excellent playing violin. I think the cost of a used Corolla is sufficient if you are patient and have a little luck.

Some feel it is the bow that is more important. Even here I beg differ.

Though I will grant that each bow will produce subtle differences in color and volume out of an instrument, I have found that my taste in weight, balance and flexibility all change over time.

In fact, playing with very differently weighted and balanced bows may help reduce stress to your arm and shoulder, to some extent.

Again, the bottom line is, find an instrument whose tone you are drawn to and that is comfortable to play. Price tag be damned.

All the best,

Clayton Haslop

P.S. There are no better works to self-discover the tone you want out of a fiddle than Bach’s exultant ‘Preludio’ and Kreisler’s fetching ‘Praeludium and Allegro.’ And to draw the best tone your violin has to offer while playing them you will need absolutely pure playing mechanics. Begin ‘fine tuning’ yours today.

A Richer Experience

This morning my wife had some research results up on the computer. Research having to do with how we process music. Pretty interesting stuff.

What I found particularly fascinating is how the cerebellum becomes activated in the process of listening to music. The cerebellum is most frequently associated with coordinating physical movement.

After your brain grasps the underlying rhythm and cadence in a piece of music, your cerebellum senses departures from that equilibrium – places of ‘tension’ in the music – and this triggers a corresponding emotional response. Hence the expression, ‘I was so moved by that music.’

It gets more interesting. Dr. Daniel Levitin, author of the recent book, ‘This Is Your Brain on Music’, describes differences in the way we respond to recorded music versus what we see and hear live.

If you are present at a performance and the player plays a fast, difficult passage while making it appear easy, the visual clues mitigate much of the aural tension. Listeners to a recorded performance, not having the visual ‘relaxing clues’, experience a heightened sense of tension from the same passage.

It all just goes to show that appearances DO matter, at least where it comes to live concerts. If you give the impression that the music is challenging to play, you may fatigue the audience quickly. No one likes watching another person struggle, at least not for very long.

So lets talk recital programming.

It seems to me that you want to first put the audience at ease. Start with music that isn’t too complex, music that flows out of your fiddle quite effortlessly.

Then, once you have gotten your listener’s trust, you play something dramatic – a romantic sonata, for instance. After intermission it’s time for some music with inherent risks – the flashy stuff. Most of the time you want it to look easy. Once in a while you can make it appear difficult.

One thing you want to be clear about, however. For you, the player, it must all feel easy. In this regard you are an actor on stage. Internally you are cool as a cucumber. Externally you can play the audience ‘like a violin.’

One last thing, if this sounds like ‘conventional’ programming, you’re paying attention. There’s no need to reinvent the wheel.

All the best,

Clayton Haslop

P.S. Just began recording Volumes 3 and 4 of the Kreutzer etudes. If you haven’t started working through volumes 1 and 2 yet, its time to get moving. The secrets to ’cool as a cucumber’ playing are waiting.

Mr. Slow Motion

When I was a rambunctious lad, perhaps a few years ago, I loved gliding across the ice at our local skating rink. And every time I stepped on the ice there was one man – he was always there – who caught my eye.

He was an African American fellow, but that’s certainly not why I noticed him. I noticed him because he was the coolest skater in the house.

His raiment never changed; black, tight fitting pants, electric blue jacket, black skates. And on the back of the jacket, in embroidered gold, was written, ‘Mr. Slow Motion.’

That’s how he skated, in slow motion. Lap after lap, hour after hour he stayed in his crouch, undulating back and forth like a magnificent pendulum.

I got to thinking about Mr. Slow Motion whilst practicing today. About how he sailed effortlessly around that rink lapping me and all my boyish friends so effortlessly, in spite of our best exertions to stay with him.

I realize now that Mr. Slow Motion knew the real secret of speed.

And that secret applies equally to velocity on the violin. Understand profoundly how to play slowly and you are given passage to almost limitless velocity.

The key is in your power of resolution.

It’s about seeing yourself play with eyes that don’t flinch when confronted by awkwardness. Eyes that WILL have an accounting for every movement taken. Eyes so acute they can apprehend the FLOW of time embedded in the blink of an eye.

It’s about meditation. It’s about self-fulfillment.

When Milstein said, ‘It’s now what you play, but how you play it, that counts,’ no truer words have ever been spoken.

I wish you a most rewarding and prosperous New Year. But before taking my leave, may I suggest taking a little quiet time to Count the blessings that have come to you in the passing year; to Visualize the blessings you would have for yourself in the coming year; and to Breathe deeply in joyful gratefulness for both.

All the best,

Clayton Haslop

P.S. For more than a few, I know that one blessing of 2006 came in the form of ‘Kreutzer for Violin Mastery.’ Those who have yet to take the plunge may still do so before the sand runs out on ol’ 2006. It’ll be a party you can enjoy for months, if not years, to come.

Doing What You Fear

A few years back I was invited to perform with one of our better ‘community’ orchestras in Los Angeles. Under normal circumstances I would think nothing of such an invitation; this one was different.

The conductor had his heart set on one concerto. A concerto I had only toyed with now and again over the years. One that I didn’t feel particularly in love with, and, to be honest, one that intimidated me as well.

I’m talking of Tchaikovsky.

So I took a deep breath, thought for a moment, and said, ‘Yes, I’d love to.’

About a year in front of the concert I spent some time ‘putting my hands on the thing.’ After a few weeks I thought I had a decent sense of it, and, as other concerts needed attention, I put it aside.

My serious work started about six months out.

One of the problems I’d had with Tchaikovsky, incidentally, is the way in which it is often approached. That is, as a ‘war-horse’ that is dug into from start to finish. No, I would see it as essentially balletic music.

My other problem with it had been its length. The Tchaikovsky is a VERY long song.

Nevertheless, when I agreed to take it on I also made a pact with myself to play it from memory – perhaps some of you younger people, or ones with the memory of an elephant, may be thinking, ‘what’s the big deal.’ The rest of you, however, will know ‘what’s the big deal.’

It’s not only long; it’s complicated, and dangerous. I knew very quickly that I would need some powerful strategies to make a success of it.

Fortunately I’d been working with my counting method for some time before this. I had also been using visualization as a tool since my days with Milstein.

But I needed more.

The preparation for that Tchaikovsky performance led me to new levels of violinistic efficiency. I had to play smarter than I’d ever played previously.

Now I know where a good deal of the fear I felt about Tchaikovsky came from. It was the fear of stepping out from what was comfortable. The fear of, what was for me, uncharted waters.

At 42 I stepped up to the plate and gave my first performance of a centerpiece of the violin repertoire. And I gave it without sacrificing or compromising the standards I hold for myself. Indeed I believe I outdid myself.

You can do the same.

And if you’d appreciate some new tools to help you do so, I recommend you internalize every concept and technique to be found in ‘Kreutzer for Violin Mastery’. Mind you, there will be more to follow, but the tools found therein will take you very, very far.

All the best,

Clayton Haslop

P.S. This morning I took up the Tchaikovsky for the first time since that performance 7 years ago. I was delighted and amazed by the level of ‘muscle memory’ still in place. I must have done my work well.

How to Think in Gestures

Just had a very productive practice session, and thought you might be interested in the following insights that came to me.

When playing fast moving passage work, try thinking in terms of visual gestures. For instance, scales can flow like fast moving water. Broken arpeggios like cascading water.

In fast moving 16th note passages – I was practicing Paganini #5 when this game to me – try visualizing your fingers moving in like Celtic dancers. That is, the hand is like their upper bodies; relaxed and calm. The fingers dance on the string in a light, independent kind of way.

If you’re playing fast in the upper half of the bow, try thinking of yourself as a fencer, with a foil in your right hand. Your torso is again very calm, your right arm is making quick, darting movements. Movements of the upper arm become decisive but lacking in excessive force.

The idea is to place yourself in a context that both relaxes and maximizes your efficiency.

I can’t think of a better way to immerse yourself in efficient movement than by working through Kreutzer for Violin Mastery. It’ll be ‘just what the doctor ordered.’

All the best,

Clayton Haslop

P.S. Oops, I appear to have been misinformed in grouping ‘Praeludium and Allegro’ with the other hoaxes Kreisler penned to confound critics and other violinists. Pugnani was I real, and important musical figure of the baroque and classical period. Thanks to Pamela Buell-Husinger, who hails from Germany, for setting me straight!