5 Bowing Ills, and Their Cures

Lets have a little fun with this. I’ve just been thinking of the different bowing ‘syndromes’ I see, and hear, all too often, and I’ve come up with some expressive names for them.

Let’s take a look.

First is something I call, the ‘Roundhouse.’ This is what you get when the elbow is stiff and inhibited during normal bowing. The tip of the bow then hooks over the left shoulder on the up bow. And on the down bow the bow hand looks like it’s heading for the player’s back pocket.

Not a very pretty picture. And the sound isn’t so hot either.

Anybody that has taken a look at Kreutzer, vol. 1 should know how to root this bad habit from your playing. Something about a mirror and keeping the bow parallel to the bridge…

Number two I call the ‘Unsightly Bulge’. Oh yes, I’ve talked about it before. Recall the ‘Pass the Dramamine’ email on the subject some time ago.

The ‘unsightly bulge’ is produced by starting a stroke with a relatively slow bow speed, accelerating in the middle of the bow, and then slowing down again at the end of the bow. Just writing about it makes me feel queasy.

The cure is really quite simple. But you must open your ears to recognize the problem first.

Keep your bow speed even throughout the length of the bow, unless you MEAN to make a crescendo or diminuendo. It’s as simple as that.

Number three, the ‘Crunch’. Many players today are guilty of this one. You know, it actually works in a lot of hard-edged 20th century music, but it sounds terrible in anything before Bartok. The problem stems from striking the string vertically. Strings don’t take that very kindly so they will just emit a nice scratch in response to it.

Remember, bowing is a horizontal game. Even when a strong attack is called for, you produce it by moving the bow horizontally in an explosive manner.

Number four, the ‘Trap’. This one I cover in the Martele etudes. The ‘trap’ is where the player stops the bow on the string so aggressively that the tone is strangled in the process. You hear it quite often in Martele bowing.

It takes some finesse with the bow to play martele without doing this. Those ‘in the know’ will know that I spend a good amount of time demonstrating and talking about this in Kreutzer, Vol. 1. You must be able to decelerate the bow to a halt without chocking the ring of the violin in the process.

And finally, the ‘Whiplash’. Yep, it can be just about as uncomfortable to hear as the word implies. Ouch. OK, so you’re at the end of your bow and ready to change to a new bow: A. speed the bow up dramatically just before the change with a quick flick of your wrist, or B. stay cool, maintain a constant bow speed in and out of the change.

If ‘A’ was your pick I think it safe to say you’ve got a lot of listeners leaving your concerts with sore necks.

The cure is simple. Play up bow until you play down bow. Don’t get fancy with a lot of wrist movement. It isn’t necessary.

So there you have it. They say a picture is worth a thousand words. Well, you’ll find great visuals in Kreutzer for Violin Mastery, and a whole lot more.

All the best,

Clayton Haslop

P.S. The ‘Bach and Kreisler for Violin Artistry’ has done so extremely well these couple of days I just don’t have the heart to raise the price just yet. You may have 1 more day. You may have 2 more days. But surely my heart will recover over the weekend. Take advantage of this offer, if you haven’t already. It’s too good to miss.

Clayton’s Holiday Special, Day 3

And NOW…the pièce de résistance.

Today I’m proud to launch a Brand New course. It takes Violin Mastery into new, exciting territory.

You’re just a hop, skip and click away from Day Three’s BIG Surprise.

Just so you know, the ‘special holiday price’ for this item, and it’s really good, is revealed on the order page.

All the best,

Clayton Haslop

P.S. Oh yes, being the nice little elf I am, if you’re late to the game, I’m going to help you catch up. Listed below are the links to day 1 and day 2.

Clayton’s Holiday SALE, Day 1

The game’s afoot.

Day 1 of the Special Holiday Sale’s coming at you.

I think you’re going to like this one. So run on over and see what just arrived.

Best,

Clayton Haslop

P.S. The clocks ticking. 24 hours from now it’ll be time to move on. So pick up your heels, my friend.

6 Solutions To Playing Snags

I read a wonderful little Kreisler anecdote last night. Let me begin with it.

A woman comes backstage after one of his concerts and says. ‘I’d give my life to play like that.’ Kreisler responds, ‘I did.’

Well, there’s no getting around it, I guess. If you want to be one of the greatest of all time, you WILL devote your life to it. If, on the other hand, you just want to derive a great deal of pleasure and a good measure of personal growth out of it, you can give a wee bit less.

OK, so what are the 6 ways to deal with ‘snags’ as you come to terms with a new piece of music:

1. Verify that your playing mechanics are as absolutely pure and efficient. The 2 Kreutzer volumes that are available to date can greatly assist in this regard.

2. Engage your power of visualization. Often the body reflexively avoids what is awkward and rushes through it. Your mind can go a long way toward overcoming this self-defeating tendency. Again, something that is covered in the Kreutzer course.

3. Investigate alternative fingering possibilities. It is remarkable how effective a fingering change can smooth out some passages. Though each situation is unique there are certain fingering basics that hold true most of the time. You can bet many will be discussed during the masterclass.

5. Look at bowing alternatives. For instance, going from an
up bow on a low string to a down bow on a high string is more awkward than doing the reverse – going from a down bow on a low string to an up bow on a high string.

5. Employ the creative use of ‘rubato’. Occasionally this can be a very effective way to get around a problem spot. Of course, the ‘time bending’ must not be contrary to the musical intent of the piece.

6. Change the music. Yes, you are reading correctly. You job is to entertain, enliven, and enlighten your audience. Being faithful to the composer’s intentions runs a close second. Altering a bit of a composers work is permissible in the course of meeting those two objectives. Milstein did it; Heifetz did it; Kreisler did it.

So there you have them. I will try to shed more light on items 3 and 4 as I bring out more DVD courses. To really get the ‘skinny’ on items 3 through 6 as they pertain to the repertoire you want to master you really owe it to yourself to visit beautiful Western North Carolina next month and spend some super quality time with your violin.

All the best,

Clayton Haslop

Where The Life Force Is

Yesterday I wrote a little on vibrato. Tonight I’m thinking of where the real emotive power of your playing resides. The item you use to reach into your listeners very soul. I’m speaking of the bow arm, of course.

When I listen to the greats play – the ones that can cause me to weep as readily and effortlessly as they make my heart overflow with joy – I hear tone, first and foremost.

Through the tone of a violinist emanates his or her very life force.

Sir Thomas Beecham said, ‘great music making contains at once the maximum of virility and the utmost of sensitivity.’ How right he was.

If a player is all machismo and technique, but has not vulnerability in equal measure, it counts for little, really. The same must be said for the one who goes to emotional extremes to play for my feelings but displays no discipline or internal order.

So, how do you come by the right mix and infuse your bow arm with it.

To begin with, you unlock the power of your breath. Breathing simultaneously gives you energy and brings relaxation. When you have the power of breath as your ally and move it through your bow arm out to the strings of your violin, you can cause your audience to breathe in concert with you. It is pretty much a given, at that point, that they will feel what you feel.

Let me repeat, when you have the feeling of the music inside of you, you are going to ‘breathe’ it through your bow arm out to your audience.

Now, if this is all that need be said to transform a person’s playing into greatness, I would be going out of business real soon.

Thankfully, for me at any rate, it isn’t all.

There are the details of playing in tune, shifting well and cleanly, learning how to make beautiful portamentos, acquiring sound and efficient bow strokes, and yes, getting to the soul of the music so one has something to breathe about.

My Kreutzer course will get you well on your way. So if you’re reading this newsletter regularly, don’t have it, and are serious about the violin, you ought to get a copy headed your way right now.

All the best,

Clayton Haslop

P.S. Several of you are on the fence about the masterclass; I can FEEL it. The only way you’re going to have regrets over this is if you make the decision to keep yourself away. What you need to do is take five belly breaths right now. And as you do them see if you can feel my energy reaching out to you. That should make doing the right thing for yourself a great deal easier. Carpe Diem!

How To Improve A Vibrato

When I think of the great names of violin playing and what the most identifying elements of their playing are, vibrato comes up near the top of the list.

Vibratos, like fingerprints, are quite individual.

Mischa Elman, whose tone is legendary, had a very full, lush vibrato for much of his career. And he generously applied it to everything he played.

Jascha Heifetz’ was extremely fast though he had quite a bit of amplitude in it, so it didn’t sound like a bleating lamb the way many do with ultra-fast vibratos.

Of course, for my money Fritz Kreisler had the most beautiful vibrato of all. It had energy, relaxation, virility, and sensitivity; all at the same time. How can those all be present at the same moment. Well, you’ll have to ask him next time you see him.

When I was in my mid-teens my vibrato was very much on the slow, laconic side. I had very good tone production, however, so the result was not terribly unappealing.

Once I began listening to the great players in earnest, however, I wanted something more.

I realized that I had to train my vibrato as I trained every other technique on the violin. I also benefited from some truly knowledgeable teachers; Milstein the most notable of them.

In the process I learned a tremendous amount about what goes into creating a really first class tone. And vibrato is just one part of it.

The good news is that all I know is coming available to you. And just so you know what you have to look forward to, ‘Kreutzer For Violin Mastery, Vol. 3’ will have a great deal to say about tone production and vibrato.

In the meantime, make full use of volumes 1 and 2.

All the best,

Clayton Haslop

P.S. If you’ve a mind to transform your playing PRONTO, you really

He Knocks My Socks Off

There are many a fine player of the violin today. But for my money there is one that really stands out. If you don’t know the name Maxim Vengerov, you should.

Here’s a guy with chops up the whazoo and an expressive range that leaves me speechless. Next time you’re cruising YouTube or your nearest CD store you owe it to yourself to check him out.

I notice, by the way, that he allows the violin to rest rather deeply in his left hand, probably because his fingers are not as long as others.

I don’t think everybody would have success doing this. In fact Milstein counseled me specifically against it.

It does go to show, however, that each person is unique. We all must make certain adjustments and accommodations, within certain parameters, to our individual physique.

The trick is in understanding the parameters. And that is where Kreutzer for Violin Mastery comes in. The insights you derive from the course will afford you great fundamental skills while leaving room for individual tweaks. If you haven’t gotten your copy there is no better time than NOW.

All the best,

Clayton Haslop

P.S. Tania and I were present at Vengerov’s Carnegie Hall debut several years ago, an amazing performance. Of course we had to go back stage and congratulate him. He received us as warmly as if we were lifelong friends – a beautiful human being as well.

P.P.S. We are getting down to the wire for the masterclass/seminar. With only a few spots remaining I would advise you make the commitment to benefit your playing and your musical life by reserving your spot right now.

How To Transform Stage Fright

Today’s write in comes from Sheila who has a concert bearing down on her this week. She emailed the following;

‘Right now, I would like some urgent advice. This coming Saturday, the second of December, we are going to have our end of term concert. I have practiced and know all my notes. In the class, I play well, though my bow goes a little faster. My teacher says my tuning is excellent. But now I have to face the audience.

Please, please give me some advice, how do I stay cool and calm? I know all eyes will be on me. At the last concert, I got so nervous my bow was absolutely out of control.’

Well, Sheila, you are going to have a little chat with your bow arm. Your’re going to tell it, in no uncertain terms, what you expect from it on Saturday. NO RUSHING AHEAD.

And just to make sure it behaves, you’re going to promise to count to yourself silently as you perform on Saturday. And you’re going to do a little extra practice this week while counting out loud. You do count as you practice, I presume.

When you arrive at the church for the performance, you will play through your piece slowly while counting and belly breathing.

As you walk out to perform you are going to see yourself beginning your piece, and counting as you play.

Then, you will put your fiddle to your chin and DO IT. Count, Visualize, and Breathe.

You will give Your performance. The audience will be present but they will have no impact on what You Do. I trust this is clear to you, Sheila.

Now that we all know what Sheila will be doing on Saturday we’ll expect a little report from her on Monday. In fact I’ll include it in the newsletter. Let’s all wish her well.

All the best,

Clayton Haslop

P.S. I also had a question about hearing loss due to violin playing. I am not aware of it causing hearing loss. There have been reports of orchestra members seated right in front of brass or loud percussion instruments having damaged hearing, however. So if you do a lot of orchestral playing and you sit in front our a 250 pound trombone player some hearing protection might be in order.

What You Must Get From A Teacher

Got a note from a subscriber the other day who feels frustrated with the quality of the teaching she is getting.

Now, there are many, many wonderful teachers out there and, of course, there are more than a few not up to the task.

The fact is, no one teacher is going to be the ‘be all’ for every player; maybe not for any ONE player either.

Our needs change as we grow and progress. You must, as in the case of our friend, be sensitive to whether your needs as a human being AND a violinist are being met by the person you’re going to for trustworthy council.

I personally know several people, for instance, who were quite damaged emotionally from their study under Jasha Heitetz, as great a player as he was. This made it almost impossible for them to perform in public for many years after.

On the other hand, a great number of players would also say they benefited tremendously from their time with that great master.

What is vital is that there be a psychic, emotional, or intellectual bridge between player and teacher – the magic happens when all three are present – that allows for the transference of INSIGHT.

If you’re not acquiring actual insight from your lesson time you’re doing yourself a great disservice.

What I am communicating through my DVD courses are the insights I have into playing the violin. They are, in fact, the essence of my passion. If some measure of it strikes a chord and becomes ‘in-sight’ when viewed by you then I have served you well.

I certainly hope this is the case.

One last point, another subscriber kind of took me to task for an email I sent some time back. In that newsletter I had given a little musical advice for repetitive passages in Bach. He felt there was so much more to be said it was almost trivial to say anything.

The point is well taken to some extent. It is rather presumptuous to take on the musical fine points of Bach in an email.

My real point, however, was just that one should not be too predictable in one’s playing, otherwise a listener looses interest, even in Bach.

A newsletter, however, is indeed a poor vehicle to communicate musical nuances. A much superior vehicle is the masterclass. There are a few seats still available for mine in January. I urge you to come, be a part, and feel the magic.

Insights will abound.

All the best,

Clayton Haslop

P.S. This morning I finished the taping on my first repertoire course; Bach E Major ‘Preludio’ and Kreisler ‘Preludium and Allegro’. These are great pieces to study after getting through Vol. 1 of the Kreutzer course. Come early next week I’ll have a great pre-publication offer for you to take advantage of. In the meantime get yourself into volume 2 of the Kreutzer series now.

Coming In From The Cold

I don’t know about where you are, but the temps are getting pretty cool out here in Appalachia.

This morning I did a silly thing. Tuesday is trash and recycling day in our neighborhood and I got up early to beat the pick-up. Everything was going fine ‘til I tried to come back in the back door. Locked.

Every door was locked and I didn’t have a key. Tania and Clara were still snoring away and I couldn’t roust them with the doorbell. It was 25 degrees outside and I had only thrown on a very light jacket.

Well, I decided my best bet was to take a brisk walk around the neighbor to stay warm. 15 minutes later I was back and still no one up to open a door.

At that point I remembered a door on the 2nd floor that we don’t keep locked. Out came a ladder and in I went.

Twenty minutes later I began practicing. My hands were still cold as ice. When you find yourself in that state warm up slowly. I first played some slow, 2 octave scales with a full tone and relaxed vibrato. After 5 minutes or so I went to 2 octave scales on one string with arpeggios, a good way to get up and down the fingerboard quickly.

Gradually I intensified my vibrato to where I like it.

Just remember, as winter takes hold you need to allow more time to warm up. As you get moving, up the energy level until the inner fire is blazing. THAT’s the way to do it.

Now one more thing. I had some wonderful responses to my request for testimonials. Thank you all VERY much.

One stands out. Not because of what it says about me but because of what it says about the author’s character. Here’s a little excerpt.

‘As a young child, growing up in the early thirties, I fell in love with a Hungarian gypsy violinist’s playing when he performed in Calgary. My parents later purchased a John Juzek violin for me, and I think I was a good student of my English violin teacher. But like all good things that have to end, my playing ended because of the economic environment we were in. I put the violin away, hoping to get back at it sometime in the future.

The future was a long time coming. I semi retired, but I’m not about to become an old man and play old man games, like golf. I needed something that would keep my mind challenged.

I will never be a concert violinist, but I do hope that my playing will improve from a Jehudi Wanabee to something better. I can actually gauge my playing from the reaction of my wife. When it is bad, she will escape to the TV room. Lately she has not been doing this.

If there is any inspiration you can get out of this e mail, please use any part of it for you see my only desire is to let old people know that old is just an adjective which never needs to apply to life. If Milstein was still playing at the age of 79, there is a goal for me to aspire to. Again, many thanks,’
Andy Olah

Well, Andy, you’ve certainly made my day. And I’m certain a good many people reading this will feel the same. We wish you a wonderful adventure!

All the best,

Clayton Haslop

P.S. Speaking of adventures, we’ve had people call in and ask if they can bring orchestral excerpts to the masterclass. By all means. The point is to get you playing the heck out of the violin. Schumann #2 Scherzo, Mozart #39…bring it on!