Don’t Be Cute With Your Mute

Got a note from one of my online friends regarding ‘mute’ practice.

He writes;
‘I love (and sometimes have to) practice with a mute. I find that when I switch back to playing without a mute my ear and bow pressure have to go through some adjustments. Do you find that you go through the same process? Sometimes I have to quit altogether for a while before continuing with my practice.’

I guess the short answer to the question posed is both yes and no.

Yes, my ear does go through an adjustment when I take the mute off, but no, I do not make any adjustments in bow pressure as a result.

At one time I may have, but then my use of the mute changed. I began using it purposely before concerts to counteract the intimidating contrast between room acoustics and hall acoustics. Back then I found myself inclined to ‘force’ when I first got on stage in an attempt to compensate for the disparity in sound levels.

Since this was an unnatural reaction to a change in acoustics, I often found myself going over the top and losing some control.

Now I am much more conscious of the physical sensations I have when I play. Those are what I rely on. I really don’t pay attention to acoustics any longer. Well, that’s not entirely true. I do play off of the acoustics in performance for musical effect, just not in terms of adjustments to my volume of sound. In other words, I ‘stay within myself.’

There is one other point to be made about ‘mute practice’, however. When you practice at home with the practice mute on, make a point of playing ‘big’ music.

This is the time to push the limits of your sound.

Now, when you take the mute off let your ear adjust but use the same vigor in addressing the violin.

‘A little bit of scratch can be a good thing,’ Milstein said to me.

Of course, there are limits. But his point is worth taking, particularly if you are getting ready for a performance. A certain amount of ‘scratch’ never makes it to the first row of seats. It is all a matter of control, really.

So, to explore the extremes of dynamic in the controlled space of your practice room, use the practice mute to work on your fortissimo production and your ‘senza’ practice to challenge your pianissimo range. Remember, quality and passion in both.

One final thing. To deliver the maximum energy to the string you must be relaxed and efficient. ”Kreutzer for Violin Mastery, Vol. 1” is your vehicle to get there.

All the best,
Clayton Haslop

P.S. Be careful with heavy practice mutes. They can loosen themselves while you play and spontaneously jump off the bridge… most annoying.