Fine Points, Part 2
Had some great responses to yesterday’s newsletter, including one from a gal with considerable orchestral and solo experience.
Laura pointed out that the little rest on the tied note was, in large ensembles, useful for clarity’s sake.
And in large, acoustically ‘wet’ halls I might be persuaded to agree.
Yet in such cases I would still pay close attention to the way the held note was sustained – with energy, that is – and to maintaining the flow of time.
I’ve been in close proximity to many a violinist who seem to be ‘reacting’ to beats – perceived as ‘digital’ events – rather than staying present with an analogue ‘flow’ of time.
And that is my real point.
Well, not entirely, I was guilty of a little venting too. Many are the times I’ve had conductors promote ‘the rest’ as a rhythm cure. And THAT makes my skin crawl.
There is one more thing before I move on. It relates to the ‘clarity’ point.
Some of you may remember what was referred to as ‘the Normandy sound.’ No, it wasn’t a jazz style coming from the north of France.
It was the quality of orchestral sound that many associate with the Philadelphia Orchestra when Eugene Ormandy was at the helm. Ormandy was himself a string player and he reveled in what I might call ‘continuity of sound.’
If you watch old video of his conducting you can see it in the way he moved. I myself find it extremely affecting.
It’s been a few decades since I watched him, and, if your interest is peeked, it might be useful to see what’s on YouTube of his.
Now, today I wanted to discuss another, somewhat related, concept. I’m talking about how one can place two notes, separated by more than one string, side by side with no apparent space in between them.
Again, we’re talking about the ‘continuity of sound’ here.
When many players are faced with a large movement between notes they have a tendency to anticipate the move. And with that anticipation you will find a tendency to drop the tone of the first note prematurely.
When I say ‘anticipate the move’ I’m referring specifically to the reflexive, unconscious movements of the right arm – the left hand may also play into this – in the direction of the next note.
It’s a bit of a fear response, actually, having to do with negotiating that large distance.
Well, let me tell you something. In quantum physics I believe space and time turn out to be illusionary. If this is so, and I believe there’s something to it, then what are we so worried about?
The anxiety comes from not having clear vision.
The clear, certain vision of one note down bow, and another note up-bow – I am talking separate bows, for the sake of discussion here.
Actually, the trick to putting to these notes together is to relax and maintain yourself on the first note, while holding in your mind a very clear visual image of yourself playing the next note.
And bear this in mind, the change of string, note and BOW DIRECTION will occur simultaneously.
The change in bow direction, in my mind, is the point at which everything moves. It’s the trigger.
Now, in volume 1 of ‘Kreutzer for Violin Mastery’ you will find the visuals worth ‘a thousand words.’ Go right to etude #7.
All the best, Clayton Haslop
P.S. I’m referring to my Kreutzer course a lot this week. That’s because those etudes, the ‘violinist’s Bible,’ come to mind so easily. Yet you’ll find this skill talked about in EVERY course I’ve put out. Advanced fiddlers may want to take it to the ULTIMATE level by tackling Caprice #2 of Paganini. Here’s where you find my in depth thoughts on that and 7 other wonders of the violin.
