Getting Your Ducks in a Row
If you asked most concert artists what concerto truly separates the men from the boys – or the girls from the women – you’d most often get the answer, ‘the Beethoven.’
Now, when you open the music and thumb through it is easy to think, ‘This shouldn’t be so difficult, it’s just a bunch of scales and arpeggios.’
But that is just it.
Playing scales and arpeggios evenly, in tune, fluidly, and with purpose is just about the most revealing test for any violinist. And when I referred to ‘getting your ducks in a row’ it was the notes in just such legato scale and arpeggio passages I was referring to.
Naturally the daily practice of scales and arpeggios can be helpful. I say CAN be helpful because you need to know how to do them to get full benefit.
One of the best ways of getting yourself on track is by mimicking the human voice. The vocal chords we possess must be stretched or contracted to move from one note to the next. It is an ANALOG process – unless, that is, you interrupt the air stream between notes.
A great singer does not do this.
Now think about playing the violin. When we drop our fingers onto the string, we change notes in a decidedly digital fashion – bang, bang, bang.
Now you may ask, ‘how can one do otherwise, is it not just the nature of the beast?’
In a sense, yes. And with some smoke-and-mirrors, a little creative imagination and some real finger control, NO.
Those of you that have taken what I have to say on Kreutzer #9 to heart may have some idea of what I am talking about – if you don’t remember maybe it’s time for a little review.
In any case, the metaphor I use there of a ‘constant motion machine’ should be most helpful. This is how you get a truly effective legato out of the violin. In other words, your hand is not dead-in the-water between notes. You are always passing through one note to the next.
The more slowly you are able to play while holding this image the more control you are likely to have over your hand.
It requires terrific focus. You won’t be thinking about what you’ll be having for dinner while doing it. Not possible.
So, to get yourself in excellent Beethoven Concerto form I suggest you spend some time with me and old Kreutzer #9, and then apply the lesson into a daily habit of legato scale and arpeggio practice.
Before I close I’d like to thank those of you that have written in asking if I’m ok, on account of the lack of newsletters in recent days.
Yes, I am good, but I’ve also been a little overwhelmed by things needing my attention. As I get these resolved I will try to get my output back to where it has been in the past.
For the moment, however, please dip into past newsletters for some additional inspiration. You can do so by visiting my blog at http://www.violinmastery.com/violinsecrets/index.html
All the best,
Clayton Haslop
P.S. Much more is said about the left hand as ‘perpetual motion machine’ in Volume 1 of Kreutzer for Violin Mastery.
