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!