Playing That Rings True

In my experience, the performances that have stuck in my memory, and made a difference in my life, shared a number of qualities in common. Understanding and tracking the development of these in your playing is essential to your growth as an artist.

The beauty of it is, it’s a lifelong process.

Our physical capabilities change, our emotional and spiritual understanding matures. And with these changes come the ever-shifting hues of new artistic opportunity waiting to be realized.

Of course, to adapt and grow in the face of constant change we must constantly refine and improve the way we relate physically to the violin.

Always look for ways to play more efficiently; to do more with less. Part of that, on a practical level, involves your fingering and bowing choices.

There is no law that says you must follow the printed bowings and fingerings, even if your teacher of 20 years ago put them there.

When you do make changes, however, you should have meaningful reasons. That means the change must not only make a passage easier to play, but also make it more gratifying to the ear. If you simplify a fingering, it should more than make up in ease of playing what it loses in expressivity.

Milstein probably made more use of open strings and natural harmonics than any other great artist. Not just because it was convenient, although that convenience gave his playing a greater sense of ease, but because the violin sounded more open when he did so.

Another way to transform a challenging passage from something to be dreaded into an opportunity is through the intelligent use of rubato.

Often times we ‘run away’, or rush, when confronted with a challenge.
The smart player will take the time he or she needs to execute the move in question, making up the time lost in another part of the phrase. Naturally this has to be accomplished with great skill and an ear for the overall effect. When it is done well it is like magic. A blemish is transformed into a mark of beauty.

If you keep these strategies in mind while practicing your playing will align itself with your ever-changing self.

Just keep asking yourself, ‘am I saying everything I mean to say with this passage.’ Then work with fingerings, bowings, rubato, and all the other expressive devices in your ‘bag of tricks’ until your message is clearly felt.

What a joy it is to arrive at a place where the sound waves emanating from your instrument are perfectly tuned to the waves of feeling inside your own heart.

All the best,

Clayton Haslop

P.S. Volume 2 will ship in 48 hours. Your chance to order this volume individually at the reduced prepublication price is passing quickly.