Setting a Shoulder Free

Much is said regarding the relaxation of the right shoulder in teaching studios. Yet the quality of relaxation and freedom in the left shoulder often goes neglected.

If you watch any of the truly great violinists play virtuosic music; that is, music that requires quick leaps from lower to upper to lower positions, you will notice how free and unencumbered the upper arm must be.

And in case you’re thinking, ‘but I’m just an amateur, and I don’t plan to make such death-defying maneuvers on the fingerboard’, consider this. It is simply much more enjoyable to play in ANY position when the instrument simply floats on your shoulder and the neck and chin are left free.

You know, I did a considerable amount of experimenting this past weekend to satisfy myself thoroughly on the subject. I played with the violin held firmly by chin and shoulder and with it supported largely by my left hand.

Well, there is just no way in the world I’m going back to play in the former way; held between chin and shoulder. The violin just doesn’t feel like the light extension of my body it should be when it’s all penned up.

My left arm must be free, from fingers to shoulder. And my head free to move as the spirit takes it.

You see, the point is not really about shoulder rest or no shoulder rest, although if one is used it should be as flat as possible and NOT conforming to the shape of the shoulder. Why? Because conforming shoulder rests are the Worst for immobilizing the shoulder and upper arm.

If you like having the space taken up with something, fine. Just do it with a benign shape that is flat. Remember, it’s just like the running shoe theory of the past few decades I talked about, that more cushioning and more ‘support’ translates into better comfort, performance, and fewer injuries.

Turned out to be wrong on all three counts.

Now, during these few days I have also been spending a good deal of time with my ‘glissando technique’. To give it it’s full due here would take pages, and you still wouldn’t see it demonstrated, which is worth another few thousand words.

If you really want to understand how I use this technique to get around the instrument effortlessly, you’ll either want to subscribe to my Allegro Players program, or come spend an enjoyable weekend with me at my June Masterclass/Seminar.

Actually, doing BOTH would make for an excellent duet.

In any case, for today I simply encourage you to breathe, allow BOTH those shoulders to relax completely, and see where your passion takes you from there.

All the best, Clayton Haslop