Where The Life Force Is

Yesterday I wrote a little on vibrato. Tonight I’m thinking of where the real emotive power of your playing resides. The item you use to reach into your listeners very soul. I’m speaking of the bow arm, of course.

When I listen to the greats play – the ones that can cause me to weep as readily and effortlessly as they make my heart overflow with joy – I hear tone, first and foremost.

Through the tone of a violinist emanates his or her very life force.

Sir Thomas Beecham said, ‘great music making contains at once the maximum of virility and the utmost of sensitivity.’ How right he was.

If a player is all machismo and technique, but has not vulnerability in equal measure, it counts for little, really. The same must be said for the one who goes to emotional extremes to play for my feelings but displays no discipline or internal order.

So, how do you come by the right mix and infuse your bow arm with it.

To begin with, you unlock the power of your breath. Breathing simultaneously gives you energy and brings relaxation. When you have the power of breath as your ally and move it through your bow arm out to the strings of your violin, you can cause your audience to breathe in concert with you. It is pretty much a given, at that point, that they will feel what you feel.

Let me repeat, when you have the feeling of the music inside of you, you are going to ‘breathe’ it through your bow arm out to your audience.

Now, if this is all that need be said to transform a person’s playing into greatness, I would be going out of business real soon.

Thankfully, for me at any rate, it isn’t all.

There are the details of playing in tune, shifting well and cleanly, learning how to make beautiful portamentos, acquiring sound and efficient bow strokes, and yes, getting to the soul of the music so one has something to breathe about.

My Kreutzer course will get you well on your way. So if you’re reading this newsletter regularly, don’t have it, and are serious about the violin, you ought to get a copy headed your way right now.

All the best,

Clayton Haslop

P.S. Several of you are on the fence about the masterclass; I can FEEL it. The only way you’re going to have regrets over this is if you make the decision to keep yourself away. What you need to do is take five belly breaths right now. And as you do them see if you can feel my energy reaching out to you. That should make doing the right thing for yourself a great deal easier. Carpe Diem!

How To Improve A Vibrato

When I think of the great names of violin playing and what the most identifying elements of their playing are, vibrato comes up near the top of the list.

Vibratos, like fingerprints, are quite individual.

Mischa Elman, whose tone is legendary, had a very full, lush vibrato for much of his career. And he generously applied it to everything he played.

Jascha Heifetz’ was extremely fast though he had quite a bit of amplitude in it, so it didn’t sound like a bleating lamb the way many do with ultra-fast vibratos.

Of course, for my money Fritz Kreisler had the most beautiful vibrato of all. It had energy, relaxation, virility, and sensitivity; all at the same time. How can those all be present at the same moment. Well, you’ll have to ask him next time you see him.

When I was in my mid-teens my vibrato was very much on the slow, laconic side. I had very good tone production, however, so the result was not terribly unappealing.

Once I began listening to the great players in earnest, however, I wanted something more.

I realized that I had to train my vibrato as I trained every other technique on the violin. I also benefited from some truly knowledgeable teachers; Milstein the most notable of them.

In the process I learned a tremendous amount about what goes into creating a really first class tone. And vibrato is just one part of it.

The good news is that all I know is coming available to you. And just so you know what you have to look forward to, ‘Kreutzer For Violin Mastery, Vol. 3’ will have a great deal to say about tone production and vibrato.

In the meantime, make full use of volumes 1 and 2.

All the best,

Clayton Haslop

P.S. If you’ve a mind to transform your playing PRONTO, you really must get thyself over here to the masterclass/seminar in January.

He Knocks My Socks Off

There are many a fine player of the violin today. But for my money there is one that really stands out. If you don’t know the name Maxim Vengerov, you should.

Here’s a guy with chops up the whazoo and an expressive range that leaves me speechless. Next time you’re cruising YouTube or your nearest CD store you owe it to yourself to check him out.

I notice, by the way, that he allows the violin to rest rather deeply in his left hand, probably because his fingers are not as long as others.

I don’t think everybody would have success doing this. In fact Milstein counseled me specifically against it.

It does go to show, however, that each person is unique. We all must make certain adjustments and accommodations, within certain parameters, to our individual physique.

The trick is in understanding the parameters. And that is where Kreutzer for Violin Mastery comes in. The insights you derive from the course will afford you great fundamental skills while leaving room for individual tweaks. If you haven’t gotten your copy there is no better time than NOW.

All the best,

Clayton Haslop

P.S. Tania and I were present at Vengerov’s Carnegie Hall debut several years ago, an amazing performance. Of course we had to go back stage and congratulate him. He received us as warmly as if we were lifelong friends – a beautiful human being as well.

P.P.S. We are getting down to the wire for the masterclass/seminar. With only a few spots remaining I would advise you make the commitment to benefit your playing and your musical life by reserving your spot right now.

How To Transform Stage Fright

Today’s write in comes from Sheila who has a concert bearing down on her this week. She emailed the following;

‘Right now, I would like some urgent advice. This coming Saturday, the second of December, we are going to have our end of term concert. I have practiced and know all my notes. In the class, I play well, though my bow goes a little faster. My teacher says my tuning is excellent. But now I have to face the audience.

Please, please give me some advice, how do I stay cool and calm? I know all eyes will be on me. At the last concert, I got so nervous my bow was absolutely out of control.’

Well, Sheila, you are going to have a little chat with your bow arm. Your’re going to tell it, in no uncertain terms, what you expect from it on Saturday. NO RUSHING AHEAD.

And just to make sure it behaves, you’re going to promise to count to yourself silently as you perform on Saturday. And you’re going to do a little extra practice this week while counting out loud. You do count as you practice, I presume.

When you arrive at the church for the performance, you will play through your piece slowly while counting and belly breathing.

As you walk out to perform you are going to see yourself beginning your piece, and counting as you play.

Then, you will put your fiddle to your chin and DO IT. Count, Visualize, and Breathe.

You will give Your performance. The audience will be present but they will have no impact on what You Do. I trust this is clear to you, Sheila.

Now that we all know what Sheila will be doing on Saturday we’ll expect a little report from her on Monday. In fact I’ll include it in the newsletter. Let’s all wish her well.

All the best,

Clayton Haslop

P.S. I also had a question about hearing loss due to violin playing. I am not aware of it causing hearing loss. There have been reports of orchestra members seated right in front of brass or loud percussion instruments having damaged hearing, however. So if you do a lot of orchestral playing and you sit in front our a 250 pound trombone player some hearing protection might be in order.

What You Must Get From A Teacher

Got a note from a subscriber the other day who feels frustrated with the quality of the teaching she is getting.

Now, there are many, many wonderful teachers out there and, of course, there are more than a few not up to the task.

The fact is, no one teacher is going to be the ‘be all’ for every player; maybe not for any ONE player either.

Our needs change as we grow and progress. You must, as in the case of our friend, be sensitive to whether your needs as a human being AND a violinist are being met by the person you’re going to for trustworthy council.

I personally know several people, for instance, who were quite damaged emotionally from their study under Jasha Heitetz, as great a player as he was. This made it almost impossible for them to perform in public for many years after.

On the other hand, a great number of players would also say they benefited tremendously from their time with that great master.

What is vital is that there be a psychic, emotional, or intellectual bridge between player and teacher – the magic happens when all three are present – that allows for the transference of INSIGHT.

If you’re not acquiring actual insight from your lesson time you’re doing yourself a great disservice.

What I am communicating through my DVD courses are the insights I have into playing the violin. They are, in fact, the essence of my passion. If some measure of it strikes a chord and becomes ‘in-sight’ when viewed by you then I have served you well.

I certainly hope this is the case.

One last point, another subscriber kind of took me to task for an email I sent some time back. In that newsletter I had given a little musical advice for repetitive passages in Bach. He felt there was so much more to be said it was almost trivial to say anything.

The point is well taken to some extent. It is rather presumptuous to take on the musical fine points of Bach in an email.

My real point, however, was just that one should not be too predictable in one’s playing, otherwise a listener looses interest, even in Bach.

A newsletter, however, is indeed a poor vehicle to communicate musical nuances. A much superior vehicle is the masterclass. There are a few seats still available for mine in January. I urge you to come, be a part, and feel the magic.

Insights will abound.

All the best,

Clayton Haslop

P.S. This morning I finished the taping on my first repertoire course; Bach E Major ‘Preludio’ and Kreisler ‘Preludium and Allegro’. These are great pieces to study after getting through Vol. 1 of the Kreutzer course. Come early next week I’ll have a great pre-publication offer for you to take advantage of. In the meantime get yourself into volume 2 of the Kreutzer series now.

Coming In From The Cold

I don’t know about where you are, but the temps are getting pretty cool out here in Appalachia.

This morning I did a silly thing. Tuesday is trash and recycling day in our neighborhood and I got up early to beat the pick-up. Everything was going fine ‘til I tried to come back in the back door. Locked.

Every door was locked and I didn’t have a key. Tania and Clara were still snoring away and I couldn’t roust them with the doorbell. It was 25 degrees outside and I had only thrown on a very light jacket.

Well, I decided my best bet was to take a brisk walk around the neighbor to stay warm. 15 minutes later I was back and still no one up to open a door.

At that point I remembered a door on the 2nd floor that we don’t keep locked. Out came a ladder and in I went.

Twenty minutes later I began practicing. My hands were still cold as ice. When you find yourself in that state warm up slowly. I first played some slow, 2 octave scales with a full tone and relaxed vibrato. After 5 minutes or so I went to 2 octave scales on one string with arpeggios, a good way to get up and down the fingerboard quickly.

Gradually I intensified my vibrato to where I like it.

Just remember, as winter takes hold you need to allow more time to warm up. As you get moving, up the energy level until the inner fire is blazing. THAT’s the way to do it.

Now one more thing. I had some wonderful responses to my request for testimonials. Thank you all VERY much.

One stands out. Not because of what it says about me but because of what it says about the author’s character. Here’s a little excerpt.

‘As a young child, growing up in the early thirties, I fell in love with a Hungarian gypsy violinist’s playing when he performed in Calgary. My parents later purchased a John Juzek violin for me, and I think I was a good student of my English violin teacher. But like all good things that have to end, my playing ended because of the economic environment we were in. I put the violin away, hoping to get back at it sometime in the future.

The future was a long time coming. I semi retired, but I’m not about to become an old man and play old man games, like golf. I needed something that would keep my mind challenged.

I will never be a concert violinist, but I do hope that my playing will improve from a Jehudi Wanabee to something better. I can actually gauge my playing from the reaction of my wife. When it is bad, she will escape to the TV room. Lately she has not been doing this.

If there is any inspiration you can get out of this e mail, please use any part of it for you see my only desire is to let old people know that old is just an adjective which never needs to apply to life. If Milstein was still playing at the age of 79, there is a goal for me to aspire to. Again, many thanks,’
Andy Olah

Well, Andy, you’ve certainly made my day. And I’m certain a good many people reading this will feel the same. We wish you a wonderful adventure!

All the best,

Clayton Haslop

P.S. Speaking of adventures, we’ve had people call in and ask if they can bring orchestral excerpts to the masterclass. By all means. The point is to get you playing the heck out of the violin. Schumann #2 Scherzo, Mozart #39…bring it on!

Move Out Of Your Comfort Zone

Over the years there is one thing I have patently avoided, especially where my playing is concerned. It’s allowing myself to feel that I’ve ‘arrived’.

For me it’s the very kiss of death. In my observation of others, you begin to see it first in the eyes. The ‘hungry’ look is replaced by the ‘satisfied’ look. After a time, however, the ‘satisfied’ look is inevitably replaced by the ‘resigned’ look. Not long afterward, the ‘tired’ look peers out. The downward spiral is almost complete.

Is this inevitable, no, ‘tis not. Not for me. And not for you.

It’s all about our thinking. There is nothing wrong with taking note of your accomplishments. In fact it’s important to do so. There IS something wrong, for a committed violinist, with feeling, ’I’ve become the best I can be.’

If there is one thing I learned from Milstein, he was 79 when I first met him, it is to never stay in your comfort zone. ALWAYS have your focus out in front of where you find yourself. The game is about figuring out how to get what you can see there.

It’s the fun, and the reward. But you must be continually creating new challenges for yourself. That’s where the real creative action is.

All the best,

Clayton Haslop

P.S. Speaking of creative action, reserve one of the few seats remaining at the violin Masterclass/Seminar and you will initiate a growth spurt of life transforming dimensions. It will be as if the incandescent headlights lighting the musical path before you were replaced with 500 watt xenon headlights. Oh, what insight.

Be A Violinist First

Yesterday we were at a concert of our local symphony orchestra. Surprisingly there was some very good playing to listen to. Unfortunately there was also some playing that had us squirming in our seat.

On the second half of the concert the conductor had programmed ‘Scheherazade’ of Rimsky Korsakov. Big mistake. The concertmistress was not anywhere near up to her assignment.

That she even consented to it is a sign of a lifetime of mistaken priorities.

I know this because I know the type. The type that thinks they are superior violinists even though they couldn’t play cleanly through a three-octave scale to save his or her life. The type that thinks ‘technique’ is somehow a dirty word.

For a while this player gets by; partly on natural ability, partly on chutzpah. In her case, mostly on chutzpah, I fear.

Most of the people around her either didn’t have the nerve to stand up to her ego or else they just didn’t want to bother.

Well, the point is, you don’t want to be that kind of player. Learn the technique of the violin first, then you can play all the repertoire you want. It takes energy, dedication, and discrimination to ‘get it right.’

Commit yourself to it. Get worked up about it. Put real energy into it.
And take as your examples the best there is, the truly world-class players.

You mustn’t ever forget to keep you fundamentals sound. That’s what the Kreutzer course is about. It’s as good a place to hone your technique as there is, plain and simple.

All the best,

Clayton Haslop

P.S. The ultimate test of where you’re at on the violin is in a masterclass environment. By coming to Violin artistry Masterclass/Seminar this January you will have the opportunity to fine tune every assumption you hold about playing the violin.

In Tune And In Time

The title of this newsletter, ‘In Tune And In Time’ is a catchy little phrase I see every time I work at Fox Pictures – they’re framed and hang over the entrance to the music department.

Playing in tune and in time are the two greatest concerns of a string player. For me, the process of mastering them is a great source of pleasure and satisfaction. If you feel otherwise I must submit to you that you’re in danger of spoiling your relationship to the violin.

Just stay with me for a moment.

When we hear ourselves play an out of tune note it’s akin to registering pain due to the misuse of our body. It’s a sign that we need to alter something we’re doing. If we didn’t experience pain we would continue the abuse until bodily failure occurred. There would be no internal growth or transformation.

Growth and maturity happen when we learn to make corrections.

The same is true of playing. If we’re conscious while practicing we’ll not only hear sour notes but also be aware of the finger sensations that went along with them. Awareness leads to more informed adjustments, and to clearer intentions at the next playing.

It is all about waking up, really.

Though sometimes we convince ourselves otherwise, increased self-awareness is what we are all seeking.

On a more personal note, let me briefly describe what I experienced this morning. I arose very early in order to record while the house and neighborhood were quite. My current project, which you will hear more about soon, is about creating instructional DVDs on repertoire that works well with Kreutzer for Violin Mastery – a good reason to pick up your copy, if you don’t already have one.

One of the pieces is the Bach E Major ‘Preludio’. In any case, after doing a couple hours of work on the teaching side of things I tried to perform it. First couple of takes were really rough, I felt tired.

Suddenly it dawned on me that I was trying to avoid making mistakes. I wasn’t engaged. The last two takes were like a different player. I just said to myself, ‘Alright, just physically produce what you are able to image.’ That was all it took to get into an affirmative mode of thinking; a creative state. It made all the difference.

All the best,

Clayton Haslop

P.S. The Violin Artistry Masterclass/Seminar will be a one of a kind opportunity to get into this space with me for 3 days. Having me next to you drawing attention to each trick the insecure subconscious mind plays in its attempt to foil self-awareness will transform more than just your playing. There are a few seats still remaining; come join me.

On Doing ‘This’ Versus Doing ‘That’

Many of us today have difficulty staying on track with practice. Milstein told me it was easy for him to practice when he was young because there was literally nothing else to do in Odessa in those days.

We, on the other hand, are bombarded with options for spending our time. Some are relatively easy to say no to; television, for instance. Others are not. Amongst those, are the things we must do; raising children, getting food on the table, and taking out the trash. Everyone must do them, and for good reason.

But there is a class of things that clamor for our time that aren’t essential, but are, for a very powerful emotion, difficult to say no to.

They are the ones that arouse feelings of guilt if we don’t act on them.

Answering chit-chat emails from friends and family, volunteering for this or that committee, staying ‘in the know’ of current news events; these are the ones that require not just discipline but courage as well to stand up to.

Ask yourself this question, ‘Does reading ‘Time’ magazine, or writing an email to ‘so and so’, or setting up chairs for ‘such and such’ fundraiser give me the same spiritual, intellectual, and physical reward as mastering my chosen instrument?’

If so, you can ‘advance token to GO and collect $200.00,’ as the Monopoly card says. If not, steel your courage and banish the guilt that’s compelling you to spend time in ways that don’t serve your ultimate goal.

The rewards can be enormous.

More quality personal time, more peace of mind, less stress, AND the ability to pick up your fiddle and really change other peoples life experience with the music that flows through it.

All the best,

Clayton Haslop

P.S. Once you have created the space for more quality time on the violin, there is no better way to enjoy it than by mastering the practice techniques and playing fundamentals contained in Violin Mastery Mastercalss/Seminar.

On Doing ‘This’ Versus Doing ‘That’

Many of us today have difficulty staying on track with practice. Milstein told me it was easy for him to practice when he was young because there was literally nothing else to do in Odessa in those days.

We, on the other hand, are bombarded with options for spending our time. Some are relatively easy to say no to; television, for instance. Others are not. Amongst those, are the things we must do; raising children, getting food on the table, and taking out the trash. Everyone must do them, and for good reason.

But there is a class of things that clamor for our time that aren’t essential, but are, for a very powerful emotion, difficult to say no to.

They are the ones that arouse feelings of guilt if we don’t act on them.

Answering chit-chat emails from friends and family, volunteering for this or that committee, staying ‘in the know’ of current news events; these are the ones that require not just discipline but courage as well to stand up to.

Ask yourself this question, ‘Does reading ‘Time’ magazine, or writing an email to ‘so and so’, or setting up chairs for ‘such and such’ fundraiser give me the same spiritual, intellectual, and physical reward as mastering my chosen instrument?’

If so, you can ‘advance token to GO and collect $200.00,’ as the Monopoly card says. If not, steel your courage and banish the guilt that’s compelling you to spend time in ways that don’t serve your ultimate goal.

The rewards can be enormous.

More quality personal time, more peace of mind, less stress, AND the ability to pick up your fiddle and really change other peoples life experience with the music that flows through it.

All the best,

Clayton Haslop

P.S. Once you have created the space for more quality time on the violin, there is no better way to enjoy it than by mastering the practice techniques and playing fundamentals contained in Violin Mastery Mastercalss/Seminar.

How To Get Your Hands Together

I was asked recently how to deal with the problem of coordinating the two hands, particularly in fast passages. ‘Tis a problem most of us face, from time to time.

The factors resulting in a lack of coordination can be myriad. Fortunately the solution is relatively simple and arrived at by focusing on what you want.

Your goal is to arrive at a point where the mechanics of each note you play are identical and supremely efficient.

This means the following.

1. You want your bow moving horizontally across the string in a straight line parallel to the bridge covering the minimum amount of distance necessary to produce a clear sound.

2. You want the fingers of the left hand depressing the string with the minimum amount of force necessary to produce a clear tone.

3. You want every other muscle in your body, except the one between your ears to be relaxed and at rest.

Now, this is how you practice.

1. Whether or not you intend to ‘bounce’ at tempo, you practice with it on the string.

2. You play slowly, you count, you breathe, and you image as per my practice method.

3. You use the absolute minimum of bow possible, in the middle or upper half; you use ONLY forearm and, if your arms are short, a small amount of upper arm. No wrist, No fingers. You focus, and this is important, on the small horizontal travel of each bow stroke.

4. You keep the fingers of the left hand close to the strings yet relaxed when not being used. You do not vibrate on any note. You allow the violin to rest in cleft formed between the thumb and base of the index finger, to the extent possible. You leave fingers on the string where possible.

5. As you change pitches and strings you do it precisely with the change in bow direction.

OK, there you have it. I don’t usually like to teach as much as this in an email but am making an exception today. In any case, you practice this way until you’re really in touch mentally with all I have suggested.

When you increase the tempo you MUST feel/image the horizontal movement of the bow on each note. If you have vertical movement during a note – usually as an artifact of a string crossing – you’re going to undermine the final result.

Last point, if you’re still having with a passage after doing this, look to your fingerings.

All the best,

Clayton Haslop

P.S. They say a picture is worth a thousand words. It’s true. Watching my bow arm as I do the slow and ‘at tempo’ performances of the early Kreutzer Etudes is invaluable to achieving mastery of hand coordination. If you don’t have it, get it. Dollar for dollar it’s the best investment you can make in your playing.

What 'Nerves' Can Do

I was 19 years of age, concertmaster of the USC Symphony, and 1st violinist of the Vuillaume String Quartet – one of the top collegiate string quartets in the country at the time. But on the occasion I’m about to relate, I was also unusually nervous.

My quartet, along with most members of the above-mentioned orchestra, had been engaged to record the music for a student film.

We kind of chuckled to each other as we made our way to Paramount Pictures’ recording studio. ‘After all’, we joked, ‘how good could a student film be.’ The chuckling stopped very quickly when we opened the music.

What confronted us was an absolutely first rate score written by a USC composition major whose name now escapes me.

One of the first cues of the day featured an extended section for solo string quartet. Suddenly those microphones seemed incredibly close. As the butterflies swarmed I felt my control decreasing in direct proportion. And when the moment of truth arrived, I lunged for the notes like a man fleeing an avalanche.

My fellow quartet members did likewise.

Problem was, when we finished our bit we were chagrinned to find that we were many beats ahead of the ‘clicks’ that were being fed into earphones to keep us with the picture.

I’ll tell you, that was one rude awakening I shall never forget.

Ever since that time I have understood that the awareness of ‘time’ is priority numero uno for a musician.

My advice, take the counting technique in the Kreutzer course seriously. Make it a habitual part of your playing. That way you will never find yourself in the unenviable position of being the rabbit that watches ‘old tortoise time’ have his way with you.

All the best,

Clayton Haslop

P.S. By the way, the film was "Fraternity Row". It was so excellent, in fact, Paramount picked it up and released it commercially in 1976.

P.P.S. And if you want rhythmic control second to none, hop over and grab the course that is quietly revolutionalizing the way classical violinists practice.

Portamento Potency

The controlled slide, or portamento, is one of a violinist’s most emotionally potent expressive devices. I bet you knew that.

Problem is, many fiddlers are asleep at the wheel when making them. The most common error is something I have written about before. Namely, the two hands want to mirror each other.

When the left hand makes a decisive move to a new position, the right arm has an urge to mirror that movement by suddenly changing bow speed. This is fine if your intention is to sound like you’re about to lose dinner. But if you’d rather the audience didn’t instinctively brace for incoming projectile vomit each time you move to a new position I would take steps to rein in that reflexive movement.

The other point to be made, and I promise not to allude to another bodily function, is the movement of the left hand itself.

Just like a phase of music, each slide has some kind of shape. If you are playing, for instance, something slow and powerful, you may want to begin the portamento somewhat slow and accelerate into the new note. That kind of movement adds heft, or weight, to the new pitch.

On the other hand, doing the opposite, starting the movement fast and slowing into the new note can give a softening effect, especially if in the middle of a diminuendo.

Naturally it is difficult to discuss these subtleties without a violin present to illustrate.

When Vol. 3 of the Kreutzer Etudes comes out it will begin with Etudes #1, you see, I haven’t forgotten it. This etude will be a great departure point for a real in depth look at expressive shifts.

For now, however, be very conscious of your bow speed as you shift. That way you and your audience won’t feel as I did the last time my daughter dragged me on the ‘teacup ride’ at Disneyland.

All the best,

Clayton Haslop

P.S. If you want some serious attention to the finer points of your playing, and you want if for an uproariously low price; register for the Violin artistry Masterclass/Seminar.

When To Listen To CDs

Last night my little family joined up with a few other small families to observe the annual rite of Halloween. Now, our daughter, who is 4 years young, still does not ‘know’ candy. When anybody in our home wants something sweet they will get an organic medjool date, a banana with raw almond butter and agave nectar, or a piece of fruit.

She does know to say ‘trick or treat,’ and she does know that by holding out a bag she will get something put into it.

The meaning of Halloween for her is becoming our cat, ‘Jesse’. This transformation is accomplished very quickly with a pair of ears, a tail strapped on with a belt, and the application of some eye-liner to grow whiskers.

A couple looks in the mirror and for her the transformation is complete. She’s ‘Jesse’ for the rest of the night, and you better not call her by any other name.

As we traipsed around our neighbor she entertained herself, and the rest of us, with ‘cat speak’. She also stood awestruck in front of the various mechanical manikins, huge spider webs, and carved pumpkins.

In contrast, one of ‘Jesse’s’ co-conspirators seemed to be having a very different experience.

From the get-go she was on a mission; candy collection. I don’t think she noticed anything else going on around her. She certainly didn’t seem to be enjoying her extravagant store bought costume. Horrifically carved pumpkins on spider web infested decks didn’t get so much as a passing glance.

I felt a little sad observing the grip of sugar addiction taking hold.

Well, enough about Halloween. The point I really mean to make by relating last night’s events is the following.

When you begin studying a new piece of music don’t be in a hurry to purchase a recording of it. Doing so is like having your senses taken over by the desire for candy on Halloween. The glitz and polish of a commercial recording can overwhelm one’s own creative instincts in a hurry.

No, act as though the piece was written for you. Try to come to terms with the composer’s intentions on your own. Put YOUR passion into it.

Eventually, after you have a considerable amount of yourself invested in it, you may listen to some recordings. You are doing so as much to confirm what you are doing right as you are to find what is wrong.

All the best,

Clayton Haslop

P.S. Soon I will be issuing Violin Mastery DVDs on repertoire. I will not be giving you interpretations. I will be giving you facts. The facts on playing fundamentals that enable YOU to form consummate interpretations. Meanwhile, there’s still time to get yourself up to level of playing fitness I will assume in the coming DVDs with Kreutzer for Violin Mastery, Vol. 1 and 2.

P.P.S. The mountains of Appalachia won’t ever be the same after we sing to them in January, I assure you. Come get the tools to realize your deepest feelings in music. Do it NOW.

Banish Predictability

The other day I sat listening to a violinist of excellent technical ability play the Bach D Minor solo sonata. Everything was in time. Everything was in tune. And yet I was bored to tears.

One of the standard devices a player encounters in Bach is known as a ‘sequence’. Simply, a sequence is a gesture, or series of notes, that is repeated several times; usually beginning on a different pitch each time.

Now, if you want to lose an audience in a hurry you’ll play that gesture with exactly the same phrasing every time. If, on the other hand, you’d like to have them eating out of your hand, you’ll do the following.

Play the gesture in a given manner twice. On the third repetition, however, do something that is in strong contrast to what you have convinced them to expect. You can employ rubato, change dynamic, or change articulation; even all of the above.

The idea is to entertain the audience by keeping them guessing; but not going so far as to leave them bewildered.

If you change directions too often the audience isn’t getting time to form an expectation that you can exploit. You just come off as ‘arbitrary.’

When you practice keep an ear peeled for the ‘unexpected factor’. Even your use of the device must not become predictable. It’s just one trick in your bag.

All the best,

Clayton Haslop

P.S. Yes, there are musical ‘tricks’ with which to entertain and delight your audience. You must, however, have impeccable fundamentals with which to back them up. That’s where Kreutzer for Violin Mastery comes in. Pick up your copy now.

P.P.S. For the insights that will have you putting it all together in ways you never dreamed of, come join me for the three days that will change the direction of your musical experience forever.

How To Get The Milstein ‘Ring’

Milstein made the violin ring more than any other great violinist of the 20th century. For those of us who had the good fortune to listen to him live, it was magic; that ‘ring’ carried the message of the music right to the essence of our being.

Well, pay close attention now because I’m going to reveal 6 of his secrets to doing this right here.

Number 1, he knew how to match bow pressure to bow speed with perfection.

Number 2, he held the bow as if it were a living, breathing object, and he used the upper half more than the lower half.

Number 3, he sought out and used harmonics and open strings in his fingerings.

Number 4, he thought harmonically and thus played with an intonation second to none – I have written about using ‘Tartini tones’, the product of double stops, to fine your ear as well.

Number 5, he supported the violin with his left hand. In other words, he didn’t ‘clamp’ the instrument with shoulder and chin.

Number 6, and most important of all, he loved, and consistently listened for, the unique ‘ring’ a violin can make

Now, there is an art to doing these things. What I teach in the Kreutzer for Violin Mastery course and what I will be able to do even more effectively at the Masterclass/Seminar will give you the guidance you need to master it.

All the best,

Clayton Haslop

What Matters

Yesterday I received an email from a guy interested in coming to the Violin Mastery Masterclass/Seminar. He wanted to know at what level he must be able to play in order to attend.

My knee jerk response – and I’m glad I didn’t act on it, was to tell him, intermediate to advanced. After all, that’s who I regard as the main audience for ‘Kreutzer for Violin Mastery.’

It was fortunate that I didn’t have time to write and send that message.

You see the past couple days I have been in attendance at an extraordinary seminar on marketing, of all things. But let me tell you something, if parents knew and appreciated the value of half of what I’m learning here, they would demand it be taught in the schools. It’s that good.

Be that as it may, at this morning’s session something was said that turned a brilliant light on in my brain about the question posed and the true value and reach of my event.

To the fellow with the question I wrote this;
‘I do not care what level you are at right now. I am only interested in how committed you are to improving. A student who is passionate to improve is an asset to any class.’

To the rest of you I have this to add.

‘If you think that this event will be just about violin playing, you will be greatly mistaken. It will affect your attitude and posture in life, the role of music in your life and those around you. It will open your mind to undreamt of possibilities for self-development. It may even alter your chosen career path. It will definitely bring greater abundance into your life, artistically, and, very likely, materially.’

All that is required of you, in return, is a ridiculously small fee, a plane ticket, some money for hotel and food, and a commitment to learn Everything you possibly can from me in those 3 days.

Fulfill these and your life will be transformed. Forever.

All the best,

Clayton Haslop


P.S. By the way, my ‘ridiculously small fee’ will rise to a ‘laughably small fee’ in only a matter of days now. If I were you, and I know I’m not, I would take the former.
http://www.violinmastery.com/kreutzer_masterclass.htm

Staying Real In A Real Time Art

A couple years ago my wife was giving composition lessons to fellow from Texas who flew to LA every so often for that specific purpose. There he was, a successful jingle and TV composer who nonetheless saw the need for further growth as an artist. Now that’s dedication.

Anyway, one day the three of us were talking after one such meeting and he remarked to me how much he respected live performers like myself. He said, ‘When you perform, you do it in ‘real time.’ Composition isn’t subject to such a condition.’

At the time it gave me pause for thought and a little boost in the self-appreciation department as a bonus.

Tonight the incident was recalled, but within a very different context.

I’m sitting in a room at the Marriott Hotel in Tampa Florida. Just finished the first of three days of sessions given by a marketing guru by the name of Matt Furey. Wish you all could be here. Fascinating stuff.

At the session he touched on something he called ‘self-suggestion.’ This is where you visualize a goal you want to achieve and, at the same time, instruct yourself to ‘Do It’ in an authoritative voice.

Well, I want that kind of dynamic thinking goin’ on when I play the fiddle. You should too.

The mental picture must have as much detail as possible. The Feeling, Sound, and Visual Image of what you have before you are all important. Then put passion behind them with a good, strong, ‘Do It.’

Working with the models and insights I provide in ‘Kreutzer For Violin Mastery’ as good a way as I know to acquire a Vision worth acting upon. Once you have it you’ll have a much easier time instructing yourself to ‘do it.’ Pick up your copy today at http://www.violinmastery.com/kreutzer1.htm

All the best,

Clayton Haslop

P.S. Now visualize how wonderful it will feel to transform your playing at my Violin Artistry Masterclass/Seminar in January. Should be a cinch to say ‘do it’ and reserve your place now.

The Power Of ‘Letting Go’

This afternoon my daughter Clara and I watched a tape of a figure skating competition. Well, I watched. She mostly ‘pretend skated’ on the white rug – aka ‘ice’ – that lies in front of our TV. Occasionally she glanced at the screen for fresh inspiration.

The commentators remarked on the terrible practices one of the Japanese skaters had had all week as she took the ice to perform. Dick Button and Peggy Fleming seemed resigned to a painful 4 minutes of viewing.

Well, it turned out otherwise. Much to their delight, and mine, the skater lit up the ice.

So you see, it doesn’t have to be.

Indeed it reminded me of a concert I gave with Jack Sanders, my guitarist partner, some time ago. I had a Horrible warm-up, just couldn’t get anything working properly. This is not a good thing when the Sarasate ‘Carmen Fantasy’ is on the bill with a lot of other difficult music as well.

As I walked to the stage door I said, very clearly to myself, ‘I have done everything I can. What happens now is out of my hands.’

When I put my violin up to play I just poured my heart into it. I had completely surrendered any expectation of success or failure as to the outcome. I just played one note, one phrase, one movement after the next.

You know what I’m going to say. It was as successful and technically polished as any concert I have given. The power of surrender in action.

Now, don’t get me wrong. Surrendering to the moment will get you nowhere in a hurry without sound preparation. It’s just that the expectations we place on ourselves often begin tying us up in knots.

Do the work. Do it every day. Find joy in the act of playing. Find it every day.

All the best,

Clayton Haslop

P.S. The only good news in this is that those of you who haven’t gotten your order in for volume 2 may still do so at a great price. I will need to raise the price significantly once it has been released.

Bumps In The Road

Recently my wife, daughter, and I were driving on a dirt road with quite a few large ruts and potholes in it. After we had gone over a couple of them, the car rocking back and forth, our daughter started saying, ‘bump!’, after each one, and then giggling infectiously.

Pretty soon all three of us were ‘bumping!’ and giggling as we went.

Naturally we all encounter some bumps and ruts on the road of life. Those that can surrender to the turbulence, say ‘bump!’, and move forward unfazed are truly blessed.

Recently I have had some bumps in my practice. Perhaps it is the changing seasons, perhaps I over did it with some upper body exercises I was doing, but whatever the cause my hands have been unusually stiff and uncooperative.

I wish I could say that I have responded each day to this extended rut with a ‘bump!’ and a giggle. I haven’t always. But I have stayed the course.

Last night whatever was holding my hands hostage broke off it’s siege. What a relief to have unbridled velocity back in the mix.

The point of sharing this with you is merely to offer encouragement to ‘stay the course’ if you find yourself in a slump. If you can look at such times with grace and humor, make whatever adjustments need to be made – I have stopped doing the strength moves for the time being, and move forward unfazed, wonderful.

The important thing is to move forward. To stay the course.

All the best,

Clayton Haslop


P.S. Get started on the high road to violin mastery today.

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.

The Best Sport For Your Bow Arm

You’ve probably never thought about it. But if you’re athletically inclined, and looking for sport that best fits with violin playing; think tennis.

Well, that’s if you’re right-handed. If you’re of the left-handed persuasion, you’d better sit this one out. On the other hand, maybe curling…just kidding.

OK, let me make the case for why tennis is your bow arm’s best friend.

Numero uno, it uses the large muscles of the shoulder and arm. Too many violinists, through a common pitfall, have tight, constricted bow arms and over use the small muscles of the hand and wrist.

Tennis, if you watch a real player hitting from the baseline, requires large, sweeping motions. The forehand shots are up bows; backhands are down bows – we are, of course, talking about one-handed hitters.

Numero dos, good tennis ground strokes use very little wrist. If you needed a lot of wrist control to play the violin I would suggest you play ping-pong.

Most bow moves, however, are best accomplished with minimum wrist and finger movement. In fact, and this may blow your mind, Milstein even produced his spiccato with his upper arm. His wrist and fingers just acted as little shock absorbers.

Bottom line; even if you never pick up a tennis racket in your life, take a page out of the tennis pro’s playbook and get some real sweep into your bow arm. That kind of decisiveness will look good, FEEL good and sound great.

All the best,

Clayton Haslop

What Milstein Said About Warming Up

During my first summer of private sessions with Milstein I had lodgings with a couple in Eastbourne, down on the English Channel. Each week I made a 2 1/2 hour schlep to London where the maestro and his wife lived in a beautiful Georgian town home in Belgravia, one of the most fashionable areas of London.

In fact, the square they lived on, Chester Square, was also home to Margaret Thatcher, Morizio Polini, Yehudi Menuhin and, two years later, my benefactor, Richard Colburn.

When I arrived, I felt nervous and tight. It seemed to take forever to warm up and settle down. On my third visit I even complained to Nathan about how difficult it was to play my best coming in ‘cold’.

‘Vhy you should need warm up’, he said. ‘The music is in your head, not in your hands.’

Well, in those days, the music wasn’t in my head. And standing in front of one of the greatest violinists of the 20th century made me painfully aware of it.

You see I had a history of letting my hands take over in pressure situations. To be successful this way I required a lengthy warm up.
Even then I could easily be overwhelmed by ‘nerves’.

It was after that lesson that I began developing my power of visualization.

Though painful at first, I quickly realized the advantage to training this way. While sitting on the train, I visualized myself playing my repertoire, in exquisite detail. I continued visualizing as I walked the short distance from Victoria Station to the maestro’s home. I visualized as I tuned my fiddle…

From the feedback I’ve been getting from users of ‘Kreutzer, Vol. 1’ I know that many of you are employing the same technique, and enjoying equally satisfying results.

Keep up the great work.

All the best,

Clayton Haslop

P.S. Visualizing, in and of itself, is wonderful. Supporting it with proper breathing and my counting technique gives it awesome power. Kreutzer For Violin Mastery shows you exactly how get this power working for you.

May the Force Of Gravity Be With You

As we age it is sometimes tempting to curse the force of gravity. When your playing the violin it should be your best friend.

First of all consider tone production. Very few of us are so light of frame that we need anything more than the natural weight of our right arm to make a variety of beautiful sounds the violin.

If you draw a slow, arm-weighted bow you will get the deep, penetrating sound that is ideal, say, for a Bach Grave. Draw the weighted bow quickly back and forth in the upper half, and you’ll produce ringing tones perfect for a Bach Presto.

Now let’s talk time.

There are two ways we see the passage of time displayed on metronomes. Most common these days are the quartz, digital kind. More INFORMative, however, are the old fashioned pendulum variety. Here’s why.

With a digital signal you get a blip, then empty space, and then another blip. A lot can happen in that space. You might, for instance, be playing under some pressure. In which case you might try to rush ahead during the space between blips. Ever do that?

It’s like the two-footed driver. The brake is the metronome and the gas pedal is the nervous energy trying to run away.

In contrast, think of a pendulum style metronome. With it you continuously see motion from one beat to the next. Ah, you have an arc of motion that allows you to gauge the flow of time between beats. You can get rid of the brake pedal altogether if time is analogous to ‘flow’.

All the truly great conductors, and there are few, understand the fundamental difference between a ‘digital’ beat and an ‘analogue’, or gravity, beat.

I hope a light bulb has gone on in your mind reading this.

If so, and if you want to begin rewiring yourself for analogue time I suggest you get yourself on the floor and do the ‘preparatory exercise’ in Vol. 1.

While you count the 4 measures on the G string, visualize a pendulum swinging back and forth each beat. While you count the 4 measures on the D string switch to a larger pendulum that swings every two beats. Finally, on the A and E string move to a great pendulum that will pass center once every 4 beats.

What a visualization!

All the best,

Clayton Haslop


P.S. Now, when next you play any of the Kreutzer Etudes allow the force of gravity into them.

Getting A Leg Up To Better Intonation

When I was a lad getting started on Kreutzer for my first go through, I was fortunate to have a dedicated mother around who also happens to be a fine pianist. She was my ‘leg up’ to acquiring a finely tuned ear.

After supper each evening I would break out the violin, stand next to the piano keyboard, and play through my scales and etudes with my mum playing along.

I really enjoyed those sessions.

The time went by much more quickly with her encouragement and very presence so near. Often, when we rested, we could here a cello coming from one bedroom – my next older sister – and a trombone – my next older brother – booming from another. Our neighbors likened our house to a little conservatory of music.

On yesterday’s teleconference call – which I greatly enjoyed and believe was very much a success due to some wonderful questions and comments – one caller, who travels a great deal, commented how useful even the CD play along material was for her.

It was music to my ears.

The slow performances and accompaniments on vol.1 are meant to provide something of that interaction I enjoyed whilst playing with my mother all those years ago. They are also meant to keep you on track to developing a first rate ear along with excellent fundamentals.

Now the only way you’re going to enjoy all the benefits of my Kreutzer program– the learning techniques, the explanations and demonstrations of many facets of playing, the play along material – is to pick up a copy and get started. Do it today.

All the best,

Clayton Haslop

P.S. There are still some seats available for the ‘transform your playing in three short days’ Masterclass/Seminar. If you think my DVDs are giving you a ‘leg up’ to violin excellence, this highly concentrated ‘up close and personal’ intensive will be like a circus canon catapulting you out of the big top.

Friday The 13th, Your Lucky Day

In my humble opinion, Friday the 13th has gotten a raw deal for way too long. And today I’m reinventing this calendar event by offering a one day ‘Friday the 13th Special.’ Order ‘Kreutzer for Violin Mastery’ or reserve a seat at the Masterclass/Seminar today and I will send you a wonderfully listenable CD of the Haslop/Sanders duo absolutely free. Today only, a FREE CD with every order.

Now, some people may wonder why I don’t sell my CDs on this site. Simply, it’s just not what I’m about. What I offer here is about making you a better violinist, not tooting my own horn.

It’s not that I’m not proud of my work. This CD has some wonderful music on it. Music you will not hear anywhere else, and music that is beautifully played. Jack Sanders and I performed together for 10 years.

Just before recording this CD we toured China. Our concerts there had very much the feel of out door rock concerts in the US of A. We had to be amplified because people came and went, talked, ate, and generally carried on their lives as we performed. It was kind of a rush playing in such an environment, really. I mean, it wasn’t that we were having trouble being heard – the volume was blasting.

After concerts we were met at our hotel by groups of enthusiastic fans wanting autographs. It was truly extraordinary.

Bare in mind, this was 1988. Things may be a little more sophisticated now. China was still emerging from the unfortunate effects of the ‘cultural revolution’ then.

In any case, we had a fantastic, interesting time. It’s much different visiting distant locales as a performer than as a tourist. One gets a much more up close and personal few of things.

All the best,

Clayton Haslop

And The Tears Fell

Have you ever been blessed to attend a performance so utterly transcendent you literally wept as you listened? I am not ashamed to say that I have been moved to tears at many wonderful concerts.

There is one that stands out, however. It also speaks volumes as to why Milstein had such an effect on me.

The year was 1982. I had just returned from a 17 day concert tour of Hawaii with the Los Angeles Piano Quartet.

Now, you might think, ‘what could be better than to tour a tropical paradise and get paid for it.’ Right?

Well, plenty, in this case. You see we played 14 concerts in those 17 days along with several ‘outreach’ activities. It was a relentless schedule.

But what really made the experience a nightmare, however, was that I was having a serious compatibility problem with the violist. Let me just say that I have come across few musicians in my career with as much tension underlying their playing as this fellow.

The sad part, really, was that he had no awareness of it.

As a consequence, his music making was characterized by a constant edginess. Often his nervous energy drove his pitch sharp. There was a distinct absence of ‘breath’.

Though gifted with an incredibly strong intellect he kept it focused outwardly. Vulnerability was something to be avoided at all costs.

Now you’re asking, ‘Why’d you let him in the group?’ All I can say to that is, ‘hindsight is 20/20.’ He seemed the best choice at the time.

But I’m getting a little off message here. The point is I returned to LA in a state of nervous exhaustion over the experience.

As it turns out, Milstein was performing in town the night I returned. Of course I had tickets.

My sister and I drove from Santa Monica to Pasadena, about a forty minute drive, with my hardly uttering a word.

Once in my seat I sat in a fog waiting for the master to take the stage. I feared in my innermost being that I would be unreachable. Maybe permanently, I thought.

Fortunately, I was more wrong than I had ever been. As soon as he sounded the first notes of the Respighi ‘Sonata en Re’ tears began flowing down my cheeks. After a few minutes I felt my sister’s glance. The tears just continued right on.

Intermission brought a brief respite from my little rite of purification.

Brief is the operative word. With the first note of Brahm’s D Minor Sonata following intermission the whole thing started afresh.

By the end of the concert I knew it was hopeless to go backstage. I was unable to speak.

The next day I was fully recovered. Life had returned. What enabled that profound catharsis was the genius of Milstein. Transcendent is the best word to describe it. Through the purity of his phrasing and beauty of his tone shone the genius of Stradivarius, Tourte, and the composer he was performing.

It went even deeper. His was an act of devotion, and it enabled me to release and shed all the accumulated tension and anxiety that threatened to overwhelm me.

Such is the power of the true artist.

All the best,

Clayton Haslop

P.S. Eliminating tension and cultivating pure fundamentals is essential to artistic expression on the violin. Kreutzer for Violin Mastery, Vol. 1 gives you powerful tools toward that end. Get your copy now.