When More Becomes Less

Yesterday morning I was sitting out on our deck enjoying my morning espresso and basking in the pleasantness of Indian summer.

Afterward, instead of going to my computer to pound out an email to you, I began flipping through recent issues of Strad and Strings magazines – they do have my ads in them so I figure I owe it to myself to glance through them once in a while.

In any case, I happened on an interview with some up and coming fiddler I’ve never heard of who was responding to the question, ‘What makes your playing stand out amongst all the other gifted young players around today?’

‘I have sworn to myself to make every note I play have meaning,’ was the reply.’

I had to chuckle when I read this. It reminded me of something that happened on a record session – yes, I do mean Record Session – many moons ago.

I was part of a string section ‘sweetening’ an album coming out of A&M Records, back when Herb Alpert still owned the Label. The concertmaster, bless his heart, was a rather inept young fellow somehow connected – by blood, ethnicity, or some other means – to Herb Alpert himself.

Well, after one play-back this young kid comes back in the room and says, ‘They’d like us to play with more feeling. Make every note a melody.’

There we were, playing goose eggs – a.k.a. whole notes – and our concertmaster – I’m using the term rather loosely here – wants us to make of each a Melody!

I can tell you, a few of us almost lost our lunch on that one.

But let’s get a little more serious here and talk about real music. Or at least music with more to work with than whole notes.

Before writing this I was working through the Bach Chaccone. Believe it or not, I’ve heard many violinists, I call them ‘good students’, who fall into the trap of trying to do TOO much with this work.

I think part of the problem is that we’ve all grown up with the idea that this piece of music is such a masterpiece that every note must be monumental and epic. It’s like they think they must hit a home run with every note.

Pretty soon the listener is numb.

You’ve got to give people a break. Let them relax and feel the effortless flow of notes. There’s plenty of time and room in the Bach Chaconne for heavy hitting. The challenge is more how to keep from beating it to death, not how to put more passion into it.

Last week I watched the film footage of Milstein playing it on his last public concert. An 82 year old man playing through that 15 minute ball-breaker – excuse my French – as if it were water. Yes, there was plenty of passion, but his economy of movement was what astonished me, as a relatively informed viewer.

So, let this be a lesson to you. Be careful not to over-indulge your emotions. Few enjoy listening to a player who’s just using the music to exorcise their personal demons. Do that in the Psychiatrists office.

Great music making is nuanced, patient, clever, articulate, effortless, virtuosic, intelligent, AND passionate.

If you want to become the master of More, become first the master of Less.

All the best,

Clayton Haslop

P.S. And the best way to do what I have just suggested is by acquiring clean, pure, efficient, and faultless fundamentals. You’ll find it all in Kreutzer for Violin Mastery.

The Holy Grail, or Just Plain Fun

For each of us the study of the violin means something slightly, or dramatically, different. Some find it ‘neat’. Others, like myself, have expanded the activity in our minds and made of it a grand metaphor – a kind of search for an aural ‘Holy Grail.’

‘So, what makes for the more successful violinist,’ you might ask.

Not necessarily the latter, it may just depend on the ears of the listener. After all, we are the way we are.

For myself, however, I have a good dose of the latter in me. And it does affect the way I practice the violin. Big time.

Here’s what I mean.

You see, for me the whole grail thing was never really about a cup, per se. It was always a metaphor. And as it pertains to my violin playing the search is about making myself into a worthy vessel for perfected sound/music.

It’s a process that is and will be ongoing. Now I am closer, tomorrow I may be further away. The following day I will again come back strong. And so it proceeds.

It’s a search for a Platonic ideal. And it has contained a good measure of joy, fun, heart-ache, frustration, and satisfaction in the bargain.

The important thing is to stay in touch with your love for it. Out of that love is born the patience, perseverance, passion, courage – there are risk to be taken, mind you – and compassion – especially for yourself, on the bad days to keep moving forward.

May Fortune smile brightly on your journey.

All the best,

Clayton Haslop

P.S. If you’re set to sail on the voyage of a lifetime, the Violin Mastery Beginners Circle is the ship you want to be on.

A Good Day for Balance

With equal periods of light and darkness, and the Earth’s axis square to the Sun, there is no better day to than the Autumnal Equinox to contemplate balance.

So, how’s about taking a moment or two and looking at violin playing from this perspective. Here are a few that came to mind.

G. Feet not too far apart nor too close together. Shoulder width is good, as a general rule.
H. Have your weight balanced equally between the two feet – avoid ‘cocking’ your hips and resting most of your weight on one leg.
I. Violin is balanced between the collarbone and left hand. Draw your left shoulder around for extra support and to bring your arm under the violin. Chin exerts minimal pressure to keep the violin from slipping off the shoulder/collarbone.
J. Downward pressure of the fingers is uniform. Adjust the pressure of the strongest fingers to the weakest – your pinky, I presume.
K. The fingers of the right hand are likewise balanced as they grasp the bow – again, use the minimum force necessary to keep the bow in hand.
L. Sense the ‘balance point’ between bow pressure and amount of bow used. Note, the further the bow is from the bridge the more bow you will need to use for a given amount of pressure.

Of course the concept of balance can also extend into your practice – i.e. technique vs repertoire, slow practice and ‘at tempo’ practice, adagio vs allegro music.

But as important as everything I’ve said is, there is yet one balance more essential. This is the balance of mind and body.

Too many of us have a tendency to play with our hands more than we play with our minds. When the physical and mental processes are both active in equal measure, that’s when the magic really starts to happen.

Speaking of magic starting to happen, I’ve had a terrific response so far to the Violin Mastery Beginners Circle. Why not get on board and join in the fun!

All the best,

Clayton Haslop

P.S. In fact, all the signups I’ve had to the Beginner’s Circle have led me to conclude that a couple more circles may be in order, each taking off from points further down the trail. Stay tuned!

The Dream Course for Beginners

Yes, it’s finally ready to go. As you know, to date my courses have been directed toward the intermediate and advanced players. Now I’m going back and picking it up right from the get-go – from where the violin comes out of the case for the first time.

And though it is primarily geared for the adult student, I can also see this program working very well for families in which a parent – or two! – want to take the violin journey along with their child.

It’s also a program (A), for people who are on a budget and can’t afford weekly lessons (B), for busy folks with unpredictable schedules that make weekly lessons impossible, (C), for self-motivated learners that don’t need a teacher standing over them each week telling them the same darned things over and over, and (D) for people who have played for some time, but sense a need to ‘take it from the top’ with a master player showing them all the right moves.

Oh yes, when you belong to the “Violin Mastery Beginners Circle” you will have a unique access to me through which I can address your personal questions. I will also be sending out a private newsletter twice a week to circle members. In it will be information tailored to the beginning and elementary level violinist.

I think I said enough about it here. If you want onboard you’ve only to click on the link just below.

One last thing, if you don’t have an instrument on which to begin you needn’t worry – got that base covered. When you’ve completed the order form you will be provided a link to a wonderful violin house located in Burlington Vermont. I know these people and they can set you up a quality instrument to rent, lease, or own in a matter of days.

So, come on over, read the whole story, and climb on board.

All the best,

Clayton Haslop

P.S. If you played in the past but need a little push to get you off your duff, just have a look at my ’Ten Health and Well-being Benefits’ of playing the violin.

Double Your Pleasure

There are few things more satisfying on the violin than playing in-tune, beautifully clear double-stops. On the other hand, there is also little that presents as much challenge.

So, what is a body to do about them?

For one thing, stop struggling.

The last thing you want to find yourself doing is grinding away at the violin in frustration trying to subjugate two hapless pitches that just don’t want to fit together.

I can’t tell you how many times I’ve had students do this; stand next to me and saw away at their instrument first adjusting one finger, then the other, then BOTH at the same time.

Dreadful!

Even when they managed to force their fingers into agreement they had become so tense and disoriented there wasn’t a chance in hell of them finding the same positions again.

So let’s take a look at a better way.

First off, when you sense yourself struggling with double-stops you must take a breather. And I mean that literally. Come to a complete stop, and take a deep, relaxing belly breath.

To play double-stops the mind and hands – both right and left – must be relaxed and pliant.

The mind must be relaxed for this reason. It is going to INFORM your hands on the simultaneous sounding of two voices. The picture it sends to your hands must be very clear as to the location of each pitch on your fingerboard.

The left hand must be relaxed as can be to allow for each location to be accessed without one finger inhibiting, or distorting the other.

The result is a fantastic exercise in achieving relaxation with focus.

The right arm plays a very important part in this. It is the breath that gives life to the two notes. It also fuses them, giving birth to a ‘combination tone’, ‘resultant tone’, or, as some would know it, a ‘Tartini tone.’ When that third note, the birth-child of a double-stop, harmonizes with the two fundamental notes, you’ve got gold coming out of your fiddle.

Now, in volume 4 of Kreutzer for Violin Mastery you will find much more on the secret to scoring big with double-stops.

All the best,

Clayton Haslop

P.S. Volume 3 really gets your hand set up beautifully for playing double stops. It has a lot to say about holding the violin effortlessly and acquiring the finger independence that double-stop playing requires. Together they make a nice, one-two punch for the intermediate/advanced violinist. Heck, I’ve even had pros tell me how much they’ve gotten from these 2 volumes.

Getting the Whole Picture

Had a couple of interesting responses to yesterday’s newsletter, ‘To Record, or Not to Record.’ One of our subscribers wrote of Heifetz nit-picking his recordings. I’ve got a story about that one.

The other observed how recording oneself may be more valuable for the musical light it sheds, rather than exposing technical imperfections. That one jarred my memory about studies done on the way in which we process music, when listening..

First the story.

Heifetz was recording something or other way back when, and the producer requested he repeat one section several times, saying over the ‘talk-back’, ‘Sorry maestro, we just need that passage ONE more time.’

Finally, in frustration, Heifetz put down his violin, went into the booth and asked what was wrong. The producer, rather sheepishly said, ‘Well, Mr. Heifetz, you seem to have played a D natural instead of the indicated D sharp in this measure.’

‘Let me hear it’, Heifetz quipped.

The passage was played back to him, and indeed he had played the wrong note with each repetition.

‘Well,’ said Jascha, ‘I guess that’s the way I play it. Let’s move on.’

And the misplayed note can be heard until this day. Question is, does anybody KNOW where it is?

Now for the listening studies.

A researcher performed a series of tests in which subjects only heard a piece of music performed and then were able to hear and SEE the performers playing the music. Turns out their reactions to certain features in the music were very different. For instance, when a pause preceded a dramatic entrance in the music, the perceived effect was much greater when the participants could see the musicians prepare for it.

So if it is an improved musical impact you’re looking for, then perhaps you should use video or audio depending on what medium it will be viewed/heard.

And there is one more point I will make about recording. The way a violin sounds on recording is always going to be different from the way it will sound to a listener sitting in a hall. And this is without taking into account the ‘color’ added by the microphone itself.

OK, enough said. I DO acknowledge that there are things to be learned from listening and seeing on tape. I would certainly caution, however, that you do this when you are fresh, and then only sparingly.

All the best,

Clayton Haslop

P.S. If you want to get the real big picture on your playing, I suggest you grab one of the spots remaining to the Singing Hands Masterclass/Seminar.

How to Play With Feeling

This morning I received an email that really got me. Have a quick look;

Dear Mr.Haslop,

I am learning to play the violin for the past one year.
This weekend my teacher said I play all the notes correctly, but I give nothing to the music. He says I don't feel the music.
How do I do that? What does it mean to play a piece of music with feeling?

Regards,

Geethanjali

As I say, reading this gets me right in the old heart muscle. So Geethanjali, let me give you a few thoughts.

Your teacher says you are playing the notes correctly. By that I take it that you are playing in tune and in rhythm, and that you can hear the Sound of the music in your head without actually playing it. Can you do this?

Once you have the ability to visualize or imagine yourself playing the music, you are ready for the next step to playing with feeling.

Now, as you listen to the music playing in your imagination notice whether you LIKE what you are hearing. Try to make every note a note that you LIKE to play.

Once you can enjoy each note you are ready to put that FEELING into your playing.

The next step is the most fun and creative of all. What you do is, listen to the music you are playing with feeling in your head and, at the same time, think what you can do on the violin to get others hearing what YOU are hearing.

If the music is strong, show it in your playing. Stand straight, play with a big tone, give extra weight to the notes you feel MOST strongly about. Are you beginning to get a picture, Geethanjali? I hope so.

You see, playing with feeling IS about feeling the music in your mind/heart/soul first. But once you have it really singing inside you, you must then us more imagination and energy to send it out through your violin.

And don’t be bashful or shy when you’re doing it. It’s fun!

All the best,

Clayton Haslop

P.S. I have one other thing to say. Since I began offering DVD coursesthrough Violin Mastery in July of 2006, I have filled several hundred orders. We DO occasionally have trouble with shipments. If you order a course from me and don’t receive it within 10-15 business days – unless I’ve told you it will be longer – please get in touch with me. Something has gone awry with the shipping and I want to set things right as soon as possible.

Avoiding the California Stop

Those of you that drive know what I’m talking about, namely a ‘stop’ that isn’t really a stop.

I do them myself now and then, shame on me!

Of course it’s one thing to bend the rules a little bit when you know you’re in full control of a situation – I don’t do California stops when I can’t see all opposing traffic clearly.

But my driving habits aren’t what I mean to talk about. It’s your practice habits I’d like to shed light on.

You see, quite often when people make a mistake and stop to repeat something, they make a ‘California Stop’. They recognize a mistake, make a quick judgment about it, and restart, all within a blink of an eye.

The problem is, the body needs time to receive the new instruction. It needs time to ‘unwind’ from the previous experience.

While this is taking place you need to listen to your body.

Today I was practicing a famous passage from the Brahm’s Concerto. Brahms had a way of displacing beats so they fall in unexpected places. I noticed one result of these displacements was that my body needed a tad more time between repetitions to organize itself. Once I gave my body time to fully appreciate how the music was organized around the beats, bingo, everything flowed like water.

In short it’s a little dance that takes place between the creative imagination and the body.

Also makes me think of the expression, ‘take some time to smell the roses’. Something most all of us could do more of, no?

All the best,

Clayton Haslop

P.S. It all boils down to rhythm, really. All things have their natural rhythms, and it is up to us to find what they are. And the techniques you’ll learn in Kreutzer for Violin Mastery are superb for picking up the natural rhythms of music.

How to Surrender Tension

Oo-Wee, just finished a very exhilarating practice session. The kind of session that gives back more energy than was put in.

And I put in a lot today.

What I explored very deeply in the hour was just what the title of this email suggests; how to SURRENDER tension.

Many violinists experience some form of tension or muscle stiffness whilst playing. Most, if not all of the tension we arises while we play is based on misconceptions we acquired very early and now are deeply rooted in the subconscious. That is to say, they are habitual.

So, how to you uproot the little buggers.

First of all you must pay very close attention. You must be willing to seek out the very instruction the brain is sending the muscle(s) to contract.

From that point you must first Consciously send a new message to the muscle – stay relaxed – while at the same time allowing the muscles you DO need activated to do their job.

I have Focal Dystonia. For those of you who know what this is you know it is a dysfunction that is WAY beyond your garden-variety stiffness. Many fine musicians have had their careers ended by it.

I will not.

In fact, I believe the techniques I demonstrate at the beginning of both the Kreutzer and Paganini courses are an integral part of my recovery process.

If they work for dystonia they most certainly can help you with eliminating your tension issues.

The counting technique puts your focus on the NOW – your attention is placed on what is right before you. The breathing technique places the body in a state conducive to relaxation. And the act of creative visualization sends the new, corrected message to the muscles.

What the courses also provide is information to better inform your visualizations. This is very worthwhile stuff.

I wish I had the time to go more deeply into how tension becomes reflexive and self-limiting. If you’re interested, there is a book entitled, ‘The Power of Infinite Love and Gratitude’, by Dr. Darren R. Weissman, that you might find extremely enlightening.

All the best,

Clayton Haslop

P.S. Am just getting restocked on ‘Kreutzer for Violin Mastery’ today. Makes for a great time to get this great tension banishing tool for the serious violinist.

The Best Laid Plans

On rare occasion, as you well know, even the best-laid plans have a way of going awry. Learning to deal with these bumps in the road is one of our greatest challenges, both as human beings and violinists.

Not long ago I told you about a concert I once played where my pre-concert warm up had gone miserably. On that day I was able to surrender myself to a higher power, walk onstage, and play a truly inspired concert.

I am not ALWAYS successful with my appeal.

Sometimes I’ve had to just ‘gut it out’, as the saying goes. In those cases, however, I don’t just put my head down like a bull and plow.

No, I keep my best public face on and continue to do my utmost to produce what beauty the situation will allow.

It’s not good enough to practice this creative deception only in concert settings. You must discipline yourself to it in practice sessions as well. After all, bad days don’t just happen on concert days.

It really all boils down to attitude, doesn’t it?

In a few days you will have what I consider to be a unique, one-of-a-kind opportunity to go behind the scenes and witness all that goes into my preparation for a big concert.

I know there will be some tough moments, and you could very well be there witnessing them. But what I know going into it is this; it is in those times where you will learn the most about what has made me successful as a violinist.

I hope you tune in.

Now, again speaking of ‘best laid plans’, but on another topic. I had hoped to have the beginner/novice program ready to roll this week, and I AM working on it. It appears, however, that I will not be able to offer sign-ups for about 2 weeks yet. I expect the first issue to ship at the beginning of October now.

Thanks for your continued patience on this. It‘s turning out to be a little more complicated to pull together than I thought. But for those of you who are serious about learning the violin from the ground up I think the wait will be well worth it, in the end.

All the best,

Clayton Haslop

P.S. Just because the best-laid plans do sometimes go awry does not mean one shouldn’t always plan for the best. To do so you want the most efficient, faultless fundamentals you can come by.

Why the Mind Must Lead

I trust you are having a wonderful Labor Day Holiday. It is good to honor the brave men and women that have stood up for safe working conditions, an honest wage, and all the other good and just benefits a hard worker should be blessed with.

So, why must the mind lead? And how does it relate to violin playing? First off, when one does any activity with consciousness – whether walking, breathing, or performing a tune you’ve known for years – there is a satisfaction and pleasure that is not present when the same activity is conducted by rote.

Most of us can play to, say, 90% of our present ability whilst on a kind of autopilot. Surprisingly, this can even be done whilst sight-reading, providing the music is not too difficult.

But there is no way any of us will play to 100% of our ability, or stretch ourselves to new heights, while playing this way. It just won’t happen.

Now, try the following.

Pause for a few moments, and imagine yourself playing the open string exercise I included in ‘Kreutzer for Violin Mastery’ – if you don’t have it you can visualize yourself playing whole notes. Do it with real energy. Breathe, Feel the bow in your hand and the Weight you’re applying into the string. Manage the flow of the bow down the string in your mind’s eye. Hear the full, rich tone rising out of the violin.

Really put energy into the visualization.

Do you feel a little tingling in your right hand where the bow would reside? Are you also aware of a growing warmth spreading down your arm?

If so you’re experiencing the body’s autonomic response to your visualization – e.g. increased blood flow and heightened tactile sensitivity.

When you’re creatively involved with the movements of your body in this way you’ll experience increased mobility, less problems with strain or injury, and a greater impact on any listener within earshot.

I am still raising the percentage of time I spend fully conscious while practicing. It’s amazing how the mind wants to wander. I just keep calling it back, calling it back, and calling it back.

If you do this, with each passing day, week, and month, you will find yourself in a deeper and more effective state of active meditation as you practice.

All the best,

Clayton Haslop

P.S. I’ve heard from many aspiring virtuosi that are having a ball with Volume 1 of Paganini for Violin Virtuosity.

How I Practice

Yesterday was a day for seeing the Scottish landscape. From our digs at the base of picturesque Loch Lomond we drove north along it’s western shore; then we bore north-west over the rugged and dramatic mountains that separate the interior from the sea; and finally, we tumbled down to Loch Fyne and drove it’s northern shoreline to Castle Inveraray, home to the Dukes of Argyll.

Castle’s, medieval watchtowers, and quaint loch-side towns delighted the eye along the way.

Of course my sightseeing excursion, inspiring as it was, is not the topic of today’s newsletter.

The art of practicing is a deep and nuanced subject. It encompasses the building technique and endurance, as well as the formation of musical interpretations and the mastery of repertoire.

Along the way one must deal with issues of fingering, bowing, the stylistic demands of each composer, and the process of memorization.

And the question I hear most frequently from people who seek my advice is; ‘How do I make the best use of my practice time?’

Well, I think I have a new and innovative way to deal with all of the above. In just about 20 weeks from now I will be presenting a full public recital here in Asheville. The program will be identical to Milstein’s last concert, given as it was 20 years ago.

What I am going to do is video myself preparing for this concert from scratch, the day I return to the states. Next week I will give you the details on how you can tune in to this process and observe EXACTLY how I practice and prepare.

In fact, as I practice I will be speaking my exact thoughts as they come to me so you will understand my reasons for doing all I do.

Needless to say, this will place me in a highly vulnerable position. I will be completely out of shape when I return, and I will be studying a few works for this recital that I have never played. You will see it all.

So, stay tuned for details on this.

All the best,

Clayton Haslop

P.S. Will this open window onto my practice sessions replace take the place of Kreutzer for Violin Mastery or Paganini for Violin Virtuosity, Vol. 1? Absolutely not. They will give you a wonderful context for appreciating and digesting what comes out in the practice sessions.

What Gets My Goat

First off, I send my greetings today from Loch Lomond, in the Northern Kingdom of Scotland. Spent the better part of yesterday at a real Scottish wedding, complete with bagpipes and lots of men running around in skirts.

I kept my pants on.

But I’ll tell you thing, these Scots do know how to party! And the live band was exceptional.

Speaking of exceptional, I will be rolling out my exceptionally comprehensive beginner/novice course just after our return to the states next week. If you have not begun to play yourself, or are yet in the beginning stages of playing, you will want to take advantage of this program.

Never taken a violin out of a case? No problem, it’ll all be covered. I even have a wonderful source for instruments to rent, purchase, or lease to own. This is a great opportunity coming your way, so stay tuned!

Now for ‘what gets my goat.’

Imagine this scenario. You’re playing along in 4/4 time at an allegro tempo and you come to a measure that begins with a half-note tied to a sixteenth, followed by a series of sixteenths completing the measure.

Conventional wisdom, and you’ve probably had many conductors, teachers, or coaches tell you this, is to stop the sound on the tied sixteenth in order to not be late on the following sixteenth notes.

Well, it gets my goat! What does one have to do with the other? Since when does taking the time to stop the bow make anybodies rhythm better?

In other words, the tendency for players to be late off tied notes is not a mechanical problem of changing bow direction, but a internal problem with time-keeping.

And it is easily remedied.

Rather than putting holes into the music where they are not indicated one needs only to have a strategy for maintaining a constant awareness of the flow of time.

I can assure you that if you get in the counting habit, and specifically the one I advocate in my courses, you’ll never get caught flat-footed after a tie ever again.

But don’t expect conductors to stop requesting the ‘drop-out’. It’s a little like asking a cat to stop biting at fleas.

All the best,

Clayton Haslop

P.S. There is much more to be gained from putting Kreutzer for Violin Mastery to work for you than coming off of tied notes in time.

What’s Good for Your Playing

Some of you may recall that several months back I said that Milstein felt tennis was a good sport for a violinist. And this is true, to a point.

Tennis does require you to use the whole arm to strike the ball, and that does compliment the ‘Russian School’ of bow technique.

But the real fact remains that the best thing for violin playing remains violin playing. It reminds me of an injured basketball star talking about getting back in shape.

He said, “You can do all the cardio you want, but the best way to get in shape for playing basketball is to play basketball.” I guess it seems pretty intuitive, doesn’t it?

The real question is, then, how do you play in such a way that you keep the risk of injury low while challenging yourself to build technique and stamina?

First thing I do these days is warm my left arm and hand up with some vigorous massage. Just a couple of minutes are all you need.

While I’m doing this I’m getting my head in the game by visualizing myself playing – scales, etudes, a concerto, whatever inspires me at the moment. This act of visualizing in itself will trigger an autonomic response in the body, sending additional blood out to your hands and arms.

All right, now I’ve got the fiddle in my hands. If I’m feeling rested and energetic very little warm-up is needed. If, on the other hand, I’m tired and somewhat distracted, I’ll spend 15 to 20 minutes warming up slowly, starting with, say, slow scales with a very relaxed vibrato.

Once you get warm you can begin to push yourself – upping the tempo, playing more passionately, increasing the vibrato speed, etc. From time to time pause for some stretching – neck, back, arms, hands, fingers. And I Always have water next to me as I practice.

Hydration is as important to a violinist as it is to an athlete of any stripe. You must take it seriously!

Lastly, let’s not forgot about breathing, especially when playing technically challenging music. And you’ve got to ‘practice in’ the belly-breathing too, or you will almost certainly forget to do it in performance, where it matters most.

Uh, don’t know about belly-breathing yet? Then the time has come for your to get the course that will change the way you think and play the most glorious instrument made by man.

It’s that simple. .

All the best,

Clayton Haslop

P.S. Incidentally, Tania, Clara, and I will be hailing from Scotland for the next 9 days. I will try to post a few newsletters during this time but orders will ship until our return, sorry.

Put Your Fingerings to the Test

Put Your Fingerings to the Test

Hi <$firstname$>,
When I was a much younger lad, I spent a few years studying with Eudice Shapiro at the USC School of Music. When I arrived there I was very gung-ho and jumped right in by preparing several works on my own, only taking them to her after I’d done a considerable amount of practice.

As part of my preparation I made what I felt were worthy attempts at providing good fingerings for what I was playing – many editions of violin music contain really antiquated fingerings, I knew that.

But when I appeared for my first lessons Shapiro quickly began dismissing my work and inserting her own fingerings into my music.

Within a few weeks I gave up even trying to finger repertoire. When it came time to play a new work I just brought the fresh music to my lesson, sight-read it, and let her go to town.

Now, don’t get me wrong, Eudice Shapiro is one of the finest violinists of the 20th century, and I know she felt she was doing what was best for me. But in hindsight I can say it resulted in my being behind the curve when it came to the fingering game. She did too much of the work for me.

Much changed when I arrived at Milstein’s door. He was much more open-minded about fingerings, and was himself constantly looking for new and innovative ways of doing things.

For my part, however, I was so focused on changing my playing mechanics during my time with him that a lot of his fingering nuances went right by me.

It took the onset of Focal Dystonia several years later to really open my eyes to the full potential in the ‘fingering game’.

Suddenly I was investigating three, four, or more ways of fingering a passage before coming to one that allowed for the right musical impact as well as a fluid execution.

Occasionally your fingering options are limited, and you must rely solely on technique to get the job done. But that is a more rare situation than most student violinists realize.

So, when you run into a problem playing a passage, stand back and take a fresh look at the fingerings your using. Chances are, with a little investment of time you’ll gift yourself with a much more effective way of getting the job done. And you’ll save valuable practice time in the long run by doing so.

And if you really want to develop your ‘fingering vision’ in a hurry I suggest going through a piece you think you know and come up with two or three new ways of fingering each passage. Some may make you laugh, but with a few you might strike pay dirt!

All the best,

Clayton Haslop

P.S. Now, the fingerings you find in Kreutzer for Violin Mastery are the result of considerable attention on my part. I do challenge you to improve upon them if you can. If you can’t you will also learn a great deal regarding what makes for a good fingering.

Lift Up Thine Fiddle

If you’re a violinist, I suppose the next best thing to lifting up thine eyes to the heavens would be lifting up thine fiddle to the heavens.

Only thing is, I would ask you to do it with your left hand and not your shoulder, or chin.

You see, there is still a little resistance to getting that chin off the chinrest out there. Before I make my case a little stronger, take a look at what a fellow subscriber had to say in an email to me yesterday.

“I was taught to rest the viola on the shoulder, then lay the head onto the chin rest. The weight of the head holds the instrument in place. No shoulder scrunching involved. Seems the same for violin, no? Viola technique pretty much = violin technique, no?

As long as the left shoulder isn't being raised, and it's comfortable, what's the detriment of letting the weight of the head hold the instrument in place?”

-Craig

On the surface this seems pretty reasonable. But there are a few things you might want to consider.

A), if the head is always ‘resting’ on the chinrest there is a certain lack of freedom. A few hours ago I confirmed this while watching the video of my recent Mendelssohn performance - I will have to put it on the site so you can see it for yourself. My head is OFTEN not on the chinrest, even in the most technical passages. As a result one gets the impression my head and neck are ‘Loose as a Goose’, pretty much throughout.

B), I want the instrument’s weight IN MY HAND, just as the weight of one receiving a full-emersion baptism is in the arms of the minister (don’t mean to get sectarian here, I just like the analogy). There is a kind of surrender that must take place.

C), when you are supporting the instrument with the left hand, and fingering right into that hand, you are going to develop a strong, balanced, and flexible hand.

Now, at first there IS some trepidation at ‘letting go’ in this way. But the benefits can be extraordinary, if you persist! You WILL be more relaxed, solid, and confident come performance time.

I’m not saying the violin can’t be played by doing otherwise. It can.

I just think one who is able to do what I’m talking about brings a little something extra to the table.

Just occurred to me that YoYo Ma brings a similar strategy to the cello. Consequently we are astounded at the abandon with which he plays.

I recommend taking a few days, resolving to keep your chin off the instrument, and seeing what HAS TO happen in your left side. My bet is you will learn more in those few days about playing than you have learned in the last few years. Well, that’s IF you’ve had more than a few years of playing to from which to measure.

If not, you still may cut a few years off the time most people require to ‘get really good’ at this sport.

All the best,

Clayton Haslop

P.S. Promise I’ll stop writing on this subject now. I can’t promise to stop talking about Kreutzer for Violin Mastery, however. It’s the best instructional tool you can add to your library.

A Little Down-Shift Secret

As you know, I’m of the school that the violin should be supported in large part by the left hand, with minimal pressure exerted by either the chin or the shoulder.

I pick the violin up out of the case with my left hand and just rest the lower bout on my shoulder and collar-bone. That’s about all there is to it.

Now, when it comes to shifting I really do visualize the exact pitch location I’m going to move to, and trust my hand to find the shortest, most efficient route. That being said, there are one or two additional things I can say here that might be of interest.

When I shift to a lower position I think of lifting up slightly as I move the hand back. This is because the act of straightening tends to pull the violin down slightly. If you think of raising the arm, again, just a little bit, as you move the hand away from you, the violin stays in a neutral position.

And that’s a good thing.

Further, if string crossings are involved in the shift, resist the temptation to swing your left elbow in concert with the bow movement. It is better to reach with the fingers from one string to another to the extent possible. The hand just moves straight back in line with the neck.

OK, if your hand is very petite you may need a small amount of lateral elbow movement. Keep it small.

By the way, I was experimenting with how much ‘pressure’ I use with my chin to shift, in either direction. It is only enough to compensate for the frictional force generated by the hand sliding along the neck and string.

If your hands are clean, this should be less pressure than you would require for your chin BONE to engage the chin rest!

The left hand, then, is responsible for holding 50% of the weight of the violin and all of the finger pressure needed to depress the strings.

All the best,

Clayton Haslop

P.S. There is nothing better for developing the strength, flexibility, and independence of the left hand fingers than the double-stop exercises concluding Kreutzer’s book of Etudes. I have been doing them again myself to get back in top playing form after my time off. What I have to say and show you about double-stop playing in Kreutzer for Violin Mastery will give you startling results for the time invested.

When It Does Happen

As I write this I’m sitting in our living room listening to the soundtrack to the film ‘Ratatouille’. Wow, the energy is just EXPLODING out from the speakers.

I must say this is one brilliantly composed, orchestrated, and performed movie score.

And it does make a good jumping off point for talking about the most important ingredient of excellence, in any endeavor.

I’m talking about vision.

One MUST create a strong mental image of the goal you are trying to achieve.

For a violinist this means a sound, a color, an effect, or a musical intention, a location to shift to, etc. You hold it in your mind, emotionalize it; you take note of your progress, making adjustments as needed with each repetition.

A few days ago I began practicing again after a two-week hiatus. Let me tell you, I was stiff indeed. And though my muscles and tendons complained loudly, I did not back down. I demanded that my vision for the session be satisfied before letting them off the hook for the night.

When I began the session I really didn’t know HOW I was going to get there. The disparity between my vision and the state of my left hand was extraordinary. I worked up quite a sweat, and I endured more than just a little discomfort.

As I’ve said previously, the violin is NOT for sissies.

But there is ALWAYS a way, a path forward. So set your sights high. Magnify the vision in your mind, heart and soul.

Then, when it comes time to put the violin under your chin, assume that exquisite state where maximum relaxation intersects with the utmost in focus…and enjoy the ride!

All the best,

Clayton Haslop

P.S. Last night I decided to perform the D Minor Partita of Bach and the “Kreutzer Sonata” of Beethoven on the Biltmore recital kicking off the February Masterclass. These were favorites of my mentor, Nathan Milstein, and he played them both in his last public concert. I do have 2 seats remaining at the discounted tuition for this seminar. The bonus recital will be just the beginning of a memorable experience.

When It Doesn’t Just Happen

Yesterday I received an email from a woman in her sixties who has made excellent progress on the violin in three short years. She is, however, having some difficulty cultivating a vibrato, and asked my advice on the subject.

Previously she had been told that it would ‘happen naturally.’ Well, it hasn’t and she asked what she could do to help it along.

Unfortunately, the way I teach vibrato cannot be imparted in an email. One must see the exercises to really appreciate the motions of the wrist, arm, and fingers. I referred her to Kreutzer, Vol. 3 where I lay out my approach in some depth.

Volume 3 also addresses another query that arrived yesterday concerning shifting and the violin hold. Again, all the factors involved are impossible to impart in an email, but are covered in some detail on the DVDs.

These are excellent cases for the old adage, ‘a picture is worth a thousand words.’ In our case we’re talking MOVING pictures, which are even better. Mind you, I do have plenty to say while you watch my demonstrations. They’re both important.

So, if vibrato and shifting are techniques you want assistance with you know where to go. Online, Volume 3 is available only with Volume 4. Those of you reading this, however, may call in your order and purchase Volume 3 individually, should you wish to do so.

My recommendation is to take advantage of the multi-volume discount, get the whole set, and Go To School On It.

You see, it all works together; the left hand techniques, the right hand techniques, the practice techniques, all of it.

Recently a review was posted on Violinist.com which really sums up the value of the Kreutzer course beautifully. If you have the Kreutzer course I hope it inspires you to continue practicing what you have seen. If you don’t have it perhaps this will inspire you to claim it for your library.

So here’s what one fine player had to say:

“I congratulate Mr. Haslop on a job well done! This is an ambitious project in the undertaking. He is an outstanding teacher -- one of USA's best kept secrets (but hopefully for not too much longer)! I can see that he clearly wants to pass on his wonderful knowledge. There are only a few former Milstein pupils around, including Oliver Steiner and Dylana Jenson.

I have examined the dvd's that a friend purchased and was impressed. It was nice to see that Mr. Haslop and I shared similar teaching ideas. The video is very well organized.

There is a lot to be said, and this is a video that you can't just "turn on, watch, and then expect to miraculously turn into a Milstein, Jr.". You need patience and need to work hard. I think if you follow Mr. Haslop's suggestions, you'll find that your practice time of the Kreutzer etudes will be cut in half.

In addition, if you feel that you're already a "Kreutzer expert", then try to take the technical principles from these videos and apply to other etudes and repertoire. These principles just are not for Kreutzer. The successful students are the ones who can take Mr. Haslop or any teacher's ideas and "apply" them.

Thank you Mr. Haslop for your wonderful contributions. Your dedication is so much appreciated. You're a teaching genius!”

- Sung-Duk Song

Well, there you have some thoughts of a very accomplished violinist. And just so you know, we have never met.

Get a copy speeding your way.

All the best,

Clayton Haslop

P.S. If you’re already a Kreutzer Master you may want to go right into Paganini for Violin Virtuosity, Vol. 1.

How to Sharpen Your Vision

No, I’m not going to tell you to eat more carrots, clean your glasses, or consider Lasiks surgery. It’s vision of the musical sort I’m talking about today. And for it you don’t need those two, miraculous orbs in the front of your head.

Musical vision really takes place within the theatre of the mind, you see. And it can involve colors, picture painting, narrative, or even more abstract content.

But whatever it is, it had better be compelling to an audience when channeled into your instrument.

And it should be fun to do!

It’s the ultimate play, in many respects; like solving a puzzle, going on an adventure to a place you’ve never been, or mixing colors and playing with finger-paints.

I like to engage in this process even whilst doing scales - I certainly do it while playing Kreutzer and Paganini.

All you need to do to get the ball rolling is to open your mind to possibilities…and breathe.

Then, begin listening to the music, before playing a note. Once ‘the theatre’ is up and running let the inspiration flow down to your hands. Then the real fun can begin.

When something comes out of your instrument that doesn’t agree with the program, just stop, breathe again, and let your imagination find the adjustments to be made.

Then try again.

Sometimes you must really stretch yourself physically to get a result. This is good.

Sometimes you must take a risk musically - do something that is not even indicated. THIS can be thrilling!

Toscanini was famous for exhorting, “Play as written, now PUT something.” Both require images formed in the theatre of the mind.

You can bet your bippy we’ll be doing quite a bit of vision forming at the Masterclass/Seminars in January and February. Don’t miss out on these one-of-a-kind opportunities.

All the best,

Clayton Haslop


P.S. Those of you already registered in the masterclass/seminars will be receiving information on Hotels and Car rentals very soon. Cheers!

When to Belly Breathe

First things first, I’d like to thank all the people who have written in these past few days. I’ve had some wonderful responses to recent newsletters about the goings on in Vermont, and violin matters in general. Time has not permitted me to respond to each and every one, but rest assured, they have been appreciated.

Though I arrived back in Asheville without my number one fiddle, and determined to take a much needed break from playing, I’ve been more occupied than ever.

For one thing, the kind of preparation and focus needed for last weeks concerts left my five-year-old daughter getting the short end of my attentions for at least a good fortnight - I’ve been doing my best to even the score these past days.

And secondly, you wouldn’t believe how tall the grass was when we got home Monday night!

But let’s talk violin playing.

One of the questions emailed in this week concerns breathing. This interested client says he’s made great progress since incorporating the counting and visualizing habit into his playing, but is yet having a little difficulty with breathing. Specifically, he asks, WHEN do I breathe in a given phrase of music.

Before I answer let me just say how invaluable belly breathing is to your musicianship. It relaxes you, and it opens a clear channel from your heart to your brain and on down to the your hands.

Now, in the open string exercise that begins the Kreutzer course I do give some instruction on when to breathe for the purpose of that exercise.

But when it comes to playing actual music, and the counting is being done in my head and not spoken out loud, I allow my breathing to follow its own course. That is to say I just focus on using my diaphragm and on keeping the air stream moving, in and out.

The LAST thing you want to be doing as you play is HOLDING your breath. When you find yourself holding your breath you can be sure you have unwanted tension mounting inside of you.

Let it go!

You will NEVER play better for holding your breath in difficult moments. You must be ever mindful that your breathing is free and full. It’s as simple, and as challenging, as that.

Before I leave you I have just one last bit of critical information. The Novice/Intermediate masterclass is filling in beautifully, and I have sold out of the special low-tuition seats. I have, therefore, decided to open the advanced/professional class up to ALL-COMERS.

This should be great news to any serious violinist. Your tuition at this class, and this class only, will include a Full-Length Recital by yours truly and one tremendously gifted concert pianist. The wisdom I’ll be imparting after this special event will be out-of-this-world great. You can be sure of it.

All the best,

Clayton Haslop

P.S. What I do require for attendance at either class is familiarity of at least one of either the Kreutzer or Paganini courses.

Keeping Your Fiddle Ship-Shape

During my stay in Vermont I happened into the very excellent violin shop in Burlington. Good thing I did.

After playing one of the luthier’s own instruments I remarked, ‘You know, the strings feel a little low on this instrument.’

He did a quick check on them, said they were spot on, and then measured mine. They were high enough to be on a cello!

Now, you’d think after 4 decades of playing that I’d sense when something was going amiss with my fiddle. Normally I would, but in this case it was a very gradual change. The neck of my violin was gradually sinking toward the top.

Actually I do prefer my strings about a millimeter higher than normal - but not three.

There was nothing to be done about this before my concerts, so I played with a little cello under my chin.

I’m relieved to know, however, that my beautiful Storioni is in good hands now, and will be restored to perfect health in another week or so.

The bottom line here is that it’s important to have a trained expert take a look at your instrument, now and then. But there are a few things you can keep an eye out for.

Take a look at your bridge periodically to make sure it is at a 90 degree angle from the top and shows no sign of warping. Also look to see whether the strings, particularly the e string, are cutting into the wood.

If you hear a ‘buzz’ while playing you may have a seam open. And no, you don’t want to apply glue to any part of your instrument yourself! Any obvious cracks on the top or back should be addressed as soon as possible to keep them from spreading.

If the fingerboard seems loose; or is easily moved by grasping the neck and applying some pressure; or the strings are either excessively high or low, then a trip to a qualified repair-person is in order.

The key word is ‘qualified.’ If there is any doubt in your mind, do a computer search for the ‘Violin Society of America’ and locate a member in your area. If you live away from a major city you can SEND your instrument via one of the shipping companies. Just be sure you know someone will be present to receive it when it arrives, and that it is packaged properly – your repair person should again be able to advise you.

Of course you’ll want to change your strings at least every six months – I rarely go more than three.

It’s quite comforting to play an instrument that is in good health and set up properly. Last week I was forced to put aside my concern and do what needed to be done. Fortunately the neck held.

Now, I don’t normally do this, but I was so impressed with the Burlington Violin Shop and its staff – they have all trained and worked at internationally recognized shops – that I will give you their website. It is; www.vermontviolins.com

Try to speak with Kathy if you call, and tell them Clayton sent you.

All the best,

Clayton Haslop

P.S. The only thing more important than having a well-setup violin is a well setup technique. You know where you can get that now, don’t you?

All the Passion, and Solid as a Rock

Greetings from Newark airport. Last night I completed the last of my performing duties at the Vermont Mozart Festival by playing the Mendelssohn Concerto, in picture-perfect conditions, on the grounds of the Trapp Family Lodge in Stowe, Vermont.

Yes, the same Trapp family of ‘The Sound of Music’ fame.

After leaving Austria the family eventually settled under the shadow of Vermont’s highest peak, Mt. Mansfield, where they established a thriving world-class resort.

One of the Grandsons of Baron von Trapp was present for last night’s concert.

As I walked off-stage, the conductor, a fine maestro by the name of Peter Leonard, embraced me with genuine warmth, and exclaimed, “You are a true artist. You play with all the passion and yet are solid as a rock.”

Obviously, I was very touched by the compliment.

But the fact remains that what I’ve accomplished in music is the result of being ever on the lookout for better ways of doing things and for new sources of inspiration. I haven’t sat on my backside for the past 25 years thinking, ‘Yup, studied with Milstein, guess I know it all now.’

Can I still improve? You bet. One of the beauties of the violin is its inexhaustible depth. I love it.

I can say, however, that in the course of it all I have found some sure-fire practice techniques and playing fundamentals. They’ll get the job done in just about ANY circumstance.

In seven appearances in five days – one sprung on me with just 90 minutes notice – the venues ranged from a sweltering dry-docked ship, to a windy open-sided tent, to a stage under the stars, to a cavernous gymnasium.

The repertoire was as varied as the venues – two Mozart Concertos and his Symphony #32, led by me without conductor; the Mendelssohn Concerto; Milhaud, Piston, Bach, and Handel Sonatas; several Paganini Caprices; Ferdinand the Bull (violin unaccomp. whilst narrating the story); Bartok’s “Roumanian Folk Dances”; and the “Marriage of Figaro” and “Gondliers” as concertmaster.

And, of course, each performance had rehearsals as well. I was quite literally playing from morning ‘til night for 7 days.

The experience was a true test of not just my endurance and the way I play, but of the way I prepare as well.

Happily, I am more certain than ever of the value imparted in both the Kreutzer for Violin Mastery and Paganini for Violin Virtuosity, Vol. 1 courses.

By the way, have you seen “Ratatouille” yet? Got to listen out for the violin solos when you do. It’s a wonderful film. Pixar’s best so far.

All the best,

Clayton Haslop

P.S. In a couple of weeks I’ll be making an announcement that all beginning/novice violinists should be watching out for. Stay tuned for something unique and wonderful!

P.P.S. Though the Kreutzer and Paganini courses contain heaping helpings of what I know about violin playing, there is more. Come down to the Biltmore Estate in January or February and join me in putting it all together.

When at first you don’t succeed

Today’s title is the beginning of an old adage. Let me give you the whole thing, in case you’ve never heard it.

‘If at first you don’t succeed, try, try, try again.’

Like any such ‘saw’, it can be true, and it can be untrue. After all, as Einstein one said, insanity can be defined as repeating the same action over and over, and expecting the outcome to change.

So, to get at the truth one must take the lesson from each and put them together. In other words, when practicing, yes, you will repeat things many, many times. But in doing so you must be making conscious adjustments with EACH repetition, constantly refining your purpose and intention to reach Meaning-Full outcomes.

Outcomes that COMPELL a listener to pay attention.

When you have someone’s full attention you have, in essence, a client. No matter whether you’re selling a musical performance, an instructional DVD course, or shoes.

As you know, I arrived here in Vermont a couple days ago with a lot of repertoire on my plate. There were two sonatas – for violin and harpsichord – that I was having great difficulty feeling any connection to.

My partner in crime felt the same way as we began rehearsing yesterday. First rehearsal provided a good deal of improvement on one of them. Through creative repetition we found the way in, so to speak.

The other sonata, by Darius Milhaud, proved more elusive. After all, neither of us play 20th century music for this unusual combination with any regularity. Well, never, actually.

Today things took off. It was very much akin to my motorcycle riding experience of last weekend – Attention to a goal + Creative repetition + Relaxation + Rest = PROGRESS. By the end of the session today we were both grinning from ear to ear, and eagerly looking forward to bringing this music in front of an audience.

So, keep these 4 things in mind as you practice. When the creativity begins to drain away it’s time to rest. When the creative juices are strong don’t forget to breathe and stay relaxed – burn too hot for too long and you risk burning out.

Just for the record, I did not select these two works. In this particular case it seems to be working out for the best. Normally I want to know in advance that I have the ability to, in my mind, say something meaningful with a piece of music.

But before you can do anything with anything, you must have some technique. Pure, efficient fundamentals are the name of the game in this regard. Get yours honed to a razor’s edge with ”Kreutzer for Violin Mastery”. And we just happen to have a little elf in Asheville who can have a copy headed your way tomorrow, even while I fiddle away up here in Vermont.

All the best,

Clayton Haslop

P.S. And if you’re wanting to get up to Paganini speed, Volume 1 of ”Paganin for Violin Virtuosity” is the ticket. In either or both cases the same little elf will be doing what needs to be done.

Keeping Your Legato Pure

Keeping Your Legato Pure

Hi <$firstname$>,
There are few things in this world more pleasing than a truly legato line played well on the violin. If you can do this deceptively simple thing you will never lack for enthusiastic listeners hanging on your every turn of phrase.

But, as I said, this is a deceptively simple task to accomplish.

It requires a solid understanding of bow and left hand technique. And you must have some ‘musical vision’ even before you set bow to string.

Last night I spent a few hours with a very gifted young man working on this very ability. He played some beautiful phrases by the end of the session, and we both enjoyed a heart-warming sense of accomplishment at the conclusion.

So, what did we focus on?

Well, first and foremost we needed to even out his bow distribution. The open string exercise I placed at the beginning of Kreutzer, Vol. 1 is excellent for achieving this.

Many folks will unconsciously slow the bow down just before a bow change and speed it up just after. This results in the kind of ‘unsightly bulges’ in tone that’ll disturb a legato line like a stone dropped in still water.

We worked with vibrato as well. When you want to create a singing line you must decide exactly what the ‘color’ of vibrato is going to be, and then make sure you are using it consistently.

Again, there is a tendency to vibrate some notes more than others due to level of comfort, or discomfort, felt by each finger.

Once aware of this tendency it is surprising how fast one can make the small adjustments needed to balance the left hand and get the vibrato consistent from note to note.

Now, the ‘guiding light’ to all of this must be your musical vision. You can help inform that vision by breathing well, just as a good vocalist would do. It feels good and immediately transforms what comes out of your instrument.

In the course of the 3 hour ‘intensive’ we went considerably further than what I’ve just outlined. In fact, due to my new friends interest, he went from a ‘Franco-Belgian’ bow hold to a ‘Russian’ bow hold within the course of the lesson.

It was quite a transformation and one he was thrilled about.

In short, this is the kind of progress that comes from both the three-hour intensives, and the masterclasses.

The Novice/Intermediate masterclass is well on its way to selling out. So if you are serious about your playing and are still contemplating where you want to be come January 10, 2008, I’d get off the fence now and secure your seat.

We are going to have a great time!

All the best,

Clayton Haslop

P.S. The Advance/Professional class still has a couple seats left at the special low rate. And don’t forget, with your tuition to this class you will attend a full recital, with piano, of you-know-who playing some of the best-loved works ever written for the instrument.

A Trail Lesson

A Trail Lesson

Hi <$firstname$>,
Yesterday I arrived in Vermont to begin final preparations for the 5 consecutive days of concerts I will play beginning on Wednesday evening. Actually on Sunday I play two different performances, so in all it’s actually six concerts and some ten or so rehearsals.

If you’ve been reading lately you already know something of the solo, chamber, and orchestral repertoire I have to look forward to.

Today was my day of rest before the madness begins.

So, after a good practice session what better way of relaxing than by hitting the trail, and summating Vermont’s highest peak in the bargain. The trail was quite steep and exceedingly rocky, with water on it much of the way – one ascends roughly 2,700’ in less than 3 miles. Suffice it to say, on this trail you’d better mind your footing at all times.

As a climbed I played through some of the repertoire in my head.

Now, the demands of the trail made this rather challenging, especially since I was visualizing the actual notes as I did so.

There was, however, one practice habit I share with many of you that made this possible.

All the extra ‘brain power’ that came from verbalizing the beats in practice was available to me as I played passage after passage in my head, and simultaneously scanned the trail several yards ahead.

And given the steepness of the trail I was breathing pretty hard, full diaphragm breaths going right down to the navel. Just the kind you’re going to need playing at full tilt on the last page of the Mendelssohn Concerto.

Got back to the hotel room around six, made some supper, and did some more practice.

All in all this made for quite a beautiful day. The kind of day every violin lover should be enjoying with regularity.

All the best,

Clayton Haslop

P.S. Now, when I spoke of ‘verbalizing the beat’ above, if you didn’t know exactly what I was talking about, then the odds are pretty good you don’t have a copy of my groundbreaking course ”Kreutzer for Violin Mastery” in your DVD player. Do yourself a favor. Go on over to my web site a pick up your copy. There’s a ton of great coaching in the program along with demonstrations and accompaniments you can enjoy playing along with.

Move Through Your Fear

Move Through Your Fear

Hi <$firstname$>,
I understand that one of the great fears many people have today is that of performing before other people.

A couple weeks ago, just days prior to the Novice/Intermediate masterclass, I received a phone call from a participant who was having a severe case of cold feet over this very thing.

Naturally I persuaded him to take the plunge. And he came out the other side feeling better than ever about playing.

You see, performing in public is no different than executing any task you set for yourself. And when we fail at it, it is due to one of two reasons. Either we did not prepare well enough, or we allowed past feelings of inadequacy to spoil the show.

Actually, I find that most people have some combination of both.

My masterclasses are as supportive an environment for growth as you are likely to find anywhere. Why? Because first and foremost it is about getting the goals you have set for yourself accomplished.

Once you see the magic and exhilaration that comes with ‘slam-dunk’ preparation, the little monkey of self-defeatism on your right shoulder just slinks down your back and hightails it for the nearest zoo.

Some of the real highlights at the classes are when a player does something with real purpose and conviction, and simultaneously gains renewed confidence by seeing the response of the other players in the room.

Yesterday I announced the dates and special tuition rate available to the first six to sign up in each class. As I write this we have three seats left at the special rate for the Novice/Intermediate class and five seats left at the Advanced class.

Don’t let these rates slip away, now’s the time to act!

All the best,

Clayton Haslop