Violin Secrets / Violin Mastery

How To Get To Carnegie Hall

2008-05-15T12:15:00.000-05:00

You may’ve heard this one before, but I’m going to tell it anyway.

A young person, holding a violin case, stops a passing cab in New York city and asks the driver, ‘Can you tell me how to get to Carnegie Hall.’

The cabbie, without hesitation, quips, ‘Yea, practice.’

Yes, it does take practice if you want to take your fiddle onto the stage of Carnegie Hall. No getting around it. But certainly How you practice affects your chances of doing so as much, if not more, than How Much you practice – and yes, I do realize we don’t all intend or desire to get ourselves on stage at Carnegie Hall.

But I bet you want to make the best use of your time that you can.

Here’re a couple ways you can improve practice efficiency.

Don’t be in such a hurry to play fast. When I was doing a lot of private teaching I found that virtually ALL my students tried to play things faster than they were ready.

Big waste of time.

Now, don’t just drift along playing slowly either. The point of slow practice is to get your hands AND mind around the music. This means inputting into your brain all the physical feelings associated with carrying out the music. It means making sure you are moving as efficiently as possible, playing in tune, coordinating shifts and string crossings to perfection, etc.

When you make a mistake, pause for a few seconds to allow your body and mind to sort itself out.

If you want to see a picture of somebody being ‘reined in’ for not taking time to Think, go to my website and find the picture of Milstein
standing next to me restraining my bow arm. I was being guilty then of exactly what I’m preaching about now. I’d made a mistake, and immediately launched back into the passage, making exactly the same mistake again.

It’s one of the biggest lessons a player can learn. Take a moment, breathe, visualize what you want; then repeat.

Now, if the same mistake happens a third time, look for some underlying cause for the problem; a bad fingering or bowing, trying to play too fast, incomplete visual picture, etc.

And finally, use your imagination to listen objectively to what you are doing – ‘How does what I am doing sound to someone seated across the room.’

This is a handy way to put yourself on the spot. To get the juices flowing and your best efforts coming forth. I use this tactic all the time.

From what I’ve said it’s pretty evident what a successful practice session requires is a high level of consciousness; not just of what is, but of what can be as well.

The beauty of my instructional courses is they keep the visions you want to have right in front of you. They show you the goods, and they show you how to get them. Kreutzer for Violin Mastery is the perfect choice for intermediate players.

All the best,

Clayton Haslop

P.S. This morning I spent time on month 8 of my Beginners Circle Members have been taken from picking up the violin for the first time to playing real repertoire – this month a Tango by I. Albeniz. Along the way I’ve been imparting all the goods on quality violin playing.

Set Your Memory in Stone

2008-05-13T12:04:00.000-05:00

Yesterday I got a question about memory from a gal set to play the last movement of Lalo’s ‘Symphonie Espagnole’, no small accomplishment. And by the way, it’s not just any performance, it’s her violin jury at school.

But there’s a problem.

It seems she has difficulty remembering music when playing in front of others. Says she’s fine in the practice room, but loses it rather badly when there’re live bodies about.

I know she’s not alone.

In my early days my memory failings were almost legendary, at least to me. Every performance felt marred, to the point I left off playing from memory completely for several years. I just wouldn’t do it.

Is there any shame in that? No, I can’t say there is, really. But yet, at the end of the day I wanted to taste the feeling of freedom I knew accompanied the ABSENCE of a music stand. And I couldn’t help feeling a little silly playing well-traveled concerti with the music in front of me.

So I began turning my fear around. I made it my counselor and not my enemy. I used it to inform the process. I invited it into the practice room with me and I competed against it.

As a result I began to learn How to memorize for the first time. No more rote playing for me. I made myself see the music as I played, every note of it.

And while I saw it and played it I counted it, and I breathed relaxation into it.

And then finally, when I felt ready for the ultimate test, I brought an imaginary audience into the room and tested my visual/sensual/auditory memory against them.

Those audience members weren’t just anybody. Heifetz, Milstein and Kreisler were sat down in front of me. And they didn’t leave ‘til I sensed they’d truly Enjoyed what they heard.

You see? If you have a question as to the worth of your music making, you’re very foundation is shaky.

This is how you set memory in stone. Playing through, playing through, and playing through are like building a house of straw. I little blowing wind and you’ve got cow feed.

You’ve got to make it Matter. Matter like your life depends on it.

And in case you think that’s not a very good image, ‘life depending on it.’ One time I asked my father about being afraid in combat, he was in the last ‘Great War.’

He said, ‘Actually I was too busy minding how I was using my gun. Not allowing it to over-heat, not shooting off the tail of the airplane accidentally. That sort of thing. I was too busy to be scared.’

Well, that’s how I feel when I perform for memory. I get myself so busy remembering I don’t room left for nerves.

You can’t pussy-foot around with memory. You must treat it like any other kind of conditioning. You must have technique, and no stone can be left unturned.

By the way, my young friend says she’s saving up for Paganini for Violin Virtuosity. When she gets it she’ll be building the house of her technique out of stone too.

All the best,

Clayton Haslop

P.S. Oh yes, today is Tuesday. On every Tuesday this month I’m reminding folks that 15% of all investments in Violin Master programs go to help parentless kids in Zimbabwe receive the gift of violin study, free. Intermediate players can help others And themselves by joining me a thorough study of the violinists Bible.

They Got Me for a California Stop

2008-05-12T12:56:00.000-05:00

Yesterday I received a little nicety in the mail informing me my credit card had been automatically docked $100.00. Seems I was caught on camera in my last rental car for ‘failure to stop where posted.’

When the ticket came back to the rental car people they just paid it. I was accused, tried, convicted and charged without even knowing a thing about it.

Gotta love all the wiz-bang gadgetry we’ve got today.

Now just so you don’t think I’m a reckless menace on the road, forgive me if I tell you just how ticky-tack this violation was.

I was coming out of a parking area for some hiking trails in the Santa Monica mountains. As I approached the stop sign in question I was going about 5 miles an hour, and I had a clear view of the street I was turning right onto for a good few seconds.

There was no chance of my not seeing traffic coming from my left.

It was a bogus ticket if ever there was one.

By the way, that ticket came from the California Parks Authority. Seems they’ve found a great cash cow to offset budget cutbacks. Bet they’re doing quite a business on that little stop sign.

Alrighty, now that I’ve got that off my chest let’s turn it around and see if there’s anything that can be learned about violin playing from the experience.

Phrase endings in music are a lot like stop signs. Only difference is, in music they’re not there to check for onstage cross-traffic.

They give the music punctuation; they allow it to breathe. And they allow the meaning of the music to sink in to the listener.

Phrasing is almost synonymous with breathing, actually. The better a breather you are the more likely you are to give phrase ending their full do. But as those of you with some experience reading these newsletters know, it’s not just any kind of respiration we’re talking about here. Shallow, chest-heaving gulps aint going to get it done.

The real action is in the diaphragm, aka belly.

Now, all my courses talk about this and give you insight into how to do it. But the best little lesson you can get on this indispensable and neglected skill is found on a DVD called Dynamic Breath Control for Violinists.

All the best,

Clayton Haslop

P.S. Just finished recording a great set of lessons for my Allegro Players yesterday. This is a wonderful program for lower intermediate players needing a few more ‘chops’ before heading into ‘Kreutzer for Violin Mastery.’ Come take a look.

How Fast IS Too Fast

2008-05-09T10:54:00.001-05:00

When I was an even younger bloke, quite a few moons ago, my teachers would often complain that I played too fast. But though I understood the words they were speaking, and would try to oblige them, I usually found myself slipping back up to warp speed before I knew it.

I just couldn’t seem to help myself.

Then, I didn’t know the secret of control. In fast tempos I was like a train on a downhill roll without a brake to pull. And to be honest, a part of me thought that was the way it should be.

You know, I used to think I was getting a compliment when people said things like, ‘Wow, that sounded Hard,’ or, ‘I’m still trying to catch me breath after what your just played.’

But as I grew I finally began to realize that brakes weren’t just for sissies. But I hadn’t found one that never failed me.

Milstein used to say, ‘Vhy you run away. Play the ‘armony.’ And to a degree, and for some music, this helped. But it didn’t solve my little problem completely. In some fast music I just couldn’t seem to grab hold of the harmonies enough to use them effectively, every time.

Then I discovered counting. No, not the toe-tapping kind. No way that could keep the likes of me in check.

What I’m talking about is the real McCoy, the pure, verbalization-of-the-beat kind. It’s the kind that makes you Think, and Keeps you thinking.

Now I’ve got a monster-size brake at my disposal. And when you’ve got a brake, the listener Gets a break, know what I mean?

After all, even the fastest music has cadence and structure. If you’re rushing through it like a run-away train, none of that detail is going to register with the audience. Why, they’ll be too busy praying that when the train jumps the track it won’t take them with it.

Now, you know how I talk about velocity. I’m all for it, believe me. But not when it’s reckless, heedless, or out of control.

And this kind of control is precisely what’s needed in Paganini. You’re going to get it in spades when you spend time with Paganini for Violin Virtuosity, Vol. 1.

All the best,

Clayton Haslop

P.S. The secret of counting isn’t the only thing an advanced player will take away from the Paganini course. All manner of ‘tricks’ are revealed in ways that make them doable for just about any player.

Rubbing Your Belly and Tapping Your Head

2008-05-07T10:28:00.000-05:00

Last night after supper my daughter and I played ‘challenge.’ It’s a little playful game we do together, kind of like ‘follow the leader.’

In the course of it I challenged her to rub her tummy and tap her head, at the same time. We both had a good laugh as she struggled to overcome the tendency for her dominant arm to over-ride the other.

Her hair got pretty messed up in the process.

After a several attempts I had her do one at a time. Then I asked her to do them both together, but slowly.

Bingo, in less than a minute she had it down.

Now, if you think about it, violin playing is really just a more sophisticated variant of this challenge. Granted, the movements of each side are much more complex and nuanced.

But the idea of isolating each side and understanding them completely before putting them together is incredibly important. And once you Do put them together it is equally important to do it Slow Enough that you can get your mind around both simultaneously.

Every time I pick up the violin I remind myself of what each side is doing. I ‘feel’, in my mind’s eye, the horizontal flow of my right hand in a straight line through space. On my left side I feel the violin freely resting on my shoulder and nestled in my left hand. And I visualize my fingers moving lightly, independently, and yet in the context of a consistent hand position.

Of course things do get a little more complicated than that. But everything you do on the violin is Vastly more doable if you keep these basics in mind.

And I mean as deeply in mind as your appreciation of beauty, and your love of truth.

You see, the love of beauty and truth are the fuel you need to stay the course, to piece through the fog of confusion.

‘Course it certainly helps to have a good example to follow – that’s what my courses are for, in case you haven’t figured it out!

This month the vanguard of my Beginners Circle are getting a very comprehensive look at shifting and vibrato.

All the best,

Clayton Haslop

P.S. In case you didn’t know. Both the Beginners Circle and the Allegro Players – my more advanced monthly program – give you weekly lessons on DVD along with music and written notes to follow. And they leave no stone unturned on the path to mastery. Find the ‘Allegro Players’ at http://www.violinmastery.com/allegroplayers.htm

Catalogue, then Keep Score

2008-04-23T12:22:00.001-05:00

Yesterday I wrote of Kreutzer #1. Today I spent time whirling through #23, a close cousin. You might call this Caprice, ‘flights of fancy.’

The utility of it is in developing skills for cadenza playing. Held notes, with fermatas over them, are followed by extended flurries, sometimes called ‘melismas’.

Many require quick shifts of the hand. Many have an abundance of fast string crossings. And all must come off fluidly and effortlessly.

The game of mastering #23, and I assure you it’s a lot of fun to play, has two parts. One, is take the ‘flurries’ apart, piece by piece, catalogue them, and store them up in your mind.

Part two has to do with keeping score.

When it’s time to put all the pieces together and give it a whirl, you’ve just to conjure those catalogued ‘bits’ and tick each one off as it flies by.

‘But I’m sure it’s not so easy as all that,’ I hear you object.

Well, not quite. You DO have to understand how to shift with absolute efficiency. You DO need to know how to cross strings without creating huge waves in your wake. And you DO need to understand some rather important things about bow control and finger velocity.

But those secrets are the very stuff of Kreutzer for Violin Mastery volumes 3 and 4.

Now there IS a small fee involved, ‘tis true. But violinists of a certain accomplishment, who nonetheless lack critical bits of insight, will find them worth every shekel.

And, as I said yesterday, there’re another 20 Caprices in the volumes. Should keep you growing as a violinist for some time to come.

All the best,

Clayton Haslop

P.S. After getting my juices flowing on old #23 I skipped over to Paganini #16 and had a more stormy romp. Got some secrets to share with you on that in Paganini for Violin Virtuosity, Vol. 1. Are you game?

What Is Your Range of Expression

2008-04-22T11:56:00.000-05:00

This past Sunday I opened the door to a violinist come all the way from Hartford, Conn.. Two flights and a night in a local hotel were just part of the admission price, but she wasn’t agoin’ to allow anything to stand in the way of her pursuit of excellence.

I felt honored and inspired to give her the best I have to offer.

She’d brought two exquisite Caprices of Kreutzer to play as well as the Joachim cadenza to the Mozart A Major. I say ‘caprices’ because Kreutzer himself titled his best-known opus ’42 etudes or caprices’. These two, #1 and #23, are most definitely in the category of the latter.

Oh, and in case you don’t know. A caprice is more than an etude. A caprice has Musical value, and as such is often worthy of concert performance.

Kreutzer #1 is extraordinary. Technically it requires tremendous bow arm and left hand control.

The tempo is Adagio Sostenuto. The phrases unfold in slow motion. A player must possess extreme patience, self-discipline and pin-point accuracy.

This caprice begs every ounce of passion a soul can offer, but while doing so he must account for every millimeter of bow spent, every gram of arm weight applied, and every meeting of finger and string.

The faint of heart stand will forever remain on the surface, like little water bugs flitting about the surface of a pond. The reckless, who greedily plunge into the waters like hungry ducklings, will find themselves quickly bobbing back to the surface gasping for air.

Kreutzer #1 is for the sober minded; for the violinist with deep, self-directed passions. And it’s for the violinist with a keen appreciation for detail, subtlety, grace and nuance.

In volume 3 of Kreutzer for Violin Mastery I share a great deal of the wisdom I shared on Sunday morning. No, I won’t lie and say it’s Everything I can say in a 2 and 1/2 hour ‘intensive’, but it will surely get you well on your way.

AND you have the benefit of going on to great coaching on 20 additional etudes and caprices.

All the best,

Clayton Haslop

P.S. Yesterday month 7 of the Violin Mastery Beginners Circle program went out, This month it’s vibrato, third position, and entry level shifting that’s filling the instructional DVD and notes. And any new comers who invest in a one year subscription can have this and all the previous 6 months sent out together in one, arm-straining package.

A Well Disciplined Ego

2008-04-21T09:38:00.001-05:00

Yesterday I received an email that got me to thinking. It seems one our subscribers has a little challenge with nerves. Well, maybe it’s not so little.

His bow not only shakes, his right hand has a rather distressing way of creeping up the bow while he is playing – must admit, this is a new one for me.

In any case, this certainly doesn’t sound like a very enjoyable experience.

So what is this thing with nerves that gives so many of us trouble.

This morning it hit me.

It’s a Lack of Self Discipline.

Alright, alright, don’t get all upset at me now, most of us DO feel nervous before a crowd of listeners. For some it takes only one.

But the fact remains that the fear of judgment can only exist where ego exists. And what good is an ego doing you if it’s causing you the loss of pleasure, just because some Jack or Jill is within earshot?

Not much.

So let’s get rid of them I say. They represent wrong seeing. A mistaken set of priorities. A misunderstanding of self worth.

Everyday you practice, seek only after joy. Don’t be content with mere self-satisfaction.

True Joy is untouchable by ego. It vibrates on another level. In order to experience joy you cannot be in conflict. You cannot compare your accomplishment against another’s.

Therefore you exist in a state of peace.

It’s all well and good to have goals; to be the best you can be. But if your goals are a sword by which you live, surely you will die by it.

Only a fool rich in pride thinks this becomes a life.

The measure of an artist, in my book, is authenticity. Authenticity is informed by the love of truth.

The truth is that, ultimately, you can take no more credit for drawing a bow across a string than you can the creation of the heavens.

But what you CAN do is allow the bow to be drawn.

Find the spirit, the passion in the music, and allow yourself to be moved by it. At the same time question the Authority of your ego. By what right does seek to censure your true birthright, the expression of joy.

Now, I know what I’ve just been moved to write is not quite what my subscriber expected from me. But it is truly at the root of his discomfiture.

Naturally it is good and decent to put your best foot forward when you go out to perform. Toward that end you must prepare well. You must warm up before going on stage.

You must breathe.

And you must surrender your ego at the stage door.

All the best,

Clayton Haslop

P.S. Yes, preparation is essential. And many a secret of successful preparation can be found in Kreutzer for Violin Mastery.

From a Resolution Comes the Resolution

2008-04-16T10:11:00.000-05:00

I was struck by an interesting thought, just now. You’ve got to GET resolved before you CAN resolve.

For the past several days I’ve been wading into some pretty deep waters, technically speaking. Specifically it’s a brew of Paganini Caprices; V, VII, XI, XV, XVII, XX, and XXI, to be specific.

Yes, I’ve gone through these before, a couple of them in considerable depth. But this time I’m looking to raise the bar a couple of notches.

It’s also said, by the way, that necessity is the mother of invention.

A few days ago it became clear that my body needed better direction from my brain. The input my hands were getting wasn’t sufficient to get the job done with some of this stuff.

Greater powers of resolution were called for.

So I ramped up the fires of my resolve and began SUB-dividing every beat as I played. Even whilst playing FAST. And as I do this I’m being quite decisive about it, let me tell you. There is no question that my hands will not know what to play, and when to play it. Period.

Sometimes counting just the beats isn’t enough. The hands can ‘get lost’ in the in-between notes. So you’ve got to get right in there, at a cellular level, and tell them what you want. And with some Energy behind it.

Go ahead, kick a little rear-end.

If you’re working with one of my courses presently you already know how much stake I put on this. Now I’m encouraging you to ‘ramp it up’, for even greater results.

All the best,

Clayton Haslop

P.S. Now, some of you have a question in your mind as to where you fit in with my various courses. Kreutzer for Violin Mastery is best suited to players beginning to get into the upper positions – fifth and above. Violin Mastery’s Allegro Players is for those becoming familiar with the lower positions. And the Violin Mastery Beginners Circle is for those beginning, or who are familiar with first, and maybe third position.

What I Get From Shadow Playing

2008-04-14T10:09:00.001-05:00

You may find this a little hard to believe, but just a few months ago yours truly found himself striding through the hallways of the Tampa ‘Marriott’ working up quite a head of steam, whilst playing through the Bach Chaconne.

Now as odd as that may sound – in the Hallway of a Hotel? – I was doing it without making so much as a peep.

I was, in fact, playing on thin air, not a violin in sight.

I guess you could call it ‘shadow playing.’

But at least I can say this for myself. I wasn’t the only one looking quite silly on that day.

You see, my wife and I were attending a ‘personal development’ seminar. We had been given the assignment to ‘shadow play’ an activity around which we had fears or mental blocks.

For 15 full minutes we all scattered ourselves around the ballroom and immediate hallways gesticulating in all manner of silly ways.

Writers were pounding away on imaginary keyboards; fearful public speakers were giving silent orations, arms sweeping to and fro.

And then there was the violin player.

At first I was astonished at how foolish and awkward I felt. After a minute or two I dropped my arms with the thought, ‘this is too ridiculous’.

But then, looking around and seeing the others still going at it, I shouldered my imaginary violin once again.

This time I exercised myself on that invisible fiddle. I willed every note into being. I felt the bow travel over the strings. I put my vibrato on ‘ultra-passionate’ mode. And the fingers of my left hand were held accountable for every note of every chord.

Let me tell you, I worked up quite a sweat in those few minutes.

I also exposed many a weak spot in my armor. I thought I KNEW the Chaconne when I started. But I was forced to concede that I didn’t know it beyond a ‘shadow’ of a doubt.

If you think you know a piece of music, try putting you violin aside and shadow playing it with every finger placement and bow stroke in place. You just might be in for quite a surprise.

Now I’ve found this to be a powerful exercise to use at all stages of learning a piece.

If you give it a try, don’t be discouraged if you find it difficult at first. But do ‘hold your feet to the fire’, as it were. It takes a lot of mental toughness to move your fingers correctly with a violin in place. It’s even tougher to do it without.

But the payoff can be huge.

All the best,

Clayton Haslop

P.S. Speaking of big payoffs. I’m just putting the finishing touches on the 1st month of the ”Allegro Players” intermediate program. It’s still not too late to be part of the vanguard of players who will benefit tremendously from this instructional DVD course.

How to Sound Like a Pro Wrestler

2008-04-10T10:17:00.001-05:00

Last night my wife and I were at it again. No, not being disagreeable to each other; and not getting all lovey-dovey neither. We were in front of the old teevee watching skaters.

It was the men’s ‘long program’, we’d taped from the International Championships a couple of weeks ago.

Now, if you’ve ever tuned in to figure skating, you’ll notice that they often skate to violin music. Small wonder when you think about it – bow flowing over strings, skates gliding across ice, nothing could be more appropriate.

So last night one of the skaters chose ‘Winter’, from Vivaldi’s ‘Four Seasons.’ You’d think it’d be a good choice except for the fact that the last moment portrays skaters falling to the ice – I doubt many in the audience caught the irony.

But that wasn’t the only disconnect for me. I had a problem with the way the violinist body-slammed his or her way through the piece.

It’s not to say the mystery violinist couldn’t get around the notes. He did, with tremendous velocity.

But she – I have to switch genders so’s not to come off sexist in my criticism – had an unfortunate way of slamming the bow into the string to make accents.

So yea, if you want to play like a professional wrestler get in the habit of doing the same. Start with the bow, oh, some ten to twelve inches above the string and slam it down on the string as you begin the bow stroke.

If you do it just right, in fact, you’ll produce a fast, ripping scratch before any tone manages to surface.

Ah, what joy!

Allrighty, enough sarcasm for one day. Let’s get serious.

First off let me say that this kind of a stroke CAN make sense in some more hard-edged 20th century music – Bartok, Dohnanyi come to mind. But in the Baroque, no way.

You see, in Vivaldi’s day the bow itself was shaped differently than the modern bow. Try what the mystery-man was doing with one of those and you might break your nose when the bow rebounds back off the string.

Further, to me this is the lazy person’s way of making an accent. It sound’s so careless and uncultivated.

Now, correcting this habit would take a little patience and some slow practice. It’s an art to PLACE the bow on the string just prior to the outward FIRING of the bow.

Off hand there are two courses of mine I can think of that specifically address this form of bow control. One is in ‘Bach and Kreisler for Violin Artistry’ - at the end of the Allegro section of ‘Praeludium and Allegro.’

The other is in the 8th variation of Caprice #24 which you can find in Paganini for Violin Virtuosity, Vol. 1.

But just to get you started, remember this. Violin playing, as I’ve written before, is largely a horizontal game. You get scratch, not tone, when the bow is propelled vertically to the string. You need timing in combination with relaxation to place the bow in contact with the string at the instant just prior to the firing of the bow.

All the best,

Clayton Haslop

P.S. This kind of bow control will certainly be part of the Violin Mastery’s Allegro Players program that is just getting started.

What It Really Means to 'Feel the Music'

2008-04-09T10:01:00.001-05:00

Most all of us have been told, at some time or another, that ‘you’ve just got to feel the music.’ Now, I don’t know about you, but on the occasions I’ve had this said to me I felt more confused than enlightened.

You see, many teachers, who more likely than not possess a rather limited teaching vocabulary, resort to such statements when they run out of things to say. In such cases a better alternative would be the more honest statement, ‘I don’t know what to tell you.’

It’s much different to feel music as a listener, which is a emotional response, than it is to EXPRESS music as a player. A player must have tools with which to translate the emotions he or she might feel as a listener into physical sensations and actions taken on the violin.

In fact it is just this complex dance that makes playing the violin one of the most challenging things to do; one of the most engrossing things to do; and ultimately one of the most satisfying things to do.

So you’ve got to have technique.

So how do you get technique. Well, you get technique by feeling, actually.

‘Now, wait just a doggone moment,’ you say. ‘You just said before that being told to ‘feel the music’ made you confused. Now you’re as bad as the teachers you just talked about.’

Hang on, hang on, I’m talking about feeling in a very different way. I’m talking about taking the time to FEEL THE PROCESS of playing the music, not the feelings that arise out of the music BEING PLAYED.

You see, the feelings that arise from the music are based on past events. The feelings of process HAPPEN IN THE MOMENT.

This is why many violinists get stuck in their playing. Either out of lack of patience, lack of focus, or lack of knowledge, they try to jump into the future – the LA-LA land of emotional feeling.

It’ll never work.

And similarly, when someone says, ‘you’re thinking too much.’ It can only mean ‘you’re thinking wishfully,’ which is not really thinking at all.

It’s daydreaming.

Nobody’s playing EVER suffered from an over abundance of ‘process thinking.’ Process thinking is about visualization and intention. It’s about discipline and self-direction.

If you’re still with me, let me say one more thing about all this. Most of us do need direction. We need help figuring out What to Feel and What to Think to play effectively.

After all, I spent 3 years chasing Milstein around the world for just such help.

Fortunately for you there’s a better alternative. Specifically in the form of the instructional DVD courses I’ve created for you.

And the latest of these is a terrific, new monthly program of study for lower intermediate players. Just yesterday my web master put a whole blurb on the website about it. Why not take a look. It may be just what you need to break through to a whole new level of playing.

All the best,

Clayton Haslop

P.S. And don’t forget. If you’re in the very beginning stages of playing there’s the Violin Mastery Beginners Circle. Because getting started on the right foot sure beats the alternative.

Why These 2 Are 'Must Dos'

2008-04-07T10:19:00.000-05:00

Sir Thomas Beecham was an interesting case. He came from a family with oodles of munny – ever heard of Beecham gum? – and he found a most unique way to spend his inheritance.

He used it to create orchestras

Which he then conducted.

By the early 1960’s London had 5 major orchestras. Sir Thomas had founded 3 of them. While he was at it he became the most celebrated English conductor of the 20th century. And certainly it’s most colorful and charismatic.

‘So why,’ you’re wondering, ‘are you talking about bygone English music history?’

Well, because Sir Thomas said something very interesting. He said, ‘A great musician must combine the maximum of virility with the absolute of sensitivity.’

Now I think that statement can be taken many ways.

Virility certainly has to do with libido, which has to do with the drive to DO, which has to do with intense focus.

Sensitivity has to do with receptivity, which has to do with letting go, which has to do with relaxation.

The two are seemingly diametrically opposed, it would seem. How can we have BOTH at the same instant?

Because we MUST.

But not always in the same measure, mind you.

If you’re familiar with the symbol on the Korean flag you’ll remember it as the symbol of yin and yang. Within a circle are 2 paisleys of opposite color; one yin, one yang. And within each paisley is another small circle of its opposite’s color.

This symbol shows that even in a moment of maximum yin energy, there exists an element of its opposite, yang.

Now getting back to the violin. Today I was playing some highly virile music. Music that could easily tie me up in knots of tension, were I not ‘letting go,’ breathing, and otherwise maintaining myself in a relaxed state.

I’ve watched a lot of people ‘practice’ the violin, over the years. And I’ve seen many lose focus – i.e. virility – in slow music, and lose their composure in dramatic, or virtuosic music.

This is way I liken the ‘practice’ of the violin, whether in performance or in your living room, to a meditation. Both combine discipline and focus with relaxation and receptivity.

Becoming skilled at ‘violin meditation’ requires practice and know-how. Each of my ‘learning the violin courses’ provides the know-how needed by players of a specific level. This morning a strong intermediate player made an excellent choice by acquiring all 4 volumes of Kreutzer for Violin Mastery.

All the best,

Clayton Haslop

P.S. If it seems I talk about meditation a lot relative to violin playing. It’s because it’s the way I experience it, each and every day.

How a Violinist 'Holds an Edge'

2008-04-04T09:23:00.000-05:00

Last night my wife and I watched the Ladies ‘Long Program’ from the World Championship of Figure Skating. As always, we saw some great stuff. And let me tell you, figure skating has a lot to teach violinists. Here’s why.

One of the most important fundamentals of figure skating is having the ability to ‘hold an edge.’ As you must know, a figure skate is ground flat on the bottom, producing two edges, an inside edge and an outside edge.

If you’ve ever observed first-time skaters – or been one yourself – you’ll remember the shuffling/walking kind of step of the complete neophyte.

The body is rigid and straight up and down. There’s about as much real contact with the ice as my daughter had with the strings of her violin the first day I gave it to her.

Only with time and practice does a skater learn to lean, and begin to exploit the skate’s edges.

The next step is to truly get ‘into the knees’, and this too requires control and practice.

Well guess what, my friends. Gliding beautifully across the ice holding an edge ‘deep in the knees’ is so analogous to producing a glorious tone on the violin it gives me shivers.

Getting ‘into your knees’ is the equivalent of bending the stick of the bow. Not with tension and muscle force, mind you. With relaxed arm weight, augmented when needing with smooth, controlled, and specific muscle contractions – can’t stress enough how proper breathing helps this.

‘Holding an edge’ is the slight tilting of the bow, and the conscious, seamless, and continuous horizontal drawing of the right hand through space.

Now, this morning I was also preparing for an ‘intensive’ on the first movement of the Mendelssohn Concerto. What a great piece to bring this kind of tone production to.

Just think of the flowing eighth notes that begin the development section and you’ll know exactly what I’m talking about.

But the absolute masterpiece for cultivating the ABILITY to ‘hold an edge’ and ‘get into your knees’ where tone production is concerned, is Kreutzer #1.

And to think many violinists never even PLAY it.

Well, I do. And when I do it requires about 10 minutes to go through it once. It’s that slow. And it should give you some idea of the ‘edge control’ needed.

Granted, old #1 is a pretty advanced exercise. So much so that I’ve saved it for Volume 3 of ‘Kreutzer for Violin Mastery.’

So if you’ve been wanting to improve your tone production and need some real insights to make it happen. Here’s the link to get you on the edge, but not over!

All the best,

Clayton Haslop

P.S. I’ve got my web master working furiously to get my new lower intermediate monthly program up on the web site. I should have some news in this regard later this afternoon – keep an eye on that in-box.

Get a Beginner’s Mind

2008-03-31T12:18:00.000-05:00

Yesterday afternoon I spent the better half of the afternoon biking through the rural mountains of Western North Carolina. To say it was picturesque would be an understatement.

But there was something that occurred to me in the midst of all the beauty that I thought to share with you.

You see, at a certain point I noticed that the spiritual high induced by the vistas and floral display was growing dim. It was the less-than-pleasant feeling in my legs that was holding sway in my consciousness.

Now, you may be thinking, ‘why didn’t you just stop, and give your pins a rest?’

A good point, but the situation was this. I was riding with a friend who is training for an ultra-distance race. I didn’t want to interrupt what was for him a training ride, albeit a light one.

Well, anyhow, I realized that I had to not just exercise my legs, I needed to stretch forth my inner discipline.

When we had reached the first vista of the ride I’d seen it with what your could call a ‘beginner’s mind.’ A mind fresh, and non-judgmental. As I got into the ride that mind began making judgments as to what should or should not be of importance.

And it was siding with my legs and lungs.

Once I saw this, I thought, ‘Hey, this is MY life, and right now I’m going to focus the things I want to see.’

So I burst out laughing, and shouted to my friend – who was a few hundred yards up in front – ‘Hey, isn’t this a sweet ride?’

‘Sure is,’ he returned.

And on we went.

No, the pain in my legs didn’t disappear completely. But I did stop allowing my mind to bitch and moan about it, and I did reach out with my consciousness to visual feast flowing by me.

Now, the same rules apply in violin playing. It is easy to get pulled down when the music’s hard and your back feels like a hot iron’s being pressed against it. Believe me, I’ve been there.

But that’s when you really have to dig deep, set your focus to right, and reposes your ‘beginner’s mind.’

By the way, I did not coin the expression. First time I saw it was in book title by a great Zen master by the name of D. T. Suzuki. Do you know of him?

All the best,

Clayton Haslop

P.S. And still speaking of Beginner’s, this morning I had our assistant put together 2 more Beginners Circle courses with the first 6 month’s material. So if you’re ready to adopt a ‘beginner’s mind’ relative to the violin now’s the time to hop to.

When to ‘Take It from the Top’

2008-03-27T10:53:00.001-05:00

Ok, got the day right now, so I’m settin’ in the doc’s sky-lit waiting room for my annual check-up and oil change. Thought I’d use the time to talk about ‘taking it from the top.’

Yesterday I received a query – that’s British for question – about whether it’d be appropriate for him to get the Beginner’s Course even though he’s been playing Suzuki for 10 months.

Well, I’ve been thinking about that.

First of all, getting off on the right foot is essential. Can’t stress that enough. Now there are a lot of people out there teaching the violin. Many will be excellent and give you great council.

Unfortunately many will not be. So how does one know the difference.

One good indicator, though it’s not fool-proof, is the teacher’s own playing. If he or she has chops, and plays with passion, chances are she will stand you in good stead.

Another indication of a teacher’s skill is the quality of student coming out of his studio. If you’re wanting to confirm your choice of teacher, go to a student recital – virtually all good studios schedule them every 6 months or so – and ‘take a pulse.’

If you hear confident, well-tuned, easy looking playing, you’re putting your trust in the right place.

On the other hand, if what’s coming out of the students resembles a cross between grandpa’s snoring and a stirred up bee-hive, you might want to steer clear.

But even if you’re relatively confident, I think the Beginner’s Circle a highly valuable supplement to most private study.

The subscriber that wrote in, for instance, is being instructed in the Suzuki program. After 10 months he is still in book 1. In my program players are learning how to shift and play in position at month 6. Next month they begin learning vibrato.

And they are acquiring really good practice habits and fundamental skills along the way. Bare in mind, my course is geared toward adults. Suzuki designed more with kids in mind.

So the bottom line I advice I offered my subscriber friend was this. ‘Seize the bull by the horns’ and purchase the full year of the Violin Mastery Beginners Circle. I’ll send the first 6 months as a package, figuring he could work through them relatively quickly, getting up to speed with my approach and practice techniques.

After that he would at the least have a great supplement to the Suzuki program, and quite possibly a new option giving even better results.

This is the first time I’ve made such an offer. Up until now I’ve only sent out the course monthly in sequence. Now I can see the value of sending 6 months of program at one time, especially to those already up and running.

If this sounds like a good idea for you, either give me a shout on the phone number below, or go ahead and order the full year on line. Then just use the ‘comments’ section to indicate you want the first 6 months as a bundle up front.

All the best,

Clayton Haslop

P.S. By the way, I’m excited that Beginner’s Circle members will be starting to vibrate next month. Not that we aren’t all doing so anyway. After aren’t we all in essence bundles of vibrating energy? Here’s that link, though, if you want to jump in on the ongoing adventure.

Reaching Beyond the Comfort Zone

2008-03-24T12:16:00.000-05:00

Sky’s turned a steely grey outside, temp’s down in the 30’s, a few snow flakes blowin’ past my window.

I guess we’re putting spring on hold here in Western North Carolina.

So what better time to talk about reaching beyond the comfort zone.

This morning I set about pushing outside of mine in Caprice # 17 of Paganini. The middle section has a devilish collection of octaves combined with some tricky bowing requirements.

I wanted to play it faster than I have to date.

But to do that clearly meant taking a couple steps backward before I could move forward. I’d gone as far as I could go with the approach I was using.

A couple days ago I’d overhauled my approach to the bowing and felt pretty confident that it wasn’t the problem.

It was the left hand that was muddying up the waters.

On the surface it would seem that there were only a couple of ways of fingering the octaves. After all, when you’re playing fingered octaves you’re essentially limited to two fingers choices for each note; one and two on the lower notes, and three and four on the uppers.

As I began fooling around, however, I came up with a number of ‘slight of hands’ that either involved combinations of fingered and non-fingered octaves, or quick hops to neighboring strings.

I was truly surprised by the new possibilities.

Wasn’t long before the clear winners emerged, however. And after a little data entry into my grey cells – highly accelerated by counting and breathing – off I went, lickety-split.

The important thing is to keep your focus out in front of where you are, and to stay mentally active where it comes to finding solutions. If you find the trail getting stale or cold, give yourself a break, move to something else, and only return when your mind offers up a fresh image for your hands to chase.

Of course you always want to operate from a position of strength. For that you need strong fundamental skills and learning techniques. These are exactly when you’ll find in the volumes of Kreutzer for Violin Mastery.

All the best,

Clayton Haslop

P.S. In Paganini for Violin Virtuosity, Vol. 1 you’ll benefit from much insight that came as a result of my 23 years of coaching with Nathan Milstein. We’re talking info that’s difficult to impossible to find anywhere else today.

Was Nathan Milstein a Liar

2008-03-21T09:54:00.000-05:00

A couple days ago I sat down to look at emails over my afternoon espresso – I allow myself two a day.

Anywho, there was one from a new subscriber and client that made the contents of my demitasse seem down right freezing.

In fact I almost burst a head-gasket I was so steamed.

It seems my good fellow lives down under, in Australia. The teachers he’s been suffering under, and he tells they are typical there, insist that one play WITH a shoulder pad and NOT hold the bow in the Russian style.

Never mind that he’s expressed a preference for the Russian bow hold and is more comfortable SANS shoulder rest – that’s WITHOUT, if your sipping French roast – than with.

And when my new friend pointed out that Milstein advised producing certain bow strokes ‘from the shoulder’ (meaning with the upper arm), one of his teachers accused Milstein of LYING about his own technique!

Now that’s chutzpah for you.

You see, Milstein was about 5 feet, 4 inches tall, and his arms were short. He played using the upper arm because it was expedient for him to do so in many situations. He also used his upper arm to produce a wonderful spiccato stroke – I watched him do it on more occasions than I can shake a stick at.

So calling Milstein a Liar, I mean really.

The good news is that the Milstein legacy is being preserved by quite a number of Violin Mastery clients in Australia. My new friend has himself just acquired Kreutzer for Violin Mastery, ‘Bach and Kreisler for Violin Artistry’, AND Paganini for Violin Virtuosity, Vol. 1.

Now that’s a trio that’ll keep a fiddler engaged for quite some time – and go a long way toward silencing trash-talking, no respecting, self-glorifying pedagogues.

All the best,

Clayton Haslop

P.S. Mind you, it’s not just in Australia that you find misguided violin instruction. And I think the best way to protect yourself from it is with an elegantly efficient, stood-the-test-of-time approach to violin playing. Here’s the course that gives you exactly that.

And This, Is What I Said

2008-03-19T11:05:00.000-05:00

Last week I was invited for an interview on a new online radio show It features guests who are walking through life ‘off the beaten path.’

I guess playing the violin these days qualifies one for such distinction.

Well I’m game for just about anything, so I agreed without hesitation.

The conversation covered quite a bit of ground; my early experiences with the violin, life in Hollywood, feelings about music, studies with Milstein, and more. After the fact, the show’s producer interspersed the interview with samples of my playing.

Last night I received a link to the program.

Now, my first instinct was to hit the delete key. In the past I’d usually felt awkward in interviews. I was afraid of finding myself sounding this way again.

But then I recalled the feelings I had during the interview. I wasn’t anxious or nervous. I felt calm, happy, and at times inspired.

After all, I thought to myself, I do LIKE what I’m doing in life.

So, I sat down and listened.

Yep, it was good. At least it was from my perspective. In fact I was so pleased at the way the message came across – the musical bits add so much – I’m going to give you the opportunity to tune in as well. You can do so right now, in fact, by going to http://www.webtalkradio.net/content/view/326/30/.

One last little secret I’ll let you in on. The host and producer is none other than Tania Gabrielle, my wife and life-long companion. And what a gifted interviewer she is!

All the best,

Clayton Haslop

P.S. Once you’ve heard the show you may just want to get a course of mine that you’ve had your eyes on for some time.

Why You Can’t Play Angry

2008-03-15T12:25:00.000-05:00

Here it is a beautiful Saturday morning. Sun’s out, sky’s blue, and I’m here writing to you. Must be something on my mind.

I’ll get right to it.

This morning I started my day with a practice session. Well, actually I made a quick foray to Starbucks first. But never mind that.

I got into the practice right away. Yet when I had exercised myself for some hour and a half – my mind, emotions, AND hands – I ran into a snag with something I was doing.

Now, I’d run into a few other snags in the course of things, but for some reason I let this one get to me, and for a couple of moments I was angry.

In recent days I’ve been watching myself much more closely than usual. So when the emotion of anger then reared up suddenly I observed the result with detachment.

It was immediately clear that the feeling was the result of a judgment made against myself – anger always is, in spite of what we think may be the case.

But boy did it drain the life force from me. It was like being in a car traveling at 70 miles an hour, and suddenly someone turns the engine off.

All creativity and productivity came to a screeching halt.

Now as I said, I’ve been watching myself closely of late. So I caught this lapse into insanity quickly.

First I looked to my breath, and took a nice deep one – you know the kind I’m talking about. Then I willed my mind to think through, in great detail, the passage I had just misplayed. Once I found the soft spots in my mental images I added more detail to them, and I ran them back and forth in my head a few times.

Then I put the fiddle under my chin and led my hands through the passage with the absolute minimum of vertical energy on the strings.

Mind you, I DID play the notes, and accurately, I just did them as a ghost would glide over good old terra firma.

Finally, I summoned up my full passion and hit the thing head on. I gave it both barrels. But anger was not invited to the party.

The result? Well, I wish you’d been here to hear it.

All the best,

Clayton Haslop

P.S. Remember, ‘there is no try, only do.’ So if you’re having trouble ‘doing’, ramp up the will, and squeeze out the self-censure. Oh, and perhaps my ’best seller’ would be a little helpful to you as well.

The Fantasy of Desire

2008-03-14T12:31:00.000-05:00

Last night, after a visit with a good friend, I walked out to my car, opened the door, sat down, swung my legs in, and turned on the ignition. I was greeted by the radio booming the most climatic moment of one of the most dramatic chamber music masterpieces ever written – the ‘B’ section of the final movement of the Brahms Piano Quintet in F Minor.

I’ll tell you, the emotional impact of the music hit me like a tidal wave. WHAM.

As I continued listening I realized it was also an exceptionally good recording; emotionally charged, well paced, well tuned, beautifully nuanced, just brilliant.

Of course, having played to piece on many occasions, I had the immediate, clear and present DESIRE to do so again.

I could Feel my hands on the notes, the shifts, and bow strokes as they came through the speakers. I wanted to shout, cry, laugh, all at the same time.

At the end, after cooling off for a few minutes, I realized that my desire was going to remain just that. Desire.

At least for now.

You see, I realized that I had a decision to make, to bring my will power to bear on the notion, and move forward with it decisively, or to let it go without regret.

I chose the latter.

You see, my will power is quite engaged acting on other desires. It’s busy creating and placing powerful images in my mind that pull me toward the satisfaction of these desires.

These are the ones that won’t be surrendered. That won’t fall into the dustbin of fantasy.

If mastering the violin is one of your great desires, and you’ve made the decision to act, then you want to support the power of your will with the best images you mind can entertain.

I think you’ll find many of them in the programs for self-study that I offer on my website. For a complete list you’ve only to click over to my home page at http://www.violinmastery.com/index.htm

All the best,

Clayton Haslop

P.S. Recently I was asked how to improve one’s vibrato. Kreutzer, Vol. 3 has a good deal to say about this important expressive device. And there’s an excellent exercise I provide for making it happen.

What Harrison Ford Thinks About Music

2008-03-12T09:49:00.001-05:00

A couple days ago my wife and I were sitting at the dining table talking about the ‘Indi IV’ scoring sessions. She asked if Harrison Ford had come to any of them.

‘In fact he did,’ I said. ‘And he caused quite a stir.’

We were just back from our first break – we take 10 minute breaks each hour – when in walks this guy bowing and scraping up to John Williams. Naturally we all recognized him right off.

John Williams quickly reached out his hand to Harrison and said, ‘We should be bowing to you, after all, without you we wouldn’t be here.’

‘And without you and your colleagues, I wouldn’t be up there for very long,’ he fired back – he was pointing to the screen.

It was indeed a warm moment. And certainly heartfelt on Harrison’s part.

The fact is the Indiana Jones films have wall to wall music, as I’ve said previously. The scores remind me of opera in many respects; the detail in them is quite extraordinary.

In any case, Tania thought I should relate this little encounter and now you have it.

And speaking of detail, in my Violin Mastery Beginners Circle program you’ll get all the detail you need to emerge a real player at the day.

All the best,

Clayton Haslop

How to Create Useful Memories

2008-03-07T13:29:00.000-05:00

Today I’m enjoying an unexpected day off. Turns out we ripped through the music for ‘Indiana Jones IV’ in record time.

So this morning I’m back on a bar stool at the out-door kitchen of my sister’s home giving you a holler.

One could get used to this So Cal sun in a real hurry.

But yesterday I was yet ‘in the trenches’ with my friend Kenny. During some of the breaks we were comparing notes, literally, on Caprice #17 of Paganini.

At the end of the ‘A’ section there is a very fast chromatic passage that takes your hand from first position on the A string down chromatically to the D string, quickly up diatonically high on the E string and right back down to the A string in first position.

As I said, this takes place at breakneck speed.

Now, the ability to do it cleanly does not just rely on quick fingers. Even Kenny, the man with greased lightning hands, agrees on this.

No, lesser mortals and speed demons alike must get the grey cells into the action big-time to get consistent, clean result with such a passage.

Enter memory.

Specifically the use of the memory to create detailed mental pictures that inspire the hand and fingers in real time.

Interesting choice of word, Inspire. Kind of makes you want to take out the fiddle and set about visualizing, does it not?

Of course you must find images to hold that are truly useful. In the passage I’m describing the images will contain notes, rhythmic cues, shift, and fingerings.

Coming to a set of images that ‘get it all done’ within the time limits allowed can take some practice, naturally.

Note that most of this ‘practice’ takes place of your nice, big noodle. That’s the real secret that many people never FULLY get.

The mind is powerful indeed.

Granted, a lot of time can be saved when a truly experienced player helps you cultivate worthwhile images. In fact I’d say that’s 52% of what makes my courses so valuable.

As for what’s in the other 59%, you’ll have to get one and be pleasantly surprised. Since we’ve been talking Paganini today why don’t you you get right to it?

All the best,

Clayton Haslop

P.S. Oh, think I did the math wrong? No way, I shoot for giving you 150% of what you need to get the job done. That way if I manage only 107% I’m still ahead of the game. Intermediate players will find their heads full of inspiration with Kreutzer for Violin Mastery.

Why I’ve Been Singing Like a Banshee

2008-03-05T13:44:00.000-05:00

During my sojourn here in So Cal I’ve had a daily commute to make from my sister’s house in ‘the valley’ over the Santa Monica mountains, down the Coast Hwy, and into Culver City, where sits MGM/Sony studios.

I’ve been filling much of the time singing at the top of my lungs – with the windows up, mind you.

I’m doing this for three reasons. One, and this is of the least interest I’ll admit, is to see what I can actually do with the mediocre instrument nature his given me.

The second, however, might just get your ears perking up – though maybe not as much as if you were riding shotgun in my car.

You see, most of the vocalizing I’m doing is in my falsetto voice, at the extreme top end of it. In order to get any sound out whatsoever I’m pushing a ton and a half of air through my vocal chords.

And you should know what the ‘power source’ for pumping all that air is.

Yep, it’s the diaphragm muscle, which happens to divide your chest from your abdomen. I think most physiologists would agree that this muscle is second only to the heart in importance to your wellbeing on this planet.

Mine’s been getting a first-rate workout each morning of late.

And finally there is all that wonderful oxygen being swept in and out of my lungs. Wow, I’m feeling real good when I park the car and swing my legs out of the driver’s door.

And you will too, once you give this a try.

Now there’s just one last thing to be said here. Those of you with even one course of mine will know how to connect fully with your diaphragm. But if you haven’t yet gotten with a program – time to get a move on you if you haven’t – you might seriously want to consider ordering Dynamic Breath Control for Violinists. You’ll then be fully equipped to improve your health AND your sound, phrasing, and overall enjoyment of violin. Here’s the link to acquire one of only a few remaining copies. http://www.violinmastery.com/order_breathcontrol.htm

All the best,

Clayton Haslop

P.S. When you receive the Dynamic Breath Control for Violinists DVD you’re going to find some very useful info on the bow arm and violin hold as well. I’ve had advanced players tell me how useful this has been to them. Goes to show how important the basics really are.

Look at Your Fingering Options

2008-03-03T10:47:00.001-05:00

It’s sure nice to have a little break in the recording action to enjoy a little California sunshine. Though I’ll send this to you in the morning, I’m right now soaking up rays in the picturesque garden of my sister’s place in Woodland Hills.

Hopefully I can write this in just the right amount of time to get my vitamin D dose without going so far as to burn my lily-white winter skin.

As you know I spent last week recording some brilliant film music of John Williams. Got another week of it to look forward to before jetting home on Saturday.

And if you’ve seen any of the Indiana Jones pictures you’ll know they have the musical equivalent of wall-to-wall carpet – not unlike opera, I suppose.

My stand partner is a great fellow by the name of Kenneth Yerke; Heifetz student at 12, Cleveland Orchestra member under George Szell at 18, and my close friend and colleague at…well, I it aint important.

In any case, this guy’s got some serious chops.

When we sit together we have a great time – it’s the ‘dueling violin show.’

Now, in the interest of full disclosure, I will say that Ken not only started earlier than I and practiced harder in his early years, but also has amazing violin hands – strong, flexible, and smooth as butter. Truly unique.

So as you can imagine, one is hard pressed to stay with him when he gets fired up.

Part of the fun I have with Ken is seeing who can come up with the best fingerings to use for the many tricky passages thrown at us. It never ceases to amaze me, really, just how many options a string player has.

In fact fingering choices play a big part in making a Milstein sound different from an Oistrach, a Heifetz from a Kreisler. Yes, there are other things as well, but fingerings are play a big part.

Some fingerings can be dramatic, but entail considerable risk. These types don’t generally suit orchestral situations, unless the conductor or concertmaster asks everybody to do them together for just such an effect.

So though Ken and I challenge ourselves for fun this way, we are most often looking for the most efficient, clean fingerings we can find, especially for fast, technical passages.

Now, there is no way I can teach ‘fingerings’ in an email. You can, however, acquire a highly developed ‘fingering sense’ by working with my courses.

Kreutzer for Violin Mastery is certainly the most comprehensive in this regard.

All the best,

Clayton Haslop