Category Archives for Practicing the Violin

Finding Your Musical Middle Path

Is it your experience (like mine) that playing the violin is a journey of a highs quickly followed by lows?

One day on top of the world, I can play practically anything. The very next day, even a simple challenge can seem baffling.

Logically you know that it’s better not to buy into either of these extreme story lines. Clearly, you’re not as great (or as terrible) as you might be telling yourself any given moment.

Still those “off the charts” thoughts and feelings are likely to plague you in any goal oriented project, such as mastering a musical instrument. They can distract, annoy or depress your for weeks on end.

Or… you can take the middle path.

You learn to simply notice the passing thoughts of a chattering mind without believing those thoughts. Noticing your thinking is part of your practice, just like playing scales.

Then, you pick up your fiddle and continue your violin journey with renewed clarity, creativity and a sense of joy.

Now, you begin to trust yourself. “Yes! my practice does work, and that’s all that really matters.”

Meditation teacher Jack Kornfield describes it this way:

Learning to rest in the middle path requires a trust in life itself.  It is like learning to swim. I remember first taking swimming lessons when I was seven years old. I was a skinny, shivering boy flailing around, trying to stay afloat in a cold pool.  But one morning there came a magical moment lying on my back when I was held by the teacher and then released.  I realized that the water would hold me, that I could float.  I began to trust. Trusting in the middle way, there is an ease and grace, a cellular knowing that we, too, can float in the ever-changing ocean of life which has always held us.

Thats’s really all there is, but it changes everything! When you begin to turn off that chattering mind you’ll feel the freedom of really great practice.


If clear minded, joyful practice resonates with you, read about Practice Circle Program charter membership.

Transform your own practice: read more about Practice Circle charter membership here

The Easiest Approach to the Violin

1. Consider all the new songs/pieces, the scales, the bowing exercises. Everything you’re currently working on. It can add up fast!

2. Grab a yellow pad and put it all on a list.

3. Move half the items to a new list, called “coming attractions.”

4. The remaining items: this becomes your working list. Use all your new found time to go deeper, twice as deep as you could have before. Now without the burden of a long list, notice how you can indulge your creativity, curiosity and sense of fun.

5. Then, after you’re feeling good about your working list, go back to your coming attractions list. Now repeat the process: go twice as deep with these items too, but now with the added benefit of everything you’ve learned.

Enjoy the benefits, and this radical idea: the easiest practice is also the best.

 

In Discomfort I Trust

If you’re seeking to create positive change in your violin playing, it’s almost certain you’ll feel discomfort during that process.

Want to improve your tone? Making changes in your bow hold or adding vibrato will certainly feel awkward in the short term. Hoping to play better in tune? Your developing pitch acuity will make you crazy until things settle in.

It’s feels better to simply learn a new tune, or jam with some friends.

Usually, when we’re ready to improve our technique, we think, “this is going to help me move ahead, and create more opportunities. I’m excited about it.”

That’s all well and good, but what’s a lot more difficult (and also more helpful) is to say all of the above plus, “and this is going to make me uncomfortable.”

When (and How) to be Negative During Your Violin Practice

It’s fairly clear that we humans all share a bit of a negativity bias. When presented with a situation that could go two ways, we’re prone to predict it will go badly more often then not.

That’s a great quality if you’re a caveman worried about being eaten by a saber tooth tiger.

When it comes to violin practice, we often generalize in the same way, though it’s not quite as useful.

Recently, in the middle of a practice session I was thinking “there’s no way I can play this etude properly,” when in reality the situation was a lot more nuanced. Large sections of the music were totally fine.

I had generalized the problem in a way that wasn’t helpful.

Better to just think about the specific challenges in a more granular way. It turns out that problem was isolated to a specific motion on a specific string.

Looking past all the misplaced negativity allowed me to focus my practice much more efficiently. I fixed the problems quickly.

Negativity as an emotion is toxic to practice. Instead, use your “negativity” in more of a left brain context. “This specific problem in this specific spot isn’t what I want.”

Certainly, critical judgment is an important part of practice. It’s a positive way of being negative.

Next time you’re feeling down on your playing, stop and notice the emotion of the moment. What triggered this feeling? Take a break, do some stretching and hit the reset button.

Can you separate the emotion from what’s actually happening on your violin? Can you get clear about the actual problem(s), right now?

Feeling stuck and depressed during practice?

Clearing the negativity cloud will soon create a spacious attitude in your right brain. You become more sensitive, more aware. Creative solutions will appear without effort!

Try it yourself and let me know what happens!


Bach Peasant Cantata Left Hand Practice

InvincibleViolinist.com Song of the Month

June 2017: Bach Peasant Cantata Part 3 – Left Hand Practice

Update: Over the last couple of weeks we’ve focussed on preparing a practice of Bach’s music. View and/or download these related resources at this link.


Already this month we’ve created a clarified vision of our final musical result and instilled a bit of variety in our Peasant Cantata bow strokes.

It’s great to divide our practice into these discrete but related activities. This “simplify” strategy creates an atmosphere of ease around our practice time.

I can say unequivocally that a practice defined by ease will always connect you to your instrument (and your life) in a more mindful and joyful way.

Said more simply: with easeful practice, your skills and enjoyment will both improve while boredom and struggle fly out the window.

Continuing with the simplify strategy, this we’ll discover to play the Bach with improved left hand intonation. We’ll learn practice tactics that give us better control over pitch.

The ability to play well in tune is a hallmark of good musicianship. Every level of violinist from novice to professional needs this in her toolkit.

Luckily, Peasant Cantata, draws upon a relatively modest palette of pitches. We only need to control a single finger pattern within the A major scale. That’s great news, since the A major scale is perhaps the most accessible in all of violin technique.

Instructions

  1. Begin by placing your fingertips in a row, lightly on a pencil. Think “light touch” as if typing on a keyboard. Learn the A major scale pattern by gliding your 1st and 4th fingers along the pencil. I also call this the “red” pattern in my full course.
  2. On the violin, balance the 3rd finger on the A string in its approximate normal position. Then spread the fingers into the red pattern as noted above.
  3. Use the plucking match to fine tune the pitch of the 3rd finger note (D) by matching to the open D string. You can pluck both together until they sound like a single pitch.
  4. Keep your hand comfortably stretched in the red pattern while you bow the “twinkle” rhythm up the scale from open A up to the 3rd finger. Use a full rich tone.
  5. Follow the same pattern up the E string. You have now completed the A Major scale.
  6. Once you’re comfortable with all the pitches, use the twinkle rhythm to perform all the notes of the Peasant Cantata, one after another.

Tips:

  • The second finger will be right next to the third. If you have thick fingers, 2 and 3 might even be touching.
  • The first finger will stitch back quite considerably from the second. You can test the pitch by playing it alongside an open E string.
  • While “twinkling” though the cantata, begin with small groups of notes, then later expand until you can comfortably play through every note of the piece in sequence.

By separating the pitch from other challenges in this music, we can create more ease when later adding back other elements of the music.

This would also be a great time to review last week’s bowing practice on open strings. At our upcoming live class, we’ll begin to reassemble all the elements of the piece into a unified performance.


Register for the Free June Class

Create a violin practice that really works! Learn how to bring a joyful ease to your practice in my next live online class on June 24, 2017. The June class is The Violin: Your Companion Along the Journey to Becoming Fully Awake and Alive.

Click here to register for the June class.

1 2 3 11