Off The Record

Recording is a wonderous thing, but has evolved into an art form that is truly separate from performing. The manipulation made possible by technology allows recordings to achieve an ideal of perfection beyond what happens on the stage. Or, at least a certain quantifiable kind of perfection.

I once produced a recording for a colleague. Upon hearing the finished product, his thrilled reaction was, “Wow, nobody plays like that.” I reminded him that he didn’t either.

For many young performers these professional recordings are REALITY, and they aspire to sound like these mostly artificial products.

It is true that we strive for perfection in our practice – but this is not the goal. Mastery of the instrument is simply a vehicle – one that allows a free flow of expression that we delight in sharing with others.

This reminds me of a passage from Jane Austen’s Pride and Prejudice in which the heroine attributes her own imperfect performance on the piano to the fact that she “would not take the trouble of practicing.” Her admirer, responds with “No one admitted to the privilege of hearing you can think anything wanting.” I always felt that he “gets it”, and is listening beyond the notes.

Of all the commercial recordings I have done, the two releases that please me most are live performances. 

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The fact of the matter is, playing an instrument is not physically difficult. 

On the other hand, THINKING…….. well, that’s a different story.

Please Release Me

I have been talking about tension and stage fright. Slow practice is key to resolving these problems. But how do we use this slow practice?

Most of us hard-wire all kinds of extra effort into our playing. I always try not to work any harder than necessary. 

When performing a certain task (it can be as simple as pulling an up bow, or putting down your 4th finger) stop and analyze yourself. Are you holding tension? Perhaps in your neck? Or shoulders? Chest? Hips? Release it, paying close attention to what that feels like.

Next, do the task again, but instead of recreating the tension you discovered, build the release into the action itself. It will take time – perhaps months – to make release the habit rather than tension, but it can be done. Slow, mindful practice is the key. 

Balancing Act

Many of us struggle to find a balance in our lives. An admirable goal… Balance is one of those basic principles – a word to live by.

It is also crucial to find a balance in our bodies when we are playing the violin.

The only unavoidable postural asymmetry in violin playing is that one palm faces up and the other down. Other than that we can strive to be symmetrical and balanced.

Hold the instrument in such a way that if you bring your hands into your chest by just bending from the elbow, they would meet dead center. The head is free to move, but its general orientation is forward. (Thus my rant over the ‘twisted neck‘ comment….)

Here are some photos… sorry they are backwards (that is how it comes out on my computer camera).

Stand when you are playing as you would want to stand without the violin in your hands. If you are all contorted,  then something is wrong.

Teach Thyself

I was reading an article the other day about performance anxiety, and those who know me (especially my students) can imagine my chagrin when the author referred to the “twisted neck” position, and to violin playing as a “tension-created” activity. Yikes.

Tension is exacerbated by fear. Tension is a root cause of many of the things we fear about performing…. The old catch 22. Tension also leads to injury (and makes for an unpleasant tone). Doesn’t it seem foolish to make tension part of the ground work for technique? Why not address causes rather than symptoms?

If practice is calm and deliberate, if we really pay attention to, and analyze how we are using our bodies, each of us can be our own best teacher. Just because we were taught to do something a certain way, doesn’t mean it should be considered sacred. We must question and examine things we take for granted.

More Music in Poetry

More musical analogies, this time from the 15^th century Indian poet, Kabir.

WHEN LOVE HITS

What we mean by “love” is its sound coming in.

When love hits the farthest edge of excess, it reaches

          a wisdom.

And the fragrance of that knowledge!

It penetrates our thick bodies,

it goes through walls-

Its network of notes has a structure as if a million

          suns were arranged inside.

This tune has truth in it.

Where else have you heard a sound like this?

 

Hearing Voices

Since our perception of time ‘stretches out‘ when danger looms (for example, in performance), there is much more time to ‘think’.

Enter ‘The Little Voice’. You know – the one that says “You are going to miss that shift, you’re gonna miss it……. Told you so.”

When the nerves hit, that little voice can be very destructive. Much has been written about ways to get rid of it. I say, give it something useful to do!

We spend a lot of time working with sensory motor issues when practicing, and tend to neglect the rational component of the cognitive process. When the pressure is on and that rational ‘voice’ doesn’t know what is going on, panic ensues.

On the other hand, if you load that little voice with useful information – “I am now playing a diminished arpeggio. It is a c# diminished arpeggio, because I am going to d minor. Diminished arpeggios have a particular feeling because of the tritone relationships across the strings. Next I have a big shift – it sounds like a 10th, but my hand is actually moving a minor third…” and so on.

Now, when the voice intrudes, it has something supportive to say and can buttress confidence and memory. That makes it easier to relax and enjoy!