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A NEW APPROACH TO VIOLIN PLAYING
Written by the former child prodigy, this book is invaluable for pupil and teacher alike.
- GenresMusic
79 pages, Paperback
First published December 1, 1964
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Displaying 1 - 4 of 4 reviews
October 15, 2015
I needed this review of basic violin facts. Things you don't often think of.
February 6, 2017
A warm and beautiful tone has nothing to do with talent or individual personality. It is merely the putting the right pressure, on the right pot, at the right moment(p.4)
If the wrong approach is applied to really fine instrument, it will react more violently than a poor one. An immediate, good response from the violin means that the vibrations have been right, when previously used, so it is able to produce "pure sounds" right away. (p.6)
In the period when the violin achieved its present shape there was no need for a shoulder pad, simply because men's jackets were thickly padded. Later on, when the fashion for heavily padded jackets died out, the need for some sort of cushion became acute, in order to avoid drawing up the left shoulder.
It's important that a shoulder pad do not interfere with the vibration. It should be adjustable. (p.13)
From the very beginning we need to create a continuous, natural see-saw like balance in various parts of the body. (p.15)
The position of the left arm should be suspended as straight as possible under the violin, so that the angle of the elbow points vertically to the ground. (p.17)
No matter what the alteration may necessitate, the importance of the looseness of the arm and wrist cannot be over-emphasized (p.18)
Tone is not produced by pressure, but friction between the tiny, invisible "hooks" of the bow-hair and the string (p.21)
The base joints of the left hand should be relaxed and using their natural weight. If they are in complete control, the right arm is free to respond(p.29-30)
Intonation is not a mechanical process of putting the fingers on an exact spot. It is a mental process. "It is very good practice first to sing the intervals, then to learn to hear them without making any sound at all. For if the mind is developed to anticipate the right pitch and quality of sound, the fingers will follow the demand of the mind. Instead of spending hours trying to train the fingers to play in tune, we should train our minds to hear the tune." (p.31)
"Unless one is playing double stops, or one is a beginner, it is highly advisable not to have more than one finger at a time on the string." (p.32)
It is very important that no movement from one position to another should be attempted until the player knows (without having to think) where all the notes are in the first three positions; and until the circle between the thumb and the tip of the index finder is well established without the side of the index finger touching the neck (p.36).
The wrist should touch the body of the instrument (where the neck joins it) when in third position. This gives a sense of security and defines a special landmark on the often seemingly endless fingerboard. (p.37)
When learning the notes in the 4th position, the thumb is to go under the neck, in order to maintain the free and easy play actions of the base joints above the fingerboard. The higher the positions, the lower must go the thumb. (p.40)
Most problems manifest in the right arm are nothing else but the result of faulty tone productions in the left hand (p.48)
Detache- executed between the upper half and middle of the bow (p.51)
Martele is in the same place .
To achieve goof results, never tell a pupil what not to do. Give her something positive to do instead. As soon as the cause of the trouble is recognized, track it down step by step with such compelling logic that there is not an atom of doubt left. Questions and discussions are to be encouraged, not only so that the pupil can work with the teacher but also to give her a chance to think things out for herself. Demonstrate: first, the incorrect way, to point out the faulty tone, and then the correct way. Results should be judged by the "degree of excellence in tone production" because the ability to listen, and listen continuously, is one of the greatest voids among young violinists (p.57).
Before letting the pupil touch the instrument, the first thing a teacher must do is explain the importance of the function of the mind, and establish a condition of "looseness "throughout the body of the student. It is important to make him realize without holding the violin or the bow, just what a feeling of looseness mean. Some of them have been so tense for so long, without even knowing it, that they have on idea what being really relaxed is like.
The second most important thing to establish (after the violin, bow-hold, and open string bowing are well settle) is the circle between the left thumb and the index finger.The pupil's tendency will be to bend the left wrist either forward or backward, then in her effort to achieve the finger action, stiffen it. It is a good practice to make her open and close the circle without holding the violin, making certain that the wrist is loose and straight. (p.59)
It is most important, even after the pupil has begun to put his fingers down, that a few minutes should be set aside at the beginning of each lesson for the slow and swift open string bowing. This will not only serve as a good warming-up process, but will also give the teacher a chance to make certain that no faults have been developed between lessons.
What really counts, though, is a continuous sharpening of oral sensitivity. And in order to develop this sensitivity, in order to make the pupil get used to listening and searching for each note, do not say "higher" or "lower" when a note is out of tune, just call out the name of it, i.e. F# or A or whatever the note happens to be. (p.60)
All exercises are to be played as richly and melodiously as if they were pieces and all pieces are to be played with as much care and thought as if they were exercises.
The wises thing for a pupil to do is to set aside a period 2x-3xs a day to "think" about what was learned during the lesson, only then is she to try it on the violin. Keep a diary of each lesson (ideally, both teacher and pupil). In either case, the pupil should read over the notes every single time before she begins to practice.
"I usually advise my own pupils not to practice more than 10 minutes at a time when they begin to learn; and if they find anything difficult, such as holding the violin or bow, or getting the clear singing tone, they are to leave it immediately, to put the violin down and only think about what they are trying to do and how it should be done." (p.61)
Sight-Reading
"The aim of all violinist should be to learn to sight-read music as easily as to read a passage of prose, regardless of whether or not they intend to be professionals." The most effective course is to set aside each day a portion of practicing time for sight reading. (p.66)
Sit down with a given piece of music without the instrument. Then, before anything else, learn to register the first 4 things simultaneously:
1. Key
2. The Beat
3. The tempo
4. Dynamics
After that, concentration hearing the music phrase by phrase in the head as if it were played on the violin. Make certain that it is in strict rhythm, beating time if necessary. 10-15 minutes is ample time in the beginning and then later on the length of time depends on the heightened power of concentration. (p.67)
If the wrong approach is applied to really fine instrument, it will react more violently than a poor one. An immediate, good response from the violin means that the vibrations have been right, when previously used, so it is able to produce "pure sounds" right away. (p.6)
In the period when the violin achieved its present shape there was no need for a shoulder pad, simply because men's jackets were thickly padded. Later on, when the fashion for heavily padded jackets died out, the need for some sort of cushion became acute, in order to avoid drawing up the left shoulder.
It's important that a shoulder pad do not interfere with the vibration. It should be adjustable. (p.13)
From the very beginning we need to create a continuous, natural see-saw like balance in various parts of the body. (p.15)
The position of the left arm should be suspended as straight as possible under the violin, so that the angle of the elbow points vertically to the ground. (p.17)
No matter what the alteration may necessitate, the importance of the looseness of the arm and wrist cannot be over-emphasized (p.18)
Tone is not produced by pressure, but friction between the tiny, invisible "hooks" of the bow-hair and the string (p.21)
The base joints of the left hand should be relaxed and using their natural weight. If they are in complete control, the right arm is free to respond(p.29-30)
Intonation is not a mechanical process of putting the fingers on an exact spot. It is a mental process. "It is very good practice first to sing the intervals, then to learn to hear them without making any sound at all. For if the mind is developed to anticipate the right pitch and quality of sound, the fingers will follow the demand of the mind. Instead of spending hours trying to train the fingers to play in tune, we should train our minds to hear the tune." (p.31)
"Unless one is playing double stops, or one is a beginner, it is highly advisable not to have more than one finger at a time on the string." (p.32)
It is very important that no movement from one position to another should be attempted until the player knows (without having to think) where all the notes are in the first three positions; and until the circle between the thumb and the tip of the index finder is well established without the side of the index finger touching the neck (p.36).
The wrist should touch the body of the instrument (where the neck joins it) when in third position. This gives a sense of security and defines a special landmark on the often seemingly endless fingerboard. (p.37)
When learning the notes in the 4th position, the thumb is to go under the neck, in order to maintain the free and easy play actions of the base joints above the fingerboard. The higher the positions, the lower must go the thumb. (p.40)
Most problems manifest in the right arm are nothing else but the result of faulty tone productions in the left hand (p.48)
Detache- executed between the upper half and middle of the bow (p.51)
Martele is in the same place .
To achieve goof results, never tell a pupil what not to do. Give her something positive to do instead. As soon as the cause of the trouble is recognized, track it down step by step with such compelling logic that there is not an atom of doubt left. Questions and discussions are to be encouraged, not only so that the pupil can work with the teacher but also to give her a chance to think things out for herself. Demonstrate: first, the incorrect way, to point out the faulty tone, and then the correct way. Results should be judged by the "degree of excellence in tone production" because the ability to listen, and listen continuously, is one of the greatest voids among young violinists (p.57).
Before letting the pupil touch the instrument, the first thing a teacher must do is explain the importance of the function of the mind, and establish a condition of "looseness "throughout the body of the student. It is important to make him realize without holding the violin or the bow, just what a feeling of looseness mean. Some of them have been so tense for so long, without even knowing it, that they have on idea what being really relaxed is like.
The second most important thing to establish (after the violin, bow-hold, and open string bowing are well settle) is the circle between the left thumb and the index finger.The pupil's tendency will be to bend the left wrist either forward or backward, then in her effort to achieve the finger action, stiffen it. It is a good practice to make her open and close the circle without holding the violin, making certain that the wrist is loose and straight. (p.59)
It is most important, even after the pupil has begun to put his fingers down, that a few minutes should be set aside at the beginning of each lesson for the slow and swift open string bowing. This will not only serve as a good warming-up process, but will also give the teacher a chance to make certain that no faults have been developed between lessons.
What really counts, though, is a continuous sharpening of oral sensitivity. And in order to develop this sensitivity, in order to make the pupil get used to listening and searching for each note, do not say "higher" or "lower" when a note is out of tune, just call out the name of it, i.e. F# or A or whatever the note happens to be. (p.60)
All exercises are to be played as richly and melodiously as if they were pieces and all pieces are to be played with as much care and thought as if they were exercises.
The wises thing for a pupil to do is to set aside a period 2x-3xs a day to "think" about what was learned during the lesson, only then is she to try it on the violin. Keep a diary of each lesson (ideally, both teacher and pupil). In either case, the pupil should read over the notes every single time before she begins to practice.
"I usually advise my own pupils not to practice more than 10 minutes at a time when they begin to learn; and if they find anything difficult, such as holding the violin or bow, or getting the clear singing tone, they are to leave it immediately, to put the violin down and only think about what they are trying to do and how it should be done." (p.61)
Sight-Reading
"The aim of all violinist should be to learn to sight-read music as easily as to read a passage of prose, regardless of whether or not they intend to be professionals." The most effective course is to set aside each day a portion of practicing time for sight reading. (p.66)
Sit down with a given piece of music without the instrument. Then, before anything else, learn to register the first 4 things simultaneously:
1. Key
2. The Beat
3. The tempo
4. Dynamics
After that, concentration hearing the music phrase by phrase in the head as if it were played on the violin. Make certain that it is in strict rhythm, beating time if necessary. 10-15 minutes is ample time in the beginning and then later on the length of time depends on the heightened power of concentration. (p.67)
December 17, 2022
Kató Havas was my first major teacher’s teacher, so this was a fascinating look into my own legacy of violin technique and approaches. I think her methodology was ground breaking for her time, and I see so many parallels in my own teaching today. It is a little bit outdated in some of the language and I feel we now have more holistic and scientifically informed ways to talk about the techniques covered. Trigger warning that there is an upsetting passage about a young Romani violinist that comes off as racist-this book could have benefited from a sensitivity reader.
January 24, 2026
My teacher lent me this book after I expressed some worries about parts of my bowing. It is clearly written and explains things in a very simple and reassuring manner. I took away some interesting points for improvement and I am already implementing them. Quite insightful.
Displaying 1 - 4 of 4 reviews