2014 Archibald Painting by Ben Robson

Evan is a

  • University Violin teacher
  • Diploma Examiner
  • Eisteddfod Adjudicator
  • Internationally experienced Director of Strings
  • Celebrated Performer on TV, Recordings, Radio, Concerts
  • Specialist in talent research and development
  • Director of Elsley Ensembles P/L

 

Breaking the Code

Everything about Violin playing has one thing in common and that is everything takes time. My original research has shown that the synchronising of all  of these timings into a logical thinking order creates the searched for natural ability that has eluded Violin pedagogy for over 400 years. 

For those readers who already play, the following is an example of a thought process that has unsynchronised timing. Muscle memory for instance involving finger placement, positions, marked fingerboards and Geminiani type stretches is frequently taught. Many students who practice doing muscle memory exercises commonly listen to the result and then think that it wasn't very good and that they should practice it again. The problems are many: strings don't stay in tune, each Violin has different body measurements, in higher positions there can be 3 notes under the width of a finger and you need to play at over 20 notes per second. The physical action is therefore luck, the listening is not controlling the action and the thought is like a critic. Practice should not include luck as a component.

Only my research can show you how the timing of thought is before the note, the listening controls the action and speed is when the mind understands the sensation of a definable co-ordinated moment. Violin ability is training the mind to think in a logical  mental sequence that synchronises with the physical time of moving around the instrument. The Violin becomes an extension of the body.

Training the mind is the final frontier for all education. Our time is finite and our practice or study must have a mental logic.