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




Talent can now be created!


"All Technique takes time. Organise time and you have technical talent!"

Evan Elsley


The historical problem of ethics and methods


Despite over four hundred years of pedagogy, Violin techniques that are intuitive were never defined and teaching the mind how to think as a Violinist was never achieved. Essential techniques such as co-ordination, intonation and string crossing remain a brick wall for the majority of students. Conservatoriums and universities still classify such unexplainable technical abilities as the gift of talent. Famous career teachers actively search for talented students who bring what they cannot teach. It is essential for their teaching success. When students have an ability to resolve their own technical problems, these teachers can focus on musical interpretation. This teaching model however has many ethical problems.


At the other end of the spectrum of pedagogy is the need to teach beginners who are not talented. This is done by teaching methods that commonly advocate taped fingerboards, finger stretches, hitting the fingers on the string, years of repetitive practice, observing, copying, imitating, parroting videos, hand frames, muscle memory and even using rubber toys. This is a beginner up teaching approach. This teaching model also has many inbuilt problems from a lack of logic.

  1. The Violin is not a stable instrument. This is because strings do not stay in tune and Violin makers use different body measurements. There is no security in practicing a repetitive muscle memory movement on something that is intrinsically unstable.
  2. Hitting a finger directly onto the string does not develop a secure intonation technique. There needs to be a more refined technical process that includes miniscule finger adjustment and listening control.
  3. It is not a logical thought process to play a note using a memorised physical movement of finger placement, then listen to the result and then think that more practice is required.
  4. There is no consideration of the time taken for physical movement around the instrument.
  5. Students are told to listen but they do not know how or when.
  6. Methods often create co-ordination insecurity. They encourage the concept that co-ordination is the start of multiple physical actions. In reality, co-ordination is when multiple physical actions come together at the same time.
  7. Many method books on Violin technique are large and complicated. If something is complicated, then students often suffer the psychological effect of over thinking. This detracts from speed.

Any beginner up pedagogy that incorporates moments where a player thinks with their fingers introduces technical elements of luck and uncertainty. By contrast, master down pedagogy requires a technique based on total security and control. Traditionally, the gift of talent joins these two flawed processes together. 


Understanding the gift of talent


"Everything about Violin technique has one thing in common, everything takes time" Evan Elsley


All aspects of Violin playing need to occur in a time sequence where something must be done before an intended result can be obtained. The logic of talent is that there is only one way to link and sequence all Violin technique within a time line. For instance, if the finger is already on the string and in tune before each note is played, then intonation security is guaranteed.

By comparison, Violin technique that is not governed by the logic of time guarantees insecurity. For instance, consider the timing problem that occurs when a student holds their finger down on the fingerboard for the full note value. If a physical movement to play the next note commences at the exact moment when the player should already have started playing that note, then the timing will always be late. This is because the time it takes to move between the two notes has not been included in the technical process. The arrow of time does not include miracles. It is illogical to expect to be at opposite ends of the fingerboard at the exact same moment.

Once known Violin techniques are placed into a time line sequence, it is apparent that there are moments of time that are empty of any pedagogical knowledge. These missing moments are varied. They can be a physical movement, a thought process, a technique of listening, even postural facility. Many students do some of these naturally but rarely do students do all of them. The missing techniques that fill these gaps of time are the intuitive techniques of talent.

Talent can then be taught in four focus areas.

  • A logical thought process using a time line
  • A logical physical facility that is time efficient, is derived from the Violin's construction and removes RSI
  • An ability to invent because everyone is built differently
  • Musical authority

Evan's original research has defined all of these intuitive techniques. The enigma of talent is now explainable to all students. Results are proven over many years.