Evan ElsleyViolin Technique for Diploma Exams by a Diploma Examiner, University Violin Lecturer, Adjudicator & Performer. Book Teaser Pages  | |
Evan ElsleyViolin Technique for Diploma Exams by a Diploma Examiner, University Violin Lecturer, Adjudicator & Performer. Book Teaser Pages |  |
Evan ElsleyViolin Technique for Diploma Exams by a Diploma Examiner, University Violin Lecturer, Adjudicator & Performer. Book Teaser Pages |  |
| Diploma Examiner | University Violin Lecturer | Eisteddfod Adjudicator | Talent Research | Performer |
 | VIOLIN DIPLOMAS Do you practice without making progress? Do you play out of tune? This website is for students requiring:
Historically, all violinists have access to the same traditional pedagogy, yet the technical demands of diploma levels are rarely captured in the exam room. This is a problem, because children dedicate years to their practice, learning is expensive, and parents incorrectly presume successful outcomes based on reputation. The book 'Violin Diploma Technique, Principles of Talent' was written by a diploma examiner for these students. It defines five core technical principles that distinguish between the successful candidates and those who plateau. These principles build on the foundation of traditional teaching and step by step exercises. A supplement to tradition Violin technique is more than practice alone. After adjudicating thousands of candidates, clear differences exist in how talented and struggling players approach their technique. These insights have made it possible to list these differences as teachable techniques. Essentially, talent makes technique feel like a series of natural sensations. For instance, compare these examples, to feel how using a natural sensation captures the same technical results, with greater finesse and ease.
This book is not a method, its aim is to introduce exercises in how to think as a violinist. Players can pick or choose whatever is individually suitable for them. When they then practice their etudes, they replace thinking with the fingers with thinking with the mind. |
Technical sensations that make the difference
1. Intonation and co-ordination
As an examiner, my experience is that the ability to capture secure intonation and co-ordination on an instrument that does not always stay in tune, is the biggest technical problem for candidates. Simply placing a finger down in advance, or tuning a finger after playing it is not suitable at virtuosic levels. My book provides exercises that resolve this by placing every technique into a cause and effect timeline.
2. Active listening to control muscle memory
Diploma technique requires students to use active listening to control physical movement while it occurs. Most candidates use passive listening which judges the result after it occurs. This process is technical luck. My book details listening as a timeline technique.
3. Forces of nature and the bow
Many students fight against gravity and air pressure using tension and muscle strength, particularly when string crossing. Beginner methods reinforce this process. The forces of bow weight, gravity, muscle groups, and balance points generate speed that is not captured by practice alone. Compare Kreutzer Etude No 6, which is normally taught as whole bows starting with a down bow. Compare this with starting with an up bow. Same intended technical result, yet one captures greater finesse.
4. Momentum in fast passages
Unsettled technical control in fast passages is common at the Associate Diploma level. Rapid changes in directional momentum can be felt with ease by using techniques borrowed from sport and dance, such as preparation.
5. Logic and invention
At the Licentiate level, progress depends on inventive and logistical thinking. Most students continue to rely on beginner methods used at lower grade levels. Thinking like a violinist requires logic and creative problem-solving. Consider the technical requirement to play spiccato in the middle of the bow, yet the player finishes the previous note at the heel of the bow. This is not logical. For fast passages it is better to finish the previous note where you can then go straight away into the spiccato.
Supporting evidence and results
Results of students provide supporting evidence. These students are not talent searched, achieve diploma levels in their early teens, are judged by master teachers, performers and compete at the highest Australian levels.
The book is available for purchase online and in selected violin shops
It can also be accessed at;
| National Library of Australia | |  |
| State Library of NSW |  |
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