The Violinist's Mind 

Over the centuries, technical progress has been driven by soloistic competition, and the need to attract audiences. These new techniques should not be easy for other players. This is done by using techniques of the mind, that are not captured by practice alone. There are five of these mental talents. Once the mind is trained, they are easy to teach, get rapid results, and fulfil the diploma assessment criteria. They can be applied to any school of violin playing, and interpretive concepts.

At all levels, intonation and co-ordination security are crucial techniques. Candidates who capture these abilities use active listening, and a timeline based thought process. Active listening is when technique is created from the raw material of sound, while the bow is moving on the string. This enables candidates to maintain full control over their physical actions. A timeline is the logic of doing something, before a guaranteed result can be obtained. This technical talent conflicts with normal human nature, that prefers passive listening, and just doing something from physical repetition. For the majority of candidates, their thinking process is delegated to the fingers. Technically, passive listening does not control or guarantee the physical action while it occurs. The violin is not a stable instrument, nor is it equidistant. 

At Certificate level, talented candidates employ a mental approach, that captures the power of natural forces when string crossing. In contrast, the majority of candidates apply muscle strength against any opposing force, such as air pressure. This limits their ability to use large bows, and restricts their postural facility. As a result, they struggle to project the stylistic characteristics of a varied programme. Fighting the forces of nature is the primary reason why children with potential, lose this potential as they age.

At Associate level, faster passagework from the Romantic period is included in the syllabus. Talented candidates possess the mental ability to control and manage the rapid changes in direction and momentum. The majority of candidates will flail at those moments.

At Licentiate level, talented candidates apply the techniques of sport, logistics, and invention. The majority of candidates do not have this inventive mindset, and try to take an Associate level technique beyond its potential. Their musical playing remains conservative and lacks technical conviction. Repetitive practice, although naturally addictive, does not capture this level.

Principles of Talent

This book invites violin candidates to explore the enigma of intuitive violin technique. Natural abilities, that capture virtuosic technical security.

In the past, their violin journey is definable. In their early grade examinations, they are awarded honours and distinctions. These awards, however, trend towards credit and pass, from fifth grade onwards. For the few who persevere to diploma levels, grappling with the technical demands of their programme becomes a significant challenge. There are many No Awards. The elusive nature of technical talent persists as an unresolved mystery. In the exam room, their brick walls cast a shadow over their performances.

The Enigma of Talent

Talent is the final frontier of music education. For many, it is considered a miracle from God. It creates a church of the fortunate few. Talent, however, is only a word, that has a very broad reference. That is why the research in this book focusses on only one aspect of talent. Defining in exact detail, the intuitive technical abilities that differentiate between the Award, and No Award diploma candidates. These new techniques, when added to traditional pedagogy, remove the historical vagueness that necessitates the input of natural talent.

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