The player knows how to observe himself breathing lower and deeper in order to pick up his sound at its source, at the very end of his natural inhaling : to achieve this, he internalizes his feeling at the bottom-point of the diaphragm and lets it propagate down to his heels.
The relaxation flows down to the effortless vibration starting with full grain and fat : such is sound laying.
As for a singer, the violinist sound comes from inside. Your job is actually to free your sound, the sound that you virtually have, that is to say your voice.
There is nothing to search elsewhere than inside yourself.
(…) you can never escape the inner searching ofyour sound, the “deep dive“, as the only process able to reveal your sound asa demonstration of your “being“.
You must understand your emission as if it freed a latent sound, already internalized, a sound which can somehow spread in space without the aid of the bow.
You should know how to wait until the last second before landing smoothly. (…) When you start a sound, you must precisely know how to stop it in every imaginable way.
(…) seating and concentrating in your Hara are meant to radiate as much energy as possible to give maximum musical power to your tactile ends.
The virtual center of this process – which is the true breathing center – is thus in the middle of the belly, and not at all in the chest containing the lungs (which are nonetheless the real physiological location of the breathing function !…).
Concentrating is primarily going back to the center of the body and settling there, instead of being played by divergent and opposing forces.
Hara, from Eastern people, and especially the Japanese, is the crucial point of our body. Located at the lumbosacral junction, it coincides with our center of gravity. Hara is not a specific organ that could be located anatomically, but it is the physical area where our strength is concentrated, where our stability is anchored.
Being positioned means to settle in one’s Hara, together with one’s center, as the concentrum point.
Dominique Hoppenot, Le violon intérieur
(translated by Guy Robert)