The New Approach was devised by Kató Havas based on her own experiences and background. It explores the problems inherent in string playing and demonstrates ways of dealing with them.
Curative and preventive exercises are employed to help players free themselves from tensions and experience a free-flow of energy from inside outward.
Key elements of the Havas New Approach
Players experience the freedom made possible through an active rhythmic pulse and the sensation of having no violin hold or bow hold as such.
Two right arm motions of the shoulder and elbow joints with the wrist allowed simply as follow-through encompass the bow strokes.
A balanced left hand is responsible for tone quality, intonation, and vibrato. These movements together free string players from anxiety and help develop confidence about all aspects of playing (see videos for illustrations).
A sense of well-being, both in physical balance and mental attitude, is emphasized.
“The New Approach is not a method in the ordinary sense of the word. It is a highly organised system which prevents and eliminates tensions and anxieties.
It highlights the physical, mental and social aspects of performance with special reference to violin playing (although the principles apply equally to other instruments).
It unifies mind, body and spirit, and coordinates the natural balances of the body into an effortless and powerful whole.The use of the natural balances eliminates the ‘violin hold’ and ‘bow hold’, as such, which are so often major causes of headaches, backaches and tendonitis.
A structured inner control with the use of rhythmic pulse; the use of the ‘inner ear’ and ‘inner eye’ ensure a free-flowing transmission of energy.
These, coupled with the release of pressure and counter-pressure of the instrument, allow full play of the sympathetic vibrations and ensure a natural vibrato.” **
Learning the principles of the Havas New Approach
The key elements of the Havas New Approach are extensively described in the two core works Kata Havas published, “A New Approach to Violin Playing” (1961), and “Stage Fright: Its Causes and Cures with Special Reference to Violin Playing” (1973).
“A New Approach to Violin Playing” is a foundational book detailing the principles of Havas’ approach using natural movements and body balances to relieve tensions, create ease, and to produce a singing, free tone.
It includes instructions on how to apply the fundamental balances to all aspects of violin and viola technique: stance, bow strokes, left hand action, string crossings, high positions, double stops, and more.
“Stage Fright: Its Causes and Cures with Special Reference to Violin Playing“ examines the psychological and physical roots of performance anxiety. It provides practical strategies for overcoming tension in practice and performance.
Kató Havas demonstrates the key concepts in her teaching video ” ‘A New Approach’ – on the Causes and Cures of Physical Injuries in Violin and Viola Playing” (1991).
“Singing and miming, the power of words and the power of imagination, all play a significant role in fulfilling the player’s ultimate potential.” **
Qualified Teachers of the New Approach
As Kató Havas writes in ‘A New Approach to Violin Playing’, no one can learn to play the violin through a set of written instructions alone. But with the knowledge of the New Approach and with the right guidance of a teacher, one can work his or her way to increasing freedom and success in playing the instrument.
Our global network of teachers continues Kató’s legacy by sharing her revolutionary approach to string playing – an approach that eliminates tension, prevents physical injuries, and unlocks musical freedom
For Teachers around the world and online lesson options, please see the Find Teachers page.
Application of the Havas New Approach for children
Although Kató Havas developed the New Approach for all levels and all age groups, it has been adapted for teaching of children by students of Kató Havas.
‘Dancing bows’ (1985) by Gloria Bakhshayesh, including a Beginner Tutorial and Teachers’ Manual, uses rhythmic bowing patterns to develop relaxation and natural motion. It provides teachers with detailed guidance for introducing rhythmic bowing exercises in the Havas “New Approach,” including suggested lesson pacing, preparatory activities, and strategies for developing natural motion in beginners.
The ‘Ringing Strings, book 1 and 2’ (1991) by the same author, emphase left-hand development and ensemble work. They build on Havas’s ideas with exercises for balance, rhythm, and group teaching. Pupils book 2 provides progressive left-hand exercises and repertoire for developing balanced technique, ensemble readiness, and musical confidence.
Another series for teaching children also based on the teachings of Kató Havas is ‘Flying Fiddles’ (1985, update 2023) by Jeanne Porcino Dolamore.
It is created for beginning violinists in studio and class teaching, and emphasizes joyful internalization of rhythm and melody through accessible repertoire.
Application of the Havas New Approach for other (string) instruments
Furthermore, the Havas New Approach has been applied to other instruments, and to other forms of education.
‘A Cellist’s Guide to the New Approach’ (1974) by Claude Kenneson, is an early adaption of the New Approach principles to cello pedagogy.
‘The Cellist’s Inner Voice’ (1993) by Ian Bewley focuses on releasing tension and finding expressive balance in cello performance.
‘Freedom to Play: A String Class Teaching Method’, co-authored by Kató Havas, renowned violinist and pedagogue, and Jerome Landsman, violist and educator, presents a string class method based on Havas’s “New Approach,” focusing on freedom from tension, natural movement, and physical ease.
It has been designed especially for use in group and classroom settings, and offers structured lesson plans, warm-ups, and ensemble activities that cultivate balanced posture, coordinated movement, and expressive playing.
** Excerpts from abstract of Kató Havas’ keynote address at the “Playing Hurt” conference in Minneapolis, April 1989