Monthly Archives: May 2014

You, Your Instrument, Space And Movement

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There is a fundamental error that I see many musicians make when positioning their instruments in preparation to play. It usually begins seconds before the first note is produced. It might seem like a small thing, but it can have big consequences.

What is it?

It’s in how musicians bring their instruments to themselves to play.

Notice I said, “bring their instruments to themselves.” In a sense this is a misnomer. Because in truth, the real problem is that rather than bringing the instrument to themselves, many musicians bring themselves to the instrument. And they often do so in such a way as to compromise their balance, flexibility and coordination.

Allow me to clarify.

The other day I was giving a first Alexander Technique lesson to a violinist, who came to me because of unresolved chronic neck pain. We spent a good part of the lesson exploring and clarifying her natural balance as she sat, and as she stood. 

(We do this in order to bring her most basic postural and movement habits to light. More specifically we’re looking at how her habits might be interfering with the way she moves, balances and maintains positions with respect to her bodily structure, and how that structure work best with gravity.  How she might be unconsciously “fighting herself”.)

Once I was reasonably sure that my student was aware of (and at least somewhat able to prevent) the most obvious habitual interferences to her balance and coordinatin as she sat and stood, I then asked her to play her instrument.

What I saw was a habit that is common to many musicians: She was there, sitting in fairly good balance (based upon our brief work). But as she brought the violin up to her chin, she (simultaneously) began to pull herself downward (and somewhat sideward) into the chin rest.

So once the violin was in position to play, my student had lost the easy, elastic and flexible balance she had, and had replaced it with a rather stiff and inflexible “position”. (This is all driven, of course, by habit; and that’s where our real work begins.)

It took a significant amount of intention and conscious direction for her to stop this from happening. (This goes to show how powerful the habit of “position and posture” can be to a musician.) But she has made a step in the right direction. (She’s also going to re-consider the height of her shoulder rest, to see if it’s “inviting” her to pull downward.)

And I see such similar habits with so many instrumentalists: I see saxophonists (playing with the neckstrap adjusted too low) pull their heads down into the instrument (not good for your airstream or the freedom of your jaw and tongue); I see trombonists pulling their heads (like the violinists) down and sideways into the horn. I see guitarists hunched over an instrument that is too far (or sometimes, too close) to themselves. And so on.

It’s almost as if there is a fixed perception of where the instrument needs to be in space. And that perception demands that you distort yourself into position to meet the instrument.

So here’s a very simple bit of advice: Bring your instrument to you. Find balance first, as you sit, or stand.

In brief, this means letting your head balance on top of your spine freely as it is poised over your pelvis, with widening shoulders and unlocked knees, letting your weight travel evenly through your body to your sitting bones (if you’re sitting) or through your feet (if you’re standing).

Then practice bringing the instrument to you in such a way that you interfere with this natural balance as little as possible.

If you have to rotate (say, to play flute or violin), see if you can do so by “thinking upward” so you’re not pulling downward into tension and imbalance. Let your neck be free and your eyes be lively and engaged as you allow your breath to flow naturally and easily. Then allow your head and eyes to lead your body fluidly into rotation.

Practice this in front of a mirror (highly recommended!) if possible. Do it lots of times, until you feel reasonably confident that you can keep the awareness and intention up as you play.

Then work on bringing your instrument to yourself to play one note (just one!)

Again, do this with the aid of a mirror. Think of maintaining your internal space (so you’re not contracting and twisting) as you move the instrument toward yourself. 

If you practice this enough, it will become part of who you are as you play your instrument. Not only will you find less tension and more balance and flexibility in your body as you play, but also, you’ll breathe better and will be more accessable emotionally and creatively to make your best music. Give it a go!

Three Misconceptions About Your Hands That Might Be Holding You Back

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Many musicians who come to me for Alexander Technique lessons do so because they have problems with their hands: chronic pain and/or coordination issues (these two can be very closely related).

Medical conditions like carpal tunnel syndrome and elbow tendonitis, as well as general discomfort and fatigue when playing can be, are often caused (or made worse), in part, by a misunderstanding of the structure/location and function (anatomy and physiology) of the hands, fingers and arms.

The same goes for coordination. I’ve lost count of the musicians I’ve encountered who are stuck at a certain level of technical proficiency (no matter how much they practice and how hard they try) because of the mechanical disadvantages they bring upon themselves through their habits (with their hands, arms, neck and back) as they play.

I won’t go into full detail here about how the hands relate to the arms, which relate to the back, which relates to the balance of the head on the spine. (Although this is of prime importance, and I’ve mentioned it before in several other articles).

Rather, I’m going to briefly talk about the three most common misconceptions (in my teaching experience) that most musicians have about the hands, wrists and lower arm. I’m also going to share some videos that will be highly useful in helping you to better visualize and understand how your hands, wrists and lower arms function.

So what are the three misconceptions I’m talking about here?

1. The location of your knuckles. Many musicians imagine their knuckle joints (metacarpophylangeal, or “MP”  joints, as they are commonly called) as being in the location where their fingers connect to their palms (looking at the hand palm-side up). But in truth, these joints are lower than that. If you look at the topside of your hand and bend your fingers at the knuckle, while at the same time keeping them straight, you’ll see exactly where that joint is.

Now, bend your fingers the same way and look at the palm-side of your hand to see how much farther down those joints are from that fleshy place where your fingers meet your palms. If you play your instrument by trying to bend your fingers at this imaginary joint (where the fingers meet the fleshy part of the palm), you’ll create a signficant amount of excess tension and compression in your entire hand.

2. The joints of your thumb. Your thumb has three joints, not two. Many musicians think of the thumb has  having one joint at the knuckle and the other joint at the fleshy location of where the thumb connects to the palm (an accurate, but incomplete understanding). But if you take the tip of your thumb (again, do this palm-side up) and touch the tip of your small finger with it, you’ll see how your thumb rotates from the bottom/middle part of your hand (from a third joint).

If you don’t allow for this movement when you play, you’re going to get a great deal of fatigue in you entire hand, and you’ll measurably interfere with the freedom and coordination of your other fingers. (I see this often in how woodwinds players use their right hands.)

Here’s a video excerpt from a DVD that I very highly recommend, called  Move Well, Avoid Injury. This video not only illustrates my points about the knuckle joints and the thumb more completely, but also, offers a more constructive way of thinking about them:

3.How your wrist rotates. You have two bones in your lower arm (the ulna, which is on the small-finger side of the arm; and the radius, which is on the thumb-side of your arm). When you rotate your wrist at the elbow (let’s say, for example, what your left hand does as you play flute), the bones cross one another. (This movement is called pronatation and supination.) The most efficient way for this to happen is to allow the pivot point to be on the small-finger side (the ulna), so that the thumb can sweep radially into rotation (hence the name, radius).

If you try to rotate your wrists from the thumb-side, you’ll create a good deal of strain in your entire lower arm, as well as your hands and fingers. Your elbow joint, in particular, will be negatively impacted. This movement habit is what can lead to elbow tendonitis, among other things.

Here’s another video clip from Move Well, Avoid Injury to help illustrate this and suggest more helpful ways of thinking about it:

So whether you play, piano, guitar, saxophone, trumpet, drums (or any instrument where your hands are involved), by clarifying these three things you can play with greater freedom, less strain and more pleasure.