Can I stop thinking now?

I recently taught a workshop to a group of teachers. Several wanted to know what they could say or do to immediately improve the functioning of the students they taught. I gave them some ideas, but it wasn’t until I left that I realized they were looking for an action to take that would solve the problem they were experiencing so they could move on.

I wish it could be this simple. Unfortunately, in most cases, it takes time to change a habit. First, it can be difficult to call attention to a person’s habit without them feeling self conscious. Most people are sensitive to a direct observation of their use. Some might even feel mortified. Also, a habit can stem from a wish to physically cope with an emotion. That habit could be tied to fear or anger or sadness. Letting go of a habitual pattern of tension could make a person feel vulnerable.

So what can be done? Go slowly. Pause and then come back to FM Alexander’s directions again and again. Allow your neck to ease, lengthen and widen your back, allow your legs to release, notice your breathing.

When I first began studying the Alexander Technique in an effort to be able to return to the flute (I had injurred my jaw), I found I couldn’t even look at the flute without tensing. I had to retrain my thinking—which took time. I quickly realized that I wasn’t just tense when I played the flute but all the time. I began to see that I could be doing less with almost every activity in my day. I was hyper-vigilant and being so had always served me—until I couldn’t play my instrument. I learned to slow down, pause, begin again, and breathe. For someone as tense as I was, it took a very long time to trust my body to function with half of the force I was using. It took time to learn to be gentle with myself. Applying the Alexander Technique certainly isn’t this hard for everyone and I should note that I did find some immediate relief when I first began taking lessons. However, for a long time, I needed an Alexander teacher to guide me back to that state of ease… repeatedly.

After a year of private lessons and the three-year, 1600-hour Alexander Technique teacher training program, I was able to experience life differently. I could move throughout my day with more freedom. I could remember to use my thinking to affect change. Even after all that work, it didn’t become automatic. And 16 years since I graduated, it still isn’t. I cannot eradicate my habits. I will always have to use my Alexander thinking to let go of them. And that’s okay. I have tools that I can use no matter what stressful situation may come my way.

So, can I show you something right now that will stop a habit immediately? No. I’m sorry. I can, however, show you the simple steps that—if applied—will gradually improve the overall quality of a life.

Teaching Flute Lessons with Alexander Principles - Part 4

It is a very common habit to bring one’s head to the flute by distorting the neck. Sometimes the flutist is thinking (in tunnel vision) only about the music and playing at the appropriate time. It is easy to become anxious to play. Other times a flutist distorts his neck not in an effort to reach the flute, but because he is straining to see the music. The visual cortex is in the back of the skull. Invite the student to see the music from this point—see from the back of his head. In this way, the student inhibits his habit by thinking of something new. Ask that he let the music come to his eyes and not his head to the music.

        Standing while playing can pose several obstacles. In order to have the finest projection, the flute must face your audience. Aiming your instrument in such a way means that your head will also be poised with your face towards the audience. Your neck will be poised in a neutral, natural way. There should be a slight spiral, or rotation beginning with your shoulder girdle. This rotation accommodates expansion through the shoulder girdle. Without the spiral, the right shoulder blade will push into the ribcage. The flutist that does not allow the shoulder girdle to have its natural rotation must fight against it by tightening and holding the shoulder girdle still. This will interfere with breathing and may cause her neck, shoulders, and upper back to become sore.   

        Once the shoulder girdle is released into its own natural pattern of movement, the spine can accommodate the spiral by lengthening into a slight spiral, too. The pelvis will also turn and so your legs may need to change to a new stance. Your right leg and foot may follow the spiral to the right with the right foot slightly behind the left foot. Do not swivel your torso so far to the right that you feel your left knee twist. This is a gentle rotation that should feel easeful.

        Since your head and neck face the audience, your left leg and foot should face it as well. If your shoulder girdle, torso, and both legs were to face slightly to the right, it would be very difficult for your head and neck to face a different direction and it would require force, which is unnecessary in this case. By allowing your left leg and foot to face the audience, you establish a lengthening base of support for your head and neck to face the audience. With your right leg and foot facing slightly to the right (following the slight rotation of your shoulder girdle and torso), and your head, neck, left leg, and foot facing the audience, you will feel more easeful and open as you play.

        This spiraling technique can also be applied to sitting and playing. It may help to turn your chair a bit to the right. You may find it more comfortable to let your right heel come off the floor.

VI. Lesson Structure

A way to cut down on the risk of Repetitive Strain Injuries is to incorporate breaks into lesson time. Spend the break stretching or take a walk around the room. By including a pause into the lesson, the teacher and the student can become aware of their desire to fixate on the music and inhibit that habit in order to return to a state in which they are aware of their entire surroundings. The longer we perform a single task, the easier it is to lose our sense of awareness, and the more likely we are to rely on our habits. Hence, in addition to finding an expanded form of awareness, the teacher and student may prevent themselves from falling back into habits. By pausing, they will both feel refreshed and easeful. With their whole selves energized, they can use their directions to continue the lesson.

Halting the lesson can at times be disadvantageous. If, for instance, a teacher stops a student frequently, it may trigger the startle response, or the pattern of tension that precedes the “fight or flight” response. It can increase the student’s level of tension overall and it may increase the desire to be right (or, the fear of being wrong and therefore, the fear of playing). If you wait until the end of a piece to critique the student, the student will grow accustomed to playing straight through (which will be helpful during performances) and build confidence. This of course, will mean more work for you, the teacher. It will be a wonderful lesson in inhibition. You will need to develop your memory, have a score, or have a pen and paper nearby to mark mistakes, but in return you will have stronger players in your studio.

Obviously, each student is unique. The style of teaching you use for one student will not necessarily be appropriate for another. Just as there are benefits to pausing the student, there are advantages to allowing the student to play uninterrupted. So long as the Alexander principles are present, both you and your student will improve.

Teaching Flute Lessons with Alexander Principles - Part 3

V. Finding Freedom & Direction in Your Students

It is very useful to have mirrors in your studio. Doing so will allow you to observe your student from all angles. Rather than asking about pain or tiredness, ask the student what she noticed or felt while playing. Remain as objective as possible to allow the student to be nonjudgmental, too. Have the student put her instrument down and begin anew. Look for ways to hold the flute using the natural hand patterns of the student.       

Be sure that the student isn’t using unnecessary tension. Here are some examples of common tension patterns in flutists:

                    -jamming the flute against chin

                    -not using all of the joints in the fingers

                    -bending the right hand thumb in and laying it lengthwise against the flute

                    -shortening the spine (or lifting the sternum and arching the lower back)

                    -locking the knees

                    -hanging on the instrument

                    -holding the left arm (or the right arm) against the ribcage

                    -hanging on a hip joint (weight set on one leg, with the weight-bearing hip

jutting out)

                    -gripping in the feet and ankles so that the feet aren’t grounded

If you observe one of these habits in a student, notice how these tension patterns affect the body as a whole. For instance, locking the knees will also cause the ankles and hips to tighten and the spine to shorten. It is not necessary to correct these issues. You need not discuss it in depth with the student. As long as you are aware and can lead the student through the process of inhibition: pause and do something else instead of playing.

For example, you notice when you ask your student to sight-read that he hunches over the stand to look at the music more closely. As you become aware of your student’s habit, your own head/neck/back relationship has become compressed. You could allow the situation to continue and risk straining yourselves, or you could take a five minute break and think of the Alexander directions. Upon returning to the sight-reading task, you notice that you are both breathing freely and your bodies are whole, enlivened systems.

Field Example:

                    -During a lesson with a student (age seven), I spent much of the time bringing the flute headjoint towards her and then taking it away. I did this to make her conscious of her habit to bring her head and neck toward the flute. While she was not doing anything wrong, it was unnecessary and took extra energy. I have this habit, too, so I brought humor into the situation. I said that neither of us want to look like ET when we play and that we should remind each other when we see this pattern. We would use the code word “oooouch” (said in my best ET voice).

It later became clear that the student could not comfortably hold the assembled flute. It may be a year or two before she will grow into it, so I lent her my fife. Now she can hold her instrument easily, she doesn’t have to put it together, and it can take a beating and still function. It is important to know when the Alexander work is not enough. It is possible to simply have an unworkable situation. However, it is through the Technique that you can become aware of the difference between a difficult situation and an unworkable one. With the Alexander Technique, you can have options for managing an array of situations.