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 6

VII.         Breathing

A major aspect of the Alexander Technique is the study of breathing. As flutists, it is especially important to practice good use while breathing. When teaching a newer student, allow her vibrato to develop on its own. Teaching vibrato will create unnecessary tension in the throat. Extra tension in the throat will translate into more stress throughout the body. To further explore playing with less tension, have students play orchestral pieces while sitting and solo music while standing. This way, the students will have a realistic idea of how it will physically feel to breathe while playing the piece. Here is an Alexander procedure called the “Whispered Ah.” It is helpful to practice it before and after playing and at any point when you feel an increase in tension. Try standing/seated Whispered ‘Ahs’ as part of the study, notice the difference and discuss it with your students. See how little they can interfere with their breathing in either case.

The Whispered Ah

1. Spend a few minutes having an awareness of your breathing.

2. Allow your mouth to drop open so that you exhale through your mouth and let your lips come together so that you inhale through your nose.

3. Let your tongue lie easily in the bottom of your jaw with its tip against the back of your lower teeth.

4. Make a whispered “Ah” sound as you exhale.

5. See if you can interfere with your breathing as little as possible.

1. At the end of your exhalation, pause and wait for your body to tell you when it is ready to inhale.

6. Think of something humorous or pleasant to allow a smile to come behind your eyes. This will release tension and allow you to breathe fully

How to apply these procedures during lessons

1. Teach the Whispered ‘Ah’

2. Bring the flute to the mouth

Instead of playing, use the Whispered Ah. In this way, you inhibit the idea that the only response to a flute at the lips is to play. Once you have inhibited your habitual response, you can release old habits and when you do play, you will experience a new freedom.

3. Bring the flute to the mouth and use the ‘La’ articulation to begin a long tone (a tone that begins softly, increases in volume and then tapers into silence)

VIII.    Continuing Your Study/Good Use

It is helpful if children are surrounded by parents and teachers with good use, thus leading by example. If you, as a teacher, practice good use, it will surely influence your students (children and adults). Therefore, take some Alexander lessons and/or have an Alexander teacher work with a group of your students. Be sure to invite more ease into your life by practicing Constructive Rest. See how often you can come back to your sense of awareness and give yourself the gift of effortlessness. Let that feeling of lightness encompass your entire breathing, sensing being.  Your body will reward you in so many ways. Who knows? You may one day wish to become an Alexander Teacher.

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.

Returning to an Instrument After an Injury

Sorry for the delay, everyone. I've been on vacation and it was wonderful. Let me know if you have had any questions since my last post. 

While I was working on my Master’s degree in Flute Performance, I had to file for disability. The Temporomandibular Joint Dysfunction (TMD) I had developed made it impossible for me to maintain my rigorous playing schedule. The university allowed me to cut my recital time down to 30 minutes instead of a full hour. After my recital, I put my flute in its case and didn’t take it out for three years.

During that time, I took Alexander Technique lessons and gradually began to feel some relief from TMD. Once I started training to be an Alexander teacher, my body reorganized itself and I could consider playing the flute.

But I couldn’t “go back” to playing the flute. I had to find a new way to play that would not cause pain. When I started, I could only pull out the case, open it, close it, and put it away. Excess tension crept in as I anticipated playing, so I needed to retrain my brain and body to release tension with each action. I did this a few times until I could do so with freedom. Then I added assembling my instrument, and finally playing.

I learned a bit from Alexander Murray (a flutist and Alexander teacher from Chicago) but also from the wonderful teachers at the American Center for the Alexander Technique (ACAT). Eventually, I could play slow passages, but struggled to play fast technical in music. I found that two other ACAT trainees who were musicians experienced the same difficulty. What we found was that our fingers needed to be retrained.

When you apply your Alexander thinking, you move slowly because it’s a new experience. Increasing your tempo without clenching muscles won’t happen on its own. Each finger needs to be retrained by using short, quick movements. One note at a time, one finger at a time.

One note at a time, one finger at a time.

I know you’re thinking this sounds too pedantic to be something you’d want to try. Maybe it isn’t something you need, but for the musician who is returning to an instrument after an injury it might be necessary in order to prevent re-injury. No matter what state your body is in, training yourself to use the right amount of tension will benefit your body, your musicianship, and your career.

If you get stuck, contact me!