This book, An Alexander Approach Strategy to Classical Guitar Approach, is printed in a PDF format. It is vitally detailed and sensible, and it will provide you with the bodily instruments it’s essential to take the boundaries off of your skill to create the correct guitar approach you need with out sacrificing your physique.
This book can be on the market on all AMAZON web sites in a KINDLE format.
Positioned in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)
Focal dystonia seems to be an involuntary motion, a neurological downside, however is normally a deeply discovered unhealthy behavior that seems to be completely out of the musician’s or athlete’s management.
As an Alexander Approach trainer, what’s it that I do when a musician or athlete involves me with a physique motion that defies the performer’s or athlete’s management and approach?
WE SLOW THINGS DOWN ENOUGH, SO THAT THE MUSICAL PERFORMER OR ATHLETE SEES THE POTENTIAL OF GAINING CONTROL OVER WHAT APPEARS TO BE TOTALLY OUT OF THE PERFORMER’S OR ATHLETE’S CONTROL.
An instance could be the primary finger of a guitarist’s proper hand that has a lifetime of its personal, a motion of its personal, what’s labeled as focal dystonia, and isn’t transferring the identical as the remainder of the fingers of the proper hand.
By the point the guitarist involves me, she or he could have tried every little thing from steel hand contraptions to Botox.
So, this implies the recurring uncontrolled actions of the primary finger are believed to be pathological, which implies the guitarist won’t ever actually ever use the primary finger effectively. This is probably not true.
If the performer is dedicated to regaining management of the finger, then she or he has an opportunity.
This implies defining what nice proper hand approach is for the classical or flamenco guitarist, or for another instrument just like the piano or violin or for the athlete runner. My expertise with most performers and athletes is their beliefs of what nice approach is are fairly imprecise or are too inflexible.
So, we make clear what’s the finest most consumer pleasant approach for the instrument or voice or sport and proceed to internalize it.
This will go fairly shortly, if the consumer accepts what I’ve to say about nice physique use and posture and approach are true. That is all the time a collaboration between me and what the consumer defines as nice approach, so we’re not butting heads.
The final revamping of the performer’s or athlete’s approach can go extra easily, after I ask that the primary finger of the guitarist or that the proper leg of the athlete do what the opposite fingers are doing or what the opposite leg is doing, at a sluggish tempo.
However the first finger could revert again to being uncontrolled, as she or he performs quicker and quicker, making the musician really feel like she or he is backtracking.
What do I imply?
Up till this level at a really sluggish tempo the guitarist is seeing the primary finger transfer like the opposite fingers for the primary time in years, and is admittedly feeling optimistic about getting previous focal dystonia. However normally at the next tempo, the dystonia kicks again in and the performer feels helpless to do what she or he desires. Right here is the place I sluggish every little thing again down once more, and actually help the performer in accepting and believing she or he will finally have the ability to do what they need at excessive tempos.
However there’s extra to it than telling the guitarist or the pianist or athlete that the wheels don’t should fall of the wagon at excessive speeds.
The very best approach for devices that require that fingers play the instrument, is that the fingers play by the strings or into the keys on the velocity of the reflexes, even at sluggish tempos (plenty of time between notes).
What this does is about up the circumstances for quick and clear enjoying, reasonably than later having the fingers go quicker at greater speeds. So, that even enjoying slowly is trusting the fingers to play by the strings or into the keys of a piano or French horn reflexively. This implies because the performer performs quicker and quicker, they are going to already be used to being “uncontrolled whereas in management” (enjoying reflexively).
In the end a musician or athlete should settle for that their “focal dystonia” is probably not pathological and never insurmountable, and that actually unhealthy habits could be overcome with observe and religion and inhibition and the very best approach.