Posts Tagged ‘Musicians’ Injuries’

This ebook is published on this website in a PDF format.
This ebook is also for sale on all AMAZON websites in a KINDLE format.
Located in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)

Between the shoulder blades and the lower back are the two areas of the back that I am asked most to help as an Alexander Technique teacher. Whether a performer stands or sits, many performers sway their lower back in an attempt to be upright, and end up overarching the lower back and locking it into place. This tilts the front of the pelvis downwards and pushes the belly forwards, which doesn’t allow the abdominal muscles to help support the lower back.
What usually happens in the upper back is the performer hunkers down to play well and exaggerates the thoracic curve. This takes the head forward and collapses the chest downwards and immobilizes the shoulder blades.

The other posture I see in musicians is that the performer sits with the whole back slumped forward, which is a “c” shaped back. This is really tough on the back and neck. In this posture the player has to curve his neck backwards to be able to see the music, the conductor or other performers. If he is sitting, this places him on the back of his sit bones and the musculature of the back has to really work like mad to keep the performer from falling over. It takes more muscle to slump than it does to be fully upright.

The reason it feels the opposite to someone who comes to me is that slumping is their habit, and by the time they make it to an Alexander Technique teacher they’ve tried sitting up, and it feels like too much work. It is! Most people who try to sit fully upright already believe it is harder than slumping, and so they try to lock the back to sit up.

When a performer sits or stands with an overarched swayed back, it feels as if they are very upright, but this isn’t so. This causes the performer to lose the support of the pelvis under the back, because the back is physically behind the pelvis. The usual compensation for this is to collapse the upper back and the head and neck go forward to unconsciously attempt to find the center of gravity in the torso.

So, the lumbar curve and the thoracic and the cervical curve become exaggerated. The whole back and neck end up so “s” shaped that the function of the spine as a shock absorber is compromised. The “s” shape of the spine is designed to reduce the jarring effects of movement on the body as we walk or run, but it is also designed to allow for a cushioned flow from the pelvis to the head, as we do something that requires great precision, like playing a musical instrument.

This concept of the spine acting as cushion, so that the performer has a place for the head and shoulders to balance and float on top of, is crucial to not causing injuries to the back as the dedicated player puts in hours and hours of practice in relatively static postures at the instrument or in singing. Even most singers stand in one place and perform, as opposed to opera where the singer moves about the stage. So many performers immobilize their backs when they play, because they have learned that the technique required to play their instrument is a place to put their arms or head or back, and you hold it there.