Author: Inna Langerman
I’ve been thinking long and hard about where to begin the discussion on best practices to minimize unnecessary tension in the bow arm. The complexities of bow technique development for good tone production, various articulations, dynamics, and expression can easily lead one to develop bad habits somewhere along the way.
The most common problems with bow arm tension in players of ALL levels are: Continue reading “Unfolding Tension in the Bow Arm & Hand”
If you’re anything like me, the busyness and excitement of holidays (combined with shorter/colder days in the northern hemisphere) can lead to feelings of overwhelm and anxiety. One effective way to manage (besides sitting with the feelings and accepting them for what they are in the moment) is by practicing gratitude.
Try an exercise with me, called Three Great Things: Continue reading “Three Great Things: The Power of Gratitude”
We can develop musicality through the study of music theory, harmonic analysis, history, and ear training. These are studies that help us understand music better on an intellectual and aural level. On the other hand, we can also experience emotions that we wish to express through music, and/or we feel something while listening to a piece. We might know exactly how we wish to phrase something and have a vision for the bigger scope of a piece. However, all that musicality can be blocked by our physical body when we pick up our instrument.
Have you ever been told (or know someone who was told) “It’s too late to learn an instrument at this point in your life” or “You’ve aged out of all music festivals and haven’t landed a big job – it’s too late to progress”? This is part of an old, false belief that’s still making its rounds around the globe. It’s part of a fixed mindset epidemic that’s easier to fall into as we go through life.
An alternative approach to bow “pressure” involves the entire forearm and using the natural arm weight. Develop beautiful, even sound with more consistency and less effort with these exercises.
Continue reading “How To Get a Good Sound at the Tip with Less Effort and More Consistency”
Like most classical musicians, I occasionally have some very unwelcome guests in my mind – feelings of doubt, uncertainty, or insecurity. Having some of these feelings are quite normal and in fact, there is a way they can help us grow. However, they become a serious problem if we try to either force them out by faking confidence or dwell on them too long. The longer the negative feelings and thoughts stay, the more they push confidence and reassurance out, leaving us potentially feeling helpless.
This post won’t be about centering or visualization – both essential skills for improving our best performance under pressure. This is a deeper dive that explores what strengthens the roots of true confidence. I’ll briefly summarize 3 concepts as explained by bestselling author, athlete, and coach Steve Magness in his brand new book Do Hard Things. Continue reading “3 Practices to Achieve True Confidence on Stage”
Statistics show that around 85% of violinists & violists will develop a playing-related injury at some point in their performing lives. That is an insane number. Unlike sports in which athletes retire around the age of 40 on average, musicians play pretty much their whole lives… or at least, most of us plan to… right? How terrible it would be for our performance timeline to be cut short by an injury that could’ve either been prevented or kept under control.
This week, I’m sharing with you a few of my favorite recovery exercises for violinists & violists, with focus primarily on the areas that get overused and hurt most often, which are the upper back and neck on the left side. Continue reading “Recovery Exercises for Violinists & Violists”
Why is everyone suddenly ditching the shoulder rest they’ve been wearing for years? Ok, it’s true – the shoulder rest can lock the shoulder and violin in one position and prevent freedom. It can also lead to imbalance in posture, such as raising the left shoulder, thus putting one at risk for neck injury. However, the shoulder rest still work well for certain folks, although it’s being demonstrated by specialists over and over again that many players benefit more from an anti-slip material such as a sponge along with a customized chinrest to fit the dimensions of their jaw, neck, shoulder angles, etc.
When we learn how to shift and practice going from one position to another, our attention usually zeroes in on two things: intonation and mechanics of the left hand. Which finger is moving? At what speed? What is the thumb doing? What pressure should the finger have? What is the interval between the two notes? Singing the music…and of course, YOLO (going for it and hoping for the best).
Continue reading “The Role of the Shoulder in Shifting Positions”
Every spring (not counting 2020) toward the end of the academic year, many freelance musicians get BOMBARDED with gigs after the quieter months of January and February. Even those of us who spend a healthy amount of time practicing during the “off-season” suddenly experience a huge uptick in daily playing hours come spring. Continue reading “Injury-Prevention Exercises for Violinists and Violists”