In Tune: Exercises to Improve a Musician's Performance and Quality of Life

PROLOGUE

Since ancient times, the people of Egypt, Greece, and India have used sound frequencies to heighten awareness and to rejuvenate the body and spirit. When these sound frequencies were ordered harmonically, becoming music, they would restore balance and release stress, offsetting the negative patterns that accumulated in the energy field.

However, this application of sound as a therapeutic property of music does not relieve or prevent many musicians from suffering various kinds of medical problems related to their craft.

On behalf of these musicians, I want to introduce this magnificent work that attempts to create an awareness of the effort involved in the repetitive motions and physical consequences of energy expenditure among musicians.

This book gives practical exercises that prepare musicians to perform their best, avoid injury, and reestablish well-being. Also included are facts and statistics that are useful for all kinds of musicians, not just for those who play daily in large ensembles.

I have always admired the special relationship that dancers have with their bodies. Teachers and students of dance share knowledge about physical care, injury prevention, and body maintenance that they have acquired since the beginning of their artistic training.

By contrast, most musicians know almost nothing about the physical mechanics of the body and how it relates to playing, how to utilize the body to get the best results without injury, and the proper position of the body in relation to individual instruments.

I reiterate my gratitude to this unique and significant study of the consequences, derivations, and solutions to the practice of a vocation that inevitably becomes a profession: music.

There are scholars who say: We are all musical. Intrinsic to human nature, each person has the gift of music within themselves. Music and rhythm are, of course, life.

This book will aid musicians to replenish and improve their outlook and condition, in the same way that music heightens awareness and rejuvenates the body and spirit.

I do not want to take any more time away from your reading and digesting this book that addresses a very important topic for artists and performers: injury prevention and physical development.

I am sure that this profound book of research will help musicians maintain high spirits, enjoy their performances, and sustain their well-being.

Luis Cobos

Musician

President of the Spanish Society of Artists

Chapter One

INTRODUCTION

Musical accomplishment is founded on the mastery of close to perfect instrumental technique. Not in vain, the refinement of physical movement is one of the fundamental goals of the musician both as a student and as a professional.

Although it has been proven that this refinement can be achieved, at least in part, by mental work, learning is mostly based on repetition of the movements required for playing an instrument. This repetition, if sufficient and performed under discerning conditions, leads to the automation of the movement, allowing the musician to achieve greater nuance and speed of execution. Unfortunately, most musicians base this process on hours of repetition each day without long breaks or significant rest.

Although a part of what you learn becomes engraved forever, many of the more complex actions are far from permanent. To retain these, it is imperative that once the desired degree of refinement is reached, you continue to practice.

This goes to illustrate that from the beginning until the end of your career, you must always devote many hours on the repetition of movements and gestures required for playing your instrument.

Although it is undeniable that coordinated movements occur through the contraction and relaxation of multiple muscles, musicianS are generally not consciously aware that the movements they are making require an expenditure of energy and involve physical consequences that are often subtle.

In the musician’s case, it is often found that the act of playing an instrument is not commonly related to the physiological changes that are usually associated with physical exertion: acceleration of the heart and respiratory system, sweating, feeling of exhaustion and stiffness, etc. This is probably why there is a lack of awareness that performing is a strenuous exercise. Certainly, many musicians have not received training that incorporates education about the body and how it works. Furthermore, should the need for bodily care or rehabilitation arise, musicians do not possess the appropriate tools for this to be accomplished.

Undesired consequences can result from repeating the same gesture multiple times under adverse conditions and without adequate consideration from the physical point of view. Health studies of musicians conducted in various countries have found that a high percentage of musicians (higher than 75%) end up having physical ailments at some point in their life that affect their musical progression and professional career.

The exercises and activities that can help counterbalance these problems in musicians do not necessarily follow the same principles that govern the world of sports. It is often thought that building muscle at the gym, using springs to strengthen hands, or a long swim in a pool every week will offset the stresses of playing a musical instrument. However, this is not the case.

A musician’s muscles should combine agility, resistance, elasticity, and strength. These attributes must be worked on in a balanced way and, moreover, without overburdening or adding extra risk to the structures or areas that are already vulnerable.

As a general rule, musicians need exercises that yield the most benefit when playing their instrument while simultaneously protecting them from the likelihood of injury and contributing to restoring the body. In order to do this, musicians must counteract the created tension and rebalance the areas that were worked both when playing and when exercising.

Do not make the mistake of thinking that only musicians who have been injured or professionals who play many hours a day need to do these exercises. Obviously, for these groups of musicians (injured and professionals), the exercises that follow will be especially useful if incorporated into a daily routine. However, these routines can also be beneficial for any category of musician including students in their first years of instrumental training, amateurs who play sporadically, symphony orchestra players, and recording artists, as well as those who play rock, folk, or pop music.

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THIS BOOK CONTAINS...

This is a manual for musicians consisting primarily of exercises. In order for the instrumentalist to fully incorporate these exercises into their practice routine, it is essential to understand the usefulness of the exercises and why they have been chosen.

This book includes the following chapters:

Basic Concepts. Explains each type of exercise, for whom they are intended, and how they can be done.

Exercises by Region of the Body. Musicians will learn exercises to suit their needs. The exercises are grouped by region of the body. Each region includes exercises for flexibility (improving joint mobility and muscle elasticity), stretching (lengthening the muscles and reducing tension), and toning (enhancing strength and muscle endurance). Musicians must take into account the reasons and instructions provided for each of the exercises described so as to maximize results and avoid injury.

Exercises by Instrument. Recommended routines for individual instruments are grouped by similar playing posture. This includes a pre-playing routine (warm-up) and a post-playing routine (cool-down). These routines are specially designed to address the demands and strains made on the body by each instrument.

Staying Healthy and Fit. A general exercise program is proposed for those musicians who wish to work comprehensively on the whole body to improve their physical condition both on their instrument and in their daily lives.

In Exercises by Instrument and Staying Healthy and Fit, two versions have been designed: Essential, a basic version which includes exercises necessary for maintaining a desirable physical condition, and Complete, a full version for those who have more time and want to ensure peak fitness and improved physical performance.

Exercises for Special Situations. Ideas are included for how you can modify the exercises in this book so that they can be done in less than ideal conditions. An example of this would be using the adapted exercises while you are on stage during a rehearsal.

Exercises that are Advised Against. Although certain exercises may be perfectly fine in other contexts or activities, this chapter contains a list of exercises that are not advised for any musician and could be harmful. Justifications are included as to why each exercise on this list is not advised.

AN APPENDIX IS INCLUDED WITH THE FOLLOWING GLOSSARIES:

Glossary of Muscles. The main muscles used by musicians are described in this section. This is not a treatise on anatomy. Rather, it is a basic overview of the elements that allow musicians to play, resulting in a better understanding of how the muscles do and do not work. For easy reference, these muscle names appear in italics as they are mentioned throughout the book, followed by a number referencing the order in which the word appears in the glossary.

Glossary of Terms. This section describes and illustrates medical concepts used in this book. The terms appear in italics throughout the book to let the reader know which terms can be found in the glossary.

Chapter Two

BASIC CONCEPTS

As already mentioned, the presence of physical problems in musician originate essentially from inadequate understanding of the body and high expectations of fine movement that is involved in playing an instrument. Such demands are determined by incessant, often obsessive, repetition of movements in improper ergonomic positions under excessive stress and adverse conditions. The tension and poor posture can cause muscle contractions (spasms) and loss of muscular elasticity. These repetitive motions and asymmetrical gestures lead to imbalances in the muscles. An imbalanced, inelastic, and stiff muscle will not only worsen performance but increase susceptibility to injury.

It has been determined that flexibility, stretching, and toning exercises can contribute to the prevention and/or restoration of damaged areas. These kinds of exercises are easy to understand and follow. They are perfectly suited to the needs and movement requirements of musicians. Also, these exercises are rarely harmful, even if misunderstood and/or poorly performed.

FLEXIBILITY EXERCISES

Definition

Flexibility is being able to perform movements throughout your full range and harness the potential strength of efficient joint movement.

Joint mobility, muscle elasticity, and other factors including heredity, climate, fatigue, and most importantly age determine overall flexibility. As you age, flexibility decreases, especially if you do not cultivate it.

Flexibility exercises are intended to preserve and improve your range of motion. Even some stretching exercises, which will be mentioned later, can be considered flexibility exercises.

A simple example would be pianists who want to warm up their finger agility. These pianists would perform a flexibility exercise by alternating finger movements, in all directions, which involves the joints and muscles in the finger area. Here you can see examples of finger flexion-extension (bend and straighten) and abduction-adduction (separate and together) which allows for the proper preparation of a pianist’s hands.

To make the hand more flexible before playing, it is recommended to do several exercises such as those shown in the figures. These exercises will warm the muscles, improve fluidity of joint movement, and increase blood flow to the muscles and tendons.

Purpose:

Flexibility is a physical quality that is essential for achieving correct and efficient execution of movement. These exercises seek to maintain fluid, free-working joint mobility as well as to promote efficient muscle coordination. The exercises are also intended to pursue a degree of elasticity and proper muscle tone for playing.

As a general concept, in addition to assisting in maintaining flexibility and preparation of the muscles for stretching, they are a good progression for passing salubriously from rest to activity.

Who Can Do This?

All musicians should work regularly on flexibility. Furthermore, since it is a quality that is lost with the passage of time, this work should be more intense the older one gets. However, while it is true that children have ample elasticity and mobility, it would be advisable to introduce these activities at an early age to stimulate the body so as not to have any regressions in flexibility.

Although these are light exercises and are in principle suitable for all musicians, if you have an injury, seek medical advice (preferably from a professional who has experience working with musicians) to see if any of the exercises could be harmful.

When and Where?

Although flexibility exercises can be done whenever and wherever you want, at minimum, they should be performed before playing your instrument.

Anytime you notice any area of the body beginning to stiffen due to repetitive activity, posture, or stress, flexibility exercises can restore mobility and elasticity as well as avoid future problems.

Equipment:

You do not need any special equipment or clothing; however, a relaxed atmosphere, pleasant temperature, and comfortable loose clothing facilitate the implementation.

For floor exercises, it is better, although not essential, to have a towel, blanket, or mat for comfort.

How to:

The basic principle is to perform smooth and slow movements (taking several seconds for each motion) without stressing or forcing any bodily structure. Therefore, the recommended process is to repeat a movement (usually between 10 and 15 times), always returning to the starting point without halting or pausing between repetitions.

For added benefit, slightly change the position of any of the joints that are directly or indirectly related to the movement of the exercise. For example, in the exercise 1-Finger mobility (page 29), the wrist can be placed in different degrees of extension or flexion, the fingers can be bent or straightened, the palm of the