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50 Hortense St
Glen Iris, VIC, 3146
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0490 126 293
Practice of Jeremy Woolhouse, pianist and Alexander Technique Teacher in Melbourne, Australia
Specialist in working with musicians, RSI, posture re-education, neck, back and chronic pain management.
Monthly blog articles by Jeremy Woolhouse. Alexander Technique for daily life, music performance, specialised activities, pain relief and management.
Filtering by Tag: performance
Taking the time to tune your instrument is always worthwhile, and balancing the instrument’s components to suit the current environment and create the desired sound is quite an art. Alexander Technique considers one’s whole being to be the instrument for performance. Taking the time to make our whole selves in-tune with the current environment enhances any activity.
Read MoreInstrumental technique may be considered as the interface between concept and sound. Our technical prowess determines how effectively our ideas flow from imagination, through the instrument, to the listener. The definitions we create of technique, guide our practice and teaching. They may be a liberating or limiting factor. We inevitably acquire a set of judgements around what is appropriate technique, and what is not.
Read MoreMoving from pain management and prevention of injury, to confidence, technical and musical proficiency at the piano.
Of all the instruments, piano may appear to have a most straightforward ergonomic. The pianist doesn’t have to hold the instrument, control breathing, deal with major symmetry challenges or contort for fingering. In spite of this, the rate of pain reported by pianists is high. Wrist pain, hand or forearm tension, tendinitis, carpal tunnel, frozen shoulder and back pain are commonly experienced by pianists.
Read MoreA nineteen year old aspiring to become a professional pianist, got to the stage where he’d be writhing on the floor from back pain after playing for fifteen minutes. Three Alexander Technique lessons gave sufficient perspective to manage the crippling back pain. This is the story of how I came to Alexander Technique and the fundamental learning of my first three lessons.
Read MoreA fine balance is required in the performing arts. Attention must be divided among essential specifics, and simultaneously be united towards coordinated performance. Too much attention on one aspect is as disastrous as too little.
When musicians perform, we consciously initiate certain aspects of coordination and action. Many more processes are managed outside of our consciousness. Some, we can learn to become aware of, and we may learn to directly modify these.
Read More“Get job done at any expense” is a modus operandi we’re probably all familiar with. Persistence of this attitude, the cost to ourselves wears us down. An upgrade to “Get job done without compromise to self” infinitely improves outcomes. Staying true to the principles of Alexander Technique transcends even this, and proposes a third paradigm.
Read MoreIn any educational process, there are inevitable ups and downs. When progress stagnates, this is an indicator that some mode of thought is preventing further development. One of the most confounding barriers to a musician is when an intention for musicality inadvertently creates conditions which limit performance.
Read MoreAlexander Technique is a process of removing interference. Without interference, concept flows into action effortlessly. Restrictions of physics still apply, so a conceived ideal may not be possible, but performance will be closest to intended, and most rewarding to the performer, when interference is minimised.
Read MoreIn the sports and performing arts, there is what is known as Flow, or “being in The Zone”. It is considered the ‘state of mind’ where one is wholly absorbed in performance and is associated with moments of peak output. Although heralded as the ultimate state, performers often report being The Zone also leads to pain, or that pain interrupts Flow. This article considers the apparent paradox of using consciousness to preserve Flow and eliminate the negative side affects. It is relevant to anyone who associates being deeply engrossed in a task with stiffness or soreness.
Read MoreFrom the small act of getting in and out of a chair, to the musician on the stage, there are numerous decisions to be made. Discernment and Judgement are forces which use observations as a force which can elevate or destroy satisfaction in any act. This article uses the example of pianistic performance, but aims to speak relevance to all activity
Read MoreA fine balance is required to manage any specialised skill. Attention must be divided amongst essential specifics, and simultaneously be united towards coordinated performance. Too much attention on one aspect is as disastrous as too little. I consider three fundamental categories encompass all constructive attention. Thinking is most positively constructive to coordinated performance when balanced across the three areas. Thoughts outside of their parameters interfere with successful engagement in skilled activity.
Read MoreThe Alexander Technique has become an indispensable aspect of my pianistic performance and practice. It has complemented, informed and enhanced my musical education, and taken my development well beyond what conventional music education did.
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