Cello – Grounding in the Alexander Technique (Musicians)(Psychology)(Pain)(Strain)(Injuries)(Posture)(Albuquerque)

This ebook, An Alexander Technique Approach to Cello Technique, is published on this website in a PDF format. It is very detailed and practical, and it will give you the physical tools you need to take the limits off of your ability to create the accurate cello technique you want without sacrificing your body.
This ebook is also for sale on all AMAZON websites in a KINDLE format.
Located in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)
Alexander Technique is focused very much on the cellist finding UP in her body. UP means that there is an upward flow, upward direction, an upward vector in the cellist’s body. This means that the cellist is ordering the head to lead the spine upward, so that all of the disks and vertebrae are decompressed, so the cellist can have superb posture and technique organization.
Since many cellists are pulling downward in their bodies, then it is primarily the Alexander Technique teacher’s job to help these downward pulling cellists organize their bodies with an upward flow. But there is an equal and opposite and just as important component to the organization of the body in the Alexander Technique.
It is called GROUNDING, not down. GROUNDING is the body releasing/lengthening in opposite directions muscularly, so that the body is fully expanded in all directions. The reason for this is twofold.
When a cellist is grounded, then the cellist is feeling the full support of the chair and the floor, feet fully on the ground.
The second reason for grounding is the downward flow in the legs from the hip joints downward, creates space in the hip joints, knees, and ankles.
When there isn’t a down flow in a body with a head leading the spine into lengthening on the cello, it means that the cellist is playing with bunched up muscles, especially in the thighs. The effect of the locked up thigh muscles on the body of the cellist, is to pull the legs up into the pelvis/torso.
Physically and energetically it is as if you are trying to pull yourself up off of the chair and your feet off of the floor, and this means you are playing the cello without a base. What do I mean?
So many cellists are only aware of their arms and hands, but do not have an awareness that the shoulders float on and are supported by the torso. The torso is supported by the pelvis, and the pelvis is supported by the legs. Even sitting, it is the musculature of the upper legs – quadriceps, biceps femoris, and psoas, that helps balance the torso upright on the chair.
When this lower body musculature is at ease, releasing to the chair and the floor, then you are supported from the ground up, but there is another very very important Alexander Technique principle here at work. When you play the cello it should be with the least amount of muscular work, a balanced body with great posture, and with a high dynamic (high energy).
When you sit for hours playing the cello with unnecessary tension in your legs, then you are doing totally unnecessary work in your body as you play the cello. Since, in the Alexander Technique, we view technique as what the whole body does when you play the cello, then locked legs are compromising your cello technique. This excess tension is exhausting you and keeping you from experiencing yourself as supported from the ground up. Simply, you are not grounded.
One final point, whatever you do in your body, no matter how not directly connected to the specific technique of the cello, it will have an effect on the tone, accuracy, and effort necessary for you to play, for good or bad.

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An Alexander Technique Approach to Cello Technique

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Ethan Kind

AUTHOR, TRAINER "When you change old habitual movement patterns with the Alexander Technique, whether in playing a musical instrument, running, weightlifting, walking, or typing at a computer, you create an ease of body use that moves you consistently into the zone." - Ethan Kind Ethan Kind writes and is published extensively on all of the above activities. He teaches musicians, athletes, and computer operators how to stop hurting themselves, by showing them how to use their bodies with ease and coordination. He brings a unique perspective to his work, having been a musician and athlete all of his life. After training for three years at the American Center for the Alexander Technique (New York, NY), Ethan received Professional Certification credentials.