Lauren Remmers 11/20/07 Alexander Technique- final presentation ...

Lauren Remmers
11/20/07
Alexander Technique- final presentation
Alexander technique is, first and foremost, about the care and nurture of the spine.
By studying our bodies and Alexander’s principals, we can better learn to move freely,
easily, and with less tension. We can also make old conceptions of “posture” obsolete by
learning what is actually healthy for us. Alexander technique can aid in flute playing in
multiple ways which teach a musician to focus and be expressive while still caring for the
spine. The techniques which are essential to the action of playing flute involve breathing
movement, arm movement, and jaw movement.
Breathing is something with which all musicians will struggle at some point.
Particularly in quicker passages, the pressure is on to take in as much air as possible in as
short a time as possible. This pertains especially to flute because it is an instrument that
requires an enormous air supply, as only a portion of the air that leaves the players’ lungs
ends up in the instrument and actually contributes to the sound. The rest is expelled into
the air. This is unlike most wind instruments that have a mouthpiece reaching completely
inside the player’s mouth and therefore 100% of the air used goes directly into their
instrument. Given this need for extra air output, trying to catch quick breaths can easily
produce tension in a flute player’s throat. This can lead to several complications
including gasping or breaths that sound to loud or high-pitched, and this can become
distracting to a player’s performance. When there is tension in the throat, it is also
impossible to fill the lungs to their full capacity in a short time, leading to shallower

eathing and the inability to complete phrases in one breath. In order to achieve proper
breathing, a player must understand how the process works. When the diaphragm pulls
downward, air first rushes inside the mouth and THEN into the lungs. There should be a
widening and deepening in the torso and the spine should lengthen on the exhale and
gather on the inhale. It is also best to do a tiny head nod before playing to make sure
your head is properly aligned on the A.O. joint (between the ears!) and that there is no
excess tension in the neck. With knowledge of the breathing muscles and awareness of
any tension entering the neck, a flute player will be able to remain relaxed and loose and
take quick breaths that don’t sound obtrusive.
When playing flute, it is important to be flexible with the direction of the air in
order to play in all octaves. However, it is very easy to develop excess tension in the jaw
joint which causes the player to be stiff (and also spreads tension to the neck). For flute
players, this is a common occurrence because the flute rests on the jaw below the mouth,
and for all wind players, improper care of the jaw can lead to discomfort, stiffness, and
even popping in the joint. The best way to prevent such things from happening is to
always move the jaw in an easy, fluid motion. It should swing down and slightly back,
which is contrary to most people’s body maps which tell them they should swing it
straight down or even down and forward, causing the chin to jut out. This is never good
for the jaw. Another body mismapping occurs in the actual location of the jaw joint, or
the temporomandibular joint. There are two, both of which are located below and
slightly in back of the temples (in front of the ears). Often, students assume their jaw is
connected to the skull at a much lower position, as if the chin were the whole jaw, and
this should be corrected quickly as it can lead to problems which will prevent them from

achieving the natural, flexible sound that is characteristic of the flute. This jaw motion
will also aid in a more relaxed intake of air when the player opens their mouth to breathe.
Some players who have experienced problems with jaw movement also avoid actions
such as chewing gum or eating very tough food that is hard to chew.
The first movement a flute player has to make is with the arms, to bring the
instrument up to playing position. Several issues arise here because the members of the
flute family are the only transverse wind instruments and thus, they call for more arm
extension than most other instruments. Holding the right arm out to the side for an
extended period can be very difficult, especially if the arm structure is incorrectly
mapped, and can create tension in the muscles surrounding the shoulder blade. The left
arm structure also can become strained if it is not positioned correctly and can even pinch
nerves. This can lead to numbness of the arms and can even interfere with expansion
while breathing. The arm structure must be correctly mapped so as to avoid these
injuries, and this is a common problem because the majority of musicians think there are
only three arm joints. There is actually a fourth joint at the collarbone: the
sternoclavicular joint. This is where all arm movement should be supported from
initially. It is an excellent idea to begin with some arm warm-ups before picking up the
flute. Floating the arms up by your sides while leading from the collar bone will really
loosen up the joints and teach students to bear the weight from the proper place, relieving
much excess tension. Arm circles work quite well too. Also, when positioning the arms,
it is important to remember that the left arm structure should be moved significantly
forward to avoid the strain that is common to this arm. Use of the arms should not create
excess tension in the neck either, so one should always check to see that the neck is free

and loose. When bringing the flute to the face, swinging it around in a wide circle in
playing position will really help get those arms extended and encourage proper use of the
arm structure. Of course, when playing, the student should do their best to remain
relaxed and avoid tensing the arms or fingers.
Musicians can become injured just by overuse and misuse of their bodies while
playing, but with the application of the Alexander technique to care for the spine, one can
continue playing well into their life. Even simple activities such as practicing on an
exercise ball can help maintain alignment (or you’ll lose your balance!), and forward
spinal rolls help relieve tension in the back. When playing in an ensemble where sitting
is required, a flute player can even lay forward over their lap and relax their spine in this
way. When flute players master breathing, jaw, and arm movements, their body can
work together as one and move in a more fluid, easy style which can protect them from
many potential injuries.
Sources:
What Every Musician Needs to Know About the Body: The Practical Application
Of Body Mapping to Making Music by Barbara Conable. 1998.