November 19, 2006
Alexandrian Lesson
Wow, I had my first Alexanderian type lesson yesterday. It was very cool though I was somewhat unfocused after finally getting to the lesson. The good thing is that I did understand basically, and started applying as well as I can those notions. For my benefit, I'm trying to list as much as possible here.
First, find the center line of your body, and play from there using rotation in the lower back as much as possible in general. Previously my back had been lurching, leaning, and then tensing. This alone I'm very much thinking will benefit me, because already this morning I started applying it and can feel 'some sort' of difference.
Higher and adjacent to this 1st center is a second center that is much smaller and associated with the bowing arm and string crossings that actually 'is' adjacent as a triangle in some ways with the basic center. Somewhat different from the triangle formed at the frog in the geometry of bowing, this center is even smaller and related to string crossings-I'm assuming at this point. Find those small increments when crossing strings that allows the rotation to flow into not only the string crossings but bowing in general as well.
Next, putting the weight on the left foot a little less than previously understood, seems to augment this playing from the rotation at the waste, and I think will give me a little better stamina when playing while standing.
Next, cradle the instrument properly with the shoulder not raised prominently, but slightly and forward also very slightly--and lightly. For lack of better words, gently cradle the jaw-line in the chin-rest as a part of the overall summary that follows.
Next and as also learned elsewhere somewhat, the left elbow really should 'flow' under the instrument as you cross, vibrate, and shift. It is not some pneumatic lift that adjusts in increments, but as gently as possible flows in anticipation of the motions that the music requires.
With the left hand, envision a line not from the top inner nuckle, but from the inner muscles in the palm, and as a lever that creates a continuing machine with the inside forarm muscles,
Balancing the instrument is a flowing of motions and machines that complement one's range of motion, even with the unnatural nature of the posture required for playing this instrument. Balancing is not so much a reaching, stretching, tensing, and executing. The challenge then is to adjust to the unnatural nature of playing, in the most natural flow of machines as possible, stepping outside the box if necessary in finding one's 'natural' range of motion.
Wow, I had my first Alexanderian type lesson yesterday. It was very cool though I was somewhat unfocused after finally getting to the lesson. The good thing is that I did understand basically, and started applying as well as I can those notions. For my benefit, I'm trying to list as much as possible here.
First, find the center line of your body, and play from there using rotation in the lower back as much as possible in general. Previously my back had been lurching, leaning, and then tensing. This alone I'm very much thinking will benefit me, because already this morning I started applying it and can feel 'some sort' of difference.
Higher and adjacent to this 1st center is a second center that is much smaller and associated with the bowing arm and string crossings that actually 'is' adjacent as a triangle in some ways with the basic center. Somewhat different from the triangle formed at the frog in the geometry of bowing, this center is even smaller and related to string crossings-I'm assuming at this point. Find those small increments when crossing strings that allows the rotation to flow into not only the string crossings but bowing in general as well.
Next, putting the weight on the left foot a little less than previously understood, seems to augment this playing from the rotation at the waste, and I think will give me a little better stamina when playing while standing.
Next, cradle the instrument properly with the shoulder not raised prominently, but slightly and forward also very slightly--and lightly. For lack of better words, gently cradle the jaw-line in the chin-rest as a part of the overall summary that follows.
Next and as also learned elsewhere somewhat, the left elbow really should 'flow' under the instrument as you cross, vibrate, and shift. It is not some pneumatic lift that adjusts in increments, but as gently as possible flows in anticipation of the motions that the music requires.
With the left hand, envision a line not from the top inner nuckle, but from the inner muscles in the palm, and as a lever that creates a continuing machine with the inside forarm muscles,
Balancing the instrument is a flowing of motions and machines that complement one's range of motion, even with the unnatural nature of the posture required for playing this instrument. Balancing is not so much a reaching, stretching, tensing, and executing. The challenge then is to adjust to the unnatural nature of playing, in the most natural flow of machines as possible, stepping outside the box if necessary in finding one's 'natural' range of motion.
posted by al justice | 10:30 AM
<< Home