If you experience pain when playing piano, your body is telling you that you are at risk of injuring yourself. Piano technique is not inherently painful. Even a mild discomfort is an indication that you can improve on piano technique; whether this may be the specific movement of fingers on the keys, the balance of the whole body to support your hands, or a combination of both.
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Moving 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.
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Musicians and computer users are at the top of the list for Repetitive Strain Injuries (RSI).
Alexander Technique’s unique approaches make it a powerful tool in prevention and management of RSI symptoms. poise and action in accord with Alexander Technique principles promotes long term resolution of underlying causes of strain.
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One of the most common symptoms of the digital era is Repetitive Strain Injury, or RSI. Also known as Occupational Overuse Syndrome it includes ailments such as tendonitis, carpal tunnel, gamers thumb and tennis elbow. Alexander Technique presents a unique approach to resolving symptoms and goes further than any other modality or intervention to remove the underlying causes.
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This article attempts to de-stigmatise tension and present muscle contraction in a healthy framework. Also challenge the virtues of relaxation as a remedy. An article of interest to those faced with RSI symptoms, or anyone whose work puts them at risk of “overuse”. For instance, anyone using a computer!
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Overview of how Alexander Technique provides pain releif
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The 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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