Looking to the root of stress, one common theme is that of not being good enough. Musicians might recognise this in the form of ‘not doing enough practice’.  Alexander Technique identifies the struggle which arises and introduces practices which dissolve the context for such judgement.

In 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.

Alexander 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.

Alexander Technique trains the use of oneself, in any situation.  To the aspiring pianist, it is an effective technique to improve how one uses oneself at the piano.  It falls short, however, of training a technique of playing the piano.  Five years of territory study and additional years of private instruction gave me some ideas of piano technique, but there remained a incongruity between the coordination I’d learned through Alexander Technique, and what I understood the demands of playing the instrument to be.  I discovered the Taubman Technique to be the bridge to that gap.

There is a reaction known as “fight or flight” which is triggered when we perceive danger.  It is very appropriate when there is danger which needs an immediate fight or flight as a response.  This happens very rarely in modern society, the response is usually triggered by an emotional threat for which fight or flight as a response is inappropriate.  The resulting tension can create a massive limitation to performance and may guarantee a result which we were aiming to avoid.

In 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.  

There is a wonderful book by Pedro DeAlcantara called Indirect Procedures.  The title epitomises both the main challenge students have with Alexander Technique, and the profound solution it proposes.  I present here an example of a problem, and the unexpected principles which lead to its resolution

From 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

A 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.

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.