Instrumental technique may be considered as the interface between concept and sound.  Our technical prowess determines how effectively our ideas flow from imagination, through the instrument, to the listener.  The definitions we create of technique, guide our practice and teaching.  They may be a liberating or limiting factor.  We inevitably acquire a set of judgements around what is appropriate technique, and what is not.

Piano instruction books often depict ‘the right posture for playing piano.’  They may illustrate a pianist with a straight back, feet on the floor, and forearms parallel to the floor.  There are advantages and disadvantages to presenting images like this.  If a student were to hold this position, the holding may become very limiting for piano technique, not to mention tiring!  Through an investigation into positive poise, we can explore some principles of coordination for playing.

When asked about school chairs, FM Alexander is quoted as saying “We need to educate our children, not our furniture.”  The same can be said about the piano stool - it is far more profound and fundamental to learn to change one’s coordination than to learn where to put one’s stool.  The former also informs the latter.  We can look to Alexander Technique not for a prescribed position of piano stool, but for principles which can guide our decision making.

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.

A nineteen year old aspiring to become a professional pianist, got to the stage where he’d be writhing on the floor from back pain after playing for fifteen minutes.  Three Alexander Technique lessons gave sufficient perspective to manage the crippling back pain.  This is the story of how I came to Alexander Technique and the fundamental learning of my first three lessons.

A fine balance is required in the performing arts.  Attention must be divided among essential specifics, and simultaneously be united towards coordinated performance.  Too much attention on one aspect is as disastrous as too little.  

When musicians perform, we consciously initiate certain aspects of coordination and action.  Many more processes are managed outside of our consciousness.  Some, we can learn to become aware of, and we may learn to directly modify these.

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.

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.