Four signs musicians would benefit from embodying the shoulder.
When is it a good time to embody the shoulder in music lessons or the practice room?
When is it a good time to embody the shoulder in music lessons or the practice room?
Like most teachers, I don’t focus exclusively on anatomy and biomechanics in violin lessons. There are so many different things to work on with students if we want to develop their artistry, love of music, and technical fluency.
But what I always do is ask my students what is and isn’t feeling comfortable while they play. If they are experiencing physical discomfort–pain, stiffness, tension–or feel there are certain physical limitations in their technique–it’s a good indicator that we need to revisit the biomechanics of violin-playing.
From my point of view as a violin teacher and Franklin Method Educator, here are four signs a musician would benefit from embodying the shoulder:
Range of motion issues: do arm or shoulder movements feel difficult? Do you or a student feel like you have to push your body into a more extreme position to do a technique?
For upper-string players, this might look like struggling to get to the frog or tip of the bow, extreme bending (flexion or extension) of the right wrist, challenges moving around the bout while shifting to high positions, or difficulties playing on the lower strings.
Lack of movement: does it look like there is little to no movement happening in one or both shoulders? Does it feel like the body is moving freely and efficiently
Many upper-string players don’t learn that the shoulder girdle plays a dynamic role in bowing, holding the instrument, and changing positions and strings. This can lead to further issues with range of motion, muscular force, or compensating with other parts of the body.
Excessive movement in other parts of the body: are you or a student unconsciously compensating for shoulder stiffness by engaging other parts of the body in an exaggerated manner? Do any of these excess movements negatively affect their dynamic alignment or instrumental technique?
A common example of this for violinists and violists is rotating the spine away from and towards the bow to assist with bow changes–sometimes known as accordion playing. A small amount of spinal rotation is pretty normal, but if it becomes visibly exaggerated, the shoulder girdle may not be moving freely. Another familiar example is bending the left wrist in various directions to make it easier to change strings instead of pivoting the whole arm.
A less well-known example is looking out for excessive rib-cage movements. I notice that lots of violinists will unconsciously side-bend a little while bowing, changing string levels, and shifting around the bout instead of letting their shoulder girdles facilitate free and efficient arm movements. (This is a particular soapbox of mine!)
Experiencing tension or (minor) pain in the shoulders or arms: are you or a student feeling tight, sore, or even in pain trying to do specific instrumental techniques? Feeling like you’re working too hard or using too much muscular force while playing? Dealing with any biopsychosocial factors that affect how you’re feeling physically?
While it will be immediately obvious to the performer that they’re experiencing physical discomfort, the teacher won’t know usually unless they ask. This is why I always ask my students about their comfort level after playing in lessons!
Embodying the shoulder girdle won’t solve every technical problem or underlying movement issue we face as musicians, but it can help a lot with releasing excess tension, remediating technique, and playing with more ease.
If you’d like to learn more anatomical imagery, embodiment tools, and diagnostic strategies, I’d love to invite you to my upcoming workshop this Saturday, August 24th at 10 AM PT/1 PM ET!
Embodying the Shoulder: a Franklin Method Approach to Healthy Music-Making and Teaching
Registration is $30 and you’ll get access to the video replay for 30 days if you can’t make it live. This will be my last Franklin Method workshop for a few months, so I hope to see you there!
Click below to learn more and save your spot.
If this is the first time we’re meeting virtually, hello! My name is Erika, and I’m a violinist, teacher, and certified Franklin Method Educator. My mission is to rethink traditional teaching approaches to help musicians play with confidence and ease. If this resonates with you, here’s how you can connect with me:
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