Is it possible to move too much when we play our instruments?
Movement and music go hand-in-hand, but can it be too much of a good thing?
Is it possible to move too much when we play our instruments?
I used to sway a lot while playing my violin. I couldn’t help myself–like many musicians, I feel music in such a kinesthetic way that I compulsively move my body in response to musical phrases.
But that wasn’t the only reason…
When I was about 8 or 9, one of my musical inspirations was a girl named Amy, who was a fantastic older violinist in my studio. Amy played with so much flair and expressivity, and I wanted to play just like her.
And that meant mimicking the dramatic ways she moved.
It quickly got out of hand. I remember my teachers caught on and instructed me not to throw my body around so much while playing. But even to this day, I still move a bit while playing.
By the way, I am by no means saying that moving around while playing is bad. Expressive movement and music go hand-in-hand!
But as teachers and musicians, we have to make sure that our movement is facilitating technique and expression, not hindering it.
Two things I consider now after my Franklin Method training:
Lower body instability. Are we (or a student) moving around because we don’t have balanced and grounded support in our hip, knee, and ankle joints?
I’ve been exploring this concept with a student who constantly shifts their weight to the point they’re off-balanced. As we’re exploring embodying the hip joint and being more grounded in their legs and feet, their tone actually becomes more resonant. (And when the violin isn’t constantly a moving target in space, they feel more confident executing techniques!)
Restrictions in the body. Are we moving in a way that compensates for joint restrictions and/or muscle imbalances?
It took me years to realize that I was using my whole body to feel phrases rather than create them with my bow. My joint restrictions and muscle tightness may have inhibited the free and efficient shoulder movements needed for excellent and intentional bow use. But practicing Franklin Method embodiments for the shoulder has not only improved my right shoulder mobility–my bow distribution and musical phrasing are better than they’ve ever been.
Learning to use our bodies efficiently helps us more easily express ourselves with the instrument. There is a lot we can do with video feedback and expert movement analysis to help uncover and rehabilitate movement restrictions that interfere with our playing, but it’s even better when we can learn to feel what is and isn’t corresponding to biomechanical function. This is one of the best perks of learning mind-body modalities like Pilates, Feldenkrais, Alexander Technique, Gyrotonic, the Franklin Method, Timani, etc.
When I’m more aligned and embodied, I do move less than I did as a kid. But more importantly, I move differently, and that makes me free to express myself more than ever.
If you don’t make a habit of watching video recordings of your playing, I highly recommend doing so! It can be an enlightening experience–more to come on that soon!
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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