jueves, 31 de marzo de 2011

Opiniones personales de músicos

Cómo veo mi buen uso como pianista
Tengo que decir que la primera vez que llegué a clase de Técnica
, me sonaba todo a "chino".
Comencé con mucho desconocimiento en relación al tocar y lo que uno
hace. Yo me crispaba, sobre todo el cuello y boca, y en consecuencia
también las muñecas y los dedos.
Empecé con las clases y me di cuenta no de la cantidad de cosas que
hacía mal, sino de la cantidad de cosas que tenía que dejar de hacer.
Empezando cada día por unos minutos de procedimiento de semi-supina,parando y pensando, y teniendo poco a poco más control sobre mí
mismo, voy mejorando. He notado mucha diferencia en mi sonido. Al
estar libre y ser consciente de lo que tengo que dejar de hacer, mi
calidad sonora mejora."

José Mª Cano ( alumno de piano, Musikene), marzo 2011

martes, 1 de marzo de 2011

Thought, movement and expression

The degree of interest shown in the Alexander Technique at major conservatories and music colleges world-wide is a clear indication that young musicians have a need for practical instruction in the basic co-ordination skills necessary to play an instrument without causing oneself discomfort or injury. By the time many young musicians reach college age, faulty habits have already become deep -rooted, laying a foundation for physical deterioration– often in direct proportion to the amount of time spent with their instruments.
Playing a musical instrument involves the ability to co/ordinate thought, movement and expression. Basic postural and co/ordination problems can easily be overlooked in the attempt to succeed musically. A pattern of unnecessary muscular tension repeated, day after day, year after year  may lead to health problems due to personal misuse.
 The unique contribution we can make as Alexander teachers is by employing our special ‘hands on’ teaching skills  indispensable for the prevention of misuse and development of personal growth.
 We often introduce the Alexander Technique to music students by saying that, during their time at music college, they ought to discover and develop easier, more enjoyable, ways of playing / that they should aim to end their practice sessions feeling refreshed and invigorated, rather than tired and worn down by the stresses of mental concentration and accumulated muscular tension.
  Tessa Marwick and Paul Versteeg