Posted by: mary foley ®
04/21/2003, 19:19:54
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I have heard from a saxophone instructor who also teaches the Feldenkrais method as opposed to the Alexander technique. He told me he has treated musicians with focal hand dystonia and that I should look into it. I have embouchure dystonia and don't know how this can help. Any comments?
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Posted by: aronsklar ®
04/24/2003, 03:37:50
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Hi Mary, I have actually recently heard of a significant Alexander technique success story concerning dystonia. A decently well known L.A. trombonist was introduced to me a while ago, and after confiding to him that I developed it about a year ago, he told me, ( under a hushed voice) that he had been dealing with it for about seven years. Too make a long story ( that is not mine to tell either) very short, he lost all his playing ability. To boot he lost it while he was out on the road making a living. He eventually got a bit of his playing back. In the last year he's been taking alexander lessons, and in it he has found the greatest improvement. I recently heard him play, and I never would've known about it, he sounded so good. He has regained most of his trombone playing, and the finer points of it after studying alexander technique recently. It's quite an uplifting story that gives quite a bit of hope. I have also been taking alexander lessons during this last semester and I think it offers probably one of the best possibilities for embouchure dystonia. The effects, ( the trombone player told me) come only out of repeated and somewhat studious practice at the alexander technique. It is a retraining of sorts, that focuses on awareness of your body, and how to use it better.... I hope these comments will give some hope to the many out there on the board. I don't think embouchure dystonia is a complete end to performing. I have also battled it out, and have gained much playing back since developing dystonia. I will say that I've got just about the most screwed up embouchure you've ever seen, but I don't sound bad, and that's what counts. I have also begun to notice the effects of the alexander technique on my playing. I've never been a natural type of player. I've always struggled with excessive tension when playing. The technique has allowed me to become aware of this and shown me how to release a lot of this tension, which then frees the body, ( and mind) to play music. I would strongly suggest alexander technique lessons to all sufferrers of focal dystonia, and for that matter all musicians in general. Good luck with the battle!!
Aron Sklar
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Posted by: lanfear ®
06/12/2003, 04:41:15
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Hi, I`m a pianist in the UK. Here we have set up a pioneering course for training Music Medicine Therapists, bringing medical and musical professionals together (see my link). People travel from various parts of the world to attend these monthly sessions. One of the conclusions we have reached is that attention to posture and relaxation is essential. Both Alexander and Feldenkrais are excellent in this respect, BUT it is important that they are studied AT THE INSTRUMENT with a specialist who has a deep understanding of the needs of the musician. Carola Grindea, here in London, often gets people to MIME without the instrument. What always happens is that the mental association with playing is enough to produce all sorts of tension in the body. If we can develop an awareness of these problems (larger muscles of the neck, shoulder, elbow, wrist...) BEFORE we pick up/sit at the instrument then we have travelled a great distance. Start with the big muscles first, otherwise your mind plays tricks with the small muscles. Because you have played so long in a state of tension you may THINK you`re relaxed...p.s. I am currently doing a dissertation on focal dystonia, so any feedback/info would be very welcome. My email: paulfrombristol@yahoo.co.uk
Related link: INTERNATIONAL SOCIETY FOR STUDY OF TENSION IN PERFORMANCE
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Posted by: mary foley ®
06/12/2003, 11:19:39
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How does the Feldenkrais method, or any other method, work when embouchure dystonia is present? I can understand how posture can relate to hands but am confused with how it can help a mouth. ny feedback or success stories???
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Posted by: aronsklar ®
06/16/2003, 17:57:27
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Hi Paul, Thank you very much for your posting, and the link to your website and dissertation. I have begun reading it with great interest. It is the first I have ever heard of clinics providing help for musicians for this kind of problem. I don't believe there is even and organization of it's here in the U.S., no matter what the size. I was diagnosed as having focal embouchure dystonia about three or four months ago, although I was pretty sure that I had been suffering from it for the last year or so. I begun taking Alexander technique lessons at about the same time I was diagnosed, and I must say it is doing miracles for me. Though I do not physically play the same way I used to, I can say that through the technique I'm beginning to get control, ( though difficult of course) over the some of the normal involuntary clenchings that dystonia has plagued me with. I think that Alexander technique and similar disciplines hold some of the greatest possibilities for combatting this disorder. I just wish that here in the states we had organizations like that that you belong to.
In general, even the best neurologists that have experience with musicians with dystonia have no clue how an embouchure works, so in my opinion they are usually making educated guesses as to whether or not a brass player has dystonia. They are usually much better at indentifying the problems in pianists or guitarists. My best bet has been finding a trombone teacher with specific knolwedge about dystonia, and of course specific knowledge about playing. I am lucky enough to have found just such a teacher. To boot he practices the Alexander technique and has incorporated it into his teaching. I ceartainly hope that in the near future the U.S. catches up to the rest of the world regarding the treatment of musicians. I think that the medical community could learn a vast amount of knowledge by studying musicians, and how to treat them. It would give them such insight....
If you would like to ask me anything, please do so, through the board, or at my email: aronsklar@hotmail.com . I would love to contribute to your dissertation in any way possible. I look forard to finishing reading the info on your site. Thanx, and keep in touch... Aron Sklar
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Posted by: lanfear ®
06/12/2003, 04:41:47
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Hi, I`m a pianist in the UK. Here we have set up a pioneering course for training Music Medicine Therapists, bringing medical and musical professionals together (see my link). People travel from various parts of the world to attend these monthly sessions. One of the conclusions we have reached is that attention to posture and relaxation is essential. Both Alexander and Feldenkrais are excellent in this respect, BUT it is important that they are studied AT THE INSTRUMENT with a specialist who has a deep understanding of the needs of the musician. Carola Grindea, here in London, often gets people to MIME without the instrument. What always happens is that the mental association with playing is enough to produce all sorts of tension in the body. If we can develop an awareness of these problems (larger muscles of the neck, shoulder, elbow, wrist...) BEFORE we pick up/sit at the instrument then we have travelled a great distance. Start with the big muscles first, otherwise your mind plays tricks with the small muscles. Because you have played so long in a state of tension you may THINK you`re relaxed...p.s. I am currently doing a dissertation on focal dystonia, so any feedback/info would be very welcome. My email: paulfrombristol@yahoo.co.uk
Related link: INTERNATIONAL SOCIETY FOR STUDY OF TENSION IN PERFORMANCE
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