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| Re: The "letting go" issue |  | ||
| Re: The "letting go" issue -- greg | Post Reply | Top of thread | Forum |
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Posted by: guitarist ® 07/05/2010, 07:15:27 Edit |
"I think it is important to first identify the dystonic and compensating fingers, find unnecessary tension, learn to relax the muscles, and re-learn to move the correct ones; and only then learn to let go" No, I would have to disagree. Letting go is a starting point, it is disconnecting at least some of the layers of unwanted tensions taking place and then building upon that. Learning to let go allows freer movement to take place (however weak and fragile that is to begin with) and the goal is then to reinforce and strengthen those correct pathways, to allow the sensory motor feedback system to learn it's way back to normal functioning. Your sensory motor system will fix itself if it is given the space to do so. You don't learn to type or drive a car by working out which muscles in your hand and arm you need to tense and relax and when. You concentrate on the output and the body is constantly monitoring performance and adjusting things on the fly to make improvements in performance to move it closer to its model. From what I've read of Farias', Fabra's and Leisner's approach this would pretty much tie in with they say. I agree that a heightened sensory awareness of one's hand is vital to recovery, as is the need to achieve higher degrees of relaxation than one has had to before, but also agree with the other post in this thread that says we shouldn't become hung up on labels and that one is retraining the whole hand (I even found it useful to include my little finger in my plucking hand in my retraining exercises even though it is not traditionally used in classical guitar technique). Here's a nice quote from Barabara Conable:
"The musicians who spontaneously resolved their dystonia did the opposite of what most musicians do. Most try to control the offending part by concentrating on it and therefore increasing the tension in and around the part. This only makes it worse. When the guitar player "found out I had to get all the tension out of my body" he had to do the opposite of concentrating. He had to expand his attention to the whole of him in order to free up his hands, so that he could simply do the work of fingering and plucking the strings without interference. He had to experience his fingers in movement as part of the whole of him in movement as he played. "All the tension out of my body" had to continue throughout his practicing, rehearsing, and performing." |
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