Learning how to move more efficiently based on a corrected and refined body map allowed me both to play for long periods pain free and to achieve more musically-consistent results.īarbara and Bill had been working with the concepts of Body Mapping since the mid 1970s, though the concepts had been implicit in the earlier dense writings of F.M. The foundation for my Alexander Technique study was something my teachers, Barbara Conable and William Conable, called Body Mapping. The class was a revelation to me, not only because I was learning how to play pain free, but because I was able to play with the tone and the concept of sound I had always had in my mind but could never achieve consistently. When I mentioned to my teacher some pain I was having, I was advised to take an Alexander Technique class. As a performer with injury, I was very lucky as a university student.
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