My mother is an Alexander Technique teacher, who worked for years with young musicians at a school in the UK. She originally trained in the technique after experiencing tension problems as a professional violinist for the CBSO. She would agree, posture is crucial - upright, relaxed, alert, and the breath should be natural, not forced. If we think too much about all of these things, the opposite happens, and this is why it is important to train our bodies to act this way by habit, so the mind does not get in the way.
Rowuk, I totally agree on getting the mind out of the way, but this comes with practice too! And when our bodies work the way we want them to, without having to give thought to the process, that's where the (musical) magic can start to manifest. That's probably a new topic in itself!
1992 Bach Strad Large Bore 25 Silver
1976 LA Benge 5x Silver
1920s?? Langen?? Rotary Bb Raw brass
1977 Olds Super Star Flugelhorn Raw brass
1985 Mario Corso Piccolo Trumpet A/Bb, 4 bells
2008 Kuhnl & Hoyer Tenor Trombone
Christian Lindberg 10C
Interesting and thought provoking. Thanks all.
This underlines why singing lessons can be so valuable for trumpet players.
...Dreaming of when I can have delusions of adequacy...
Olds Recording '73, Studio '48, Super '47, French Model 38/39, Ambassador '76, Ambassador Cornet '64
Reynolds Contempora LB '49-ish
Conn 22B '37, Frank Holton (early - '23?) "Patent Applied For"
Carol Brass Legend Heavyweight
plus various projects, whims and follies
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