tag:blogger.com,1999:blog-23636652568506001792024-03-27T05:11:03.772-04:00Laurel Black Music artistic health + percussionUnknownnoreply@blogger.comBlogger73125tag:blogger.com,1999:blog-2363665256850600179.post-782804822476784772019-05-30T12:03:00.000-04:002019-06-04T18:54:57.167-04:00L+M Duo presents...ILLUMINATING WRIGLEY<div dir="ltr" style="text-align: left;" trbidi="on">
Saturday, June 8 is a big day for <a href="http://marimbapianoduo.com/">L+M Duo!!</a> Our visionary project titled<i> </i>Illuminating Wrigley comes to life at 8pm in a free concert just outside the Wrigley Building on iconic Michigan Avenue!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cYibeafnBvI2NNxMZYDTczm29sFpxZF12axrGd9CpYr87D3hJjPnjxSMUUNhM42ZAU1PYdbCTNo2qCrHCErIh8yphfA1G_BRYzxmdUOyAPpdQh7F6tOsQw98zBQM_tXGv4fiG0hID4s/s1600/Illuminating+Wrigley.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1035" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cYibeafnBvI2NNxMZYDTczm29sFpxZF12axrGd9CpYr87D3hJjPnjxSMUUNhM42ZAU1PYdbCTNo2qCrHCErIh8yphfA1G_BRYzxmdUOyAPpdQh7F6tOsQw98zBQM_tXGv4fiG0hID4s/s640/Illuminating+Wrigley.png" width="412" /></a></div>
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This event marks the start of Wrigley's Centennial Celebration, so we commemorate important dates of the last 100 years in our programming.<br />
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<b>Our Collaborators</b><br />
Composer <a href="http://www.stevensnowden.com/">Steven Snowden</a> was on board with this project from the beginning, and agreed in early 2017 to write a new work for L+M Duo inspired by the Wrigley Building. Here we are in downtown Chicago - the first time the 3 of us met!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0hzTm9FqxP5ChHuTL60u6etTHeoRLB60atUCL1cMwLlu-et_Cx-S-3wA_AZHOTERmvkLH5sOQ6cHmQIgm2lxd1COMylYDlN1eTTa_zJuUUHMkl2Tquf69WgAasPAqxc6KNDIp6Ceblk/s1600/L%252BM%252BSteve.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="958" data-original-width="960" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0hzTm9FqxP5ChHuTL60u6etTHeoRLB60atUCL1cMwLlu-et_Cx-S-3wA_AZHOTERmvkLH5sOQ6cHmQIgm2lxd1COMylYDlN1eTTa_zJuUUHMkl2Tquf69WgAasPAqxc6KNDIp6Ceblk/s400/L%252BM%252BSteve.jpg" width="400" /></a></div>
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Illuminating Wrigley closes with Steve's gorgeous new work for piano, marimba, and electronics titled<i> 25 Million Candles</i>, named for the amount of candlepower it took to light the building's exterior when it was completed in 1924. The piece is alive with a rhythmic vitality that reminds us of the energy contained in a beam of light.<br />
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<a href="http://www.cadancecollective.com/">Cadance Collective</a> joined the Illuminating Wrigley team late in 2018. Marianne has gotten to know them and their work around Chicago and Milwaukee. Cadance is made of a flutist, cellist, and primary dancer, though they all wear hats of creators and composers. They're bringing a new piece to Illuminating Wrigley. I can't wait to experience their work!<br />
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<a href="http://www.getitwright.com/">Arthur Wright</a> came on board in 2019 as the artist who would create - LIVE! - a work based on the event. I'm so excited to see what he creates!<br />
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<b>The Program</b></div>
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<b></b><i>Rhapsody in Blue</i> - George Gershwin, 1924</div>
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<i>Suite for Violin in Piano</i> - William Grant Still, 1943</div>
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<i>Clapping Music</i> - Steve Reich, 1972</div>
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*new work by Cadance Collective, 2019</div>
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<i>Tight Sweater</i> - Marc Mellits, 2005</div>
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<i>25 Million Candles</i> - Steven Snowden,<b> *world premiere*</b></div>
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The concert starts at 8pm, so bring a blanket or chair and some snacks! As we close the event with Steve's piece, the lights on the building will illuminate, synergizing the music's connection to the iconic piece of the Chicago skyline. It will be invigorating and special - we can't wait!<b><br /></b><b></b><b></b><br />
<i></i><i></i><i></i><i></i><i></i><i></i><i></i><i></i><i></i><i></i><i></i><b></b><b></b><b></b><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-60573560725880330272018-05-02T18:29:00.000-04:002018-05-02T18:29:16.341-04:00Bellies, Sausage Fingers, and John Psathas (but not how you think)<div dir="ltr" style="text-align: left;" trbidi="on">
Anxious me had a list of ways that pregnancy would completely mess with my playing and thus my <i>self</i>, proof that I expected the worst as the reason for the lack of photographic evidence of others performing while expecting. Doesn't mean they didn't, but wondering about it did fuel my fears of the journey into motherhood. (And explains why I intentionally posted videos of performances with a baby belly! Proof!!)<br />
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I figured I'd have a belly that bumped bars from time to time, fingers that would be bigger than normal, and a back that would ache. Spoiler alert: I did. <br />
There was nothing to do but laugh and go with it as little boy decided to take up core real estate.<br />
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1. Bumper Belly</h4>
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This one I saw coming. It took about 7 months, but it definitely happened. Goodbye, accidentals; hello, surprise muffling of bars. </div>
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But it was a great way to break awkward tension in lessons. So there's that. </div>
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2. Bye, Bye Balance</h4>
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They tell you that things like riding a bike or climbing a ladder are dangerous while pregnant due to the change in weight distribution, ergo loss of balance. They should add playing vibraphone to that list. </div>
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They should also add putting on socks and walking down stairs to that list.</div>
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L+M Duo rehearsed John Psathas' <i>Happy Tachyons</i> when I was about 7.5 months pregnant. I had to play vibes and marimba at the same time and switch quickly between them. Even in passages my hands could play, the rest of me, from my tummy to my feet, couldn't get it together. I kept nearly falling over. It was a...grounding...experience.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgS2_vGztjaWOWTaglsw4F2ytXGPs1m2egXIwPyENW8EkECDzO-NB42AVPsnqMTd47YOgwMjYVLKhgW32gBMj_EesDsE35jpo69p0_M9GA15jWmnPNo3GxZ2vf_sRx4OkbNw_D8lEI5I/s1600/20171211_142224.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgS2_vGztjaWOWTaglsw4F2ytXGPs1m2egXIwPyENW8EkECDzO-NB42AVPsnqMTd47YOgwMjYVLKhgW32gBMj_EesDsE35jpo69p0_M9GA15jWmnPNo3GxZ2vf_sRx4OkbNw_D8lEI5I/s320/20171211_142224.jpg" width="180" /></a></div>
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3. A Heavy but Absent Core</h4>
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You know how tugboats drag around giant cruise ships? That's what it felt like watching my hands drag the rest of me across the marimba. Usually I rely on my abs and back to move and support my upper body, but when your abs are stretched thin and your center is 30 pounds heavier than normal, turns out you don't go anywhere fast: behind a marimba or otherwise.</div>
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A colleague drove by me one day during a run/walk somewhere during month 6. I saw him the next day at the university:</div>
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Him: I saw you running yesterday! Good for you!!</div>
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Me: Tugboating. You saw me tugboating yesterday. </div>
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4. Sausage Fingers</h4>
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During the last month of pregnancy my fingers were so swollen that I couldn't play any instrument for longer than 30 minutes at a time. I wore a ring [that's usually far too big] as a gauge: once it felt tight, I knew I had to stop, lest I be cursed with astronaut hands the rest of the day. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtOc5-KJwh-j5kYHfv4OsGH34-HbUyUAKFFzaIna4Iu8fBPzJzn1ZPOhIY1XE4YEGZFUSuHjHZRnLFYCupUJXTOhXVasiMjI1uv-GNleUuKmh9YuuOcPtIKg5MOVT3N9uFSAFg5hZRAc/s1600/20171230_111841.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtOc5-KJwh-j5kYHfv4OsGH34-HbUyUAKFFzaIna4Iu8fBPzJzn1ZPOhIY1XE4YEGZFUSuHjHZRnLFYCupUJXTOhXVasiMjI1uv-GNleUuKmh9YuuOcPtIKg5MOVT3N9uFSAFg5hZRAc/s320/20171230_111841.jpg" width="180" /></a></div>
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5. Loose Ligaments</h4>
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There's a hormone called relaxin that releases in order to prepare implantation as well as relax the ligaments around your pelvis and hips to prepare for birth. The problem is it doesn't ONLY go to those places: it goes EVERYWHERE. For marimba hands, this meant that I had to work extra hard to get my fingers to do what I wanted them to do. Gripping the mallets was more challenging, and certain repertoire just didn't feel good to play. </div>
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L+M pulled our first piece from a program while I was pregnant: <i>Happy Tachyons</i>. It was simply too technically demanding for my super-loose fingers. My wrists were trying to compensate, which meant I got sore super fast. Lucky for me, M was understanding even though she was killing her part. I plan on redeeming myself this fall!</div>
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6. Achy Back</h4>
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Find a pregnant woman whose back didn't hurt, right? </div>
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If you can get through a marimba concert pregnant with a screaming back, you can do it on any regular day!</div>
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7. Baby Brain</h4>
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Before becoming a parent I giggled at the absentmindedness of those with young families. Now I get it, and I want to send them all cookie bouquets for managing to even partly have their lives put together. </div>
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It's strange how it feels like a chunk of my brain was simply replaced. But not with obsessive worry or facts about infant health. It was replaced with joy and extra happiness. </div>
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It feels important to say that having a baby doesn't destroy the work you've put into your playing, but it does change it for a little while. </div>
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Having my son helped me see that playing well matters, but doesn't have the same gravity as other things. </div>
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He has helped me realize that everything has its place in how I view the world, with the level of my playing positioned in a way that allows me to care deeply about it without obsessively comparing myself to who I think I should be versus who I am. </div>
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That - and the departure of sausage fingers - feels really good.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-12698944651594223072018-04-24T12:24:00.002-04:002018-04-24T12:31:18.589-04:0019 Summer Reading Ideas<div dir="ltr" style="text-align: left;" trbidi="on">
Ah, summer. For those of us in academia it means time to work for <i>yourself</i>, and that includes feeding the mind literary goodness. For when you're in the mood for word food, here are some ideas. <br />
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Hyperlinks will take you to an excerpt on Google Books, if there is one.<br />
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<span style="font-weight: normal;">About Percussion</span></h2>
<i>The Percussionist's Art</i>, by Steven Schick<br />
<a href="https://books.google.com/books?id=ss2lCgAAQBAJ&printsec=frontcover&dq=sticking+it+out&hl=en&sa=X&ved=0ahUKEwjO_ofiptPaAhWPTN8KHS1vBToQ6AEIKTAA#v=onepage&q=sticking%20it%20out&f=false"><i>Sticking it Out</i>, by Patti Niemi</a><br />
<i>When the Drummers were Women</i>, by Layne Redmond<br />
<i>Drumming at the Edge of Magic</i>, by Mickey Hart and Jay Stevens<br />
<i>The Girl in the Back: A Female Drummer's Life with Bowie, Blondie, and the 70's Rock Scene</i>, by Laura Davis-Chanin<br />
<i>Keiko Abe: A Virtuosic Life</i>, by Rebecca Kite<br />
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<span style="font-weight: normal;">About Artistry</span></h2>
<a href="https://books.google.com/books?id=aci_Ea4c6woC&printsec=frontcover&dq=creativity+mihaly&hl=en&sa=X&ved=0ahUKEwjdopayp9PaAhWtneAKHSp0CLIQ6AEIKTAA#v=onepage&q=creativity%20mihaly&f=false"><i>Creativity</i>, by Mihalyi Csikszentmihalyi</a><br />
<a href="https://books.google.com/books?id=QVjPsd1UukEC&printsec=frontcover&dq=flow+mihaly&hl=en&sa=X&ved=0ahUKEwjV2La8p9PaAhXpV98KHYsRC6gQ6AEIKTAA#v=onepage&q=flow%20mihaly&f=false"><i>Flow</i>, by Mihalyi Csikszentmihalyi</a><br />
<a href="https://books.google.com/books?id=ZaC7Br7sMBMC&printsec=frontcover&dq=artist%27s+way&hl=en&sa=X&ved=0ahUKEwiHkuvMp9PaAhUQJt8KHW99CqkQ6AEIPjAE#v=onepage&q=artist's%20way&f=false"><i>The Artist's Way</i>, by Julia Cameron</a><br />
<a href="https://books.google.com/books?id=g_VFmC8q8VUC&printsec=frontcover&dq=walking+in+this+world&hl=en&sa=X&ved=0ahUKEwjZmfPfp9PaAhXmQ98KHRJxCEkQ6AEIKTAA#v=onepage&q=walking%20in%20this%20world&f=false"><i>Walking in this World</i>, by Julia Cameron</a><br />
<a href="https://books.google.com/books?id=j4EkDwAAQBAJ&printsec=frontcover&dq=finding+water&hl=en&sa=X&ved=0ahUKEwjFxJ_rp9PaAhVGON8KHYFHDJoQ6AEIKTAA#v=onepage&q=finding%20water&f=false"><i>Finding Water</i>, by Julia Cameron</a><br />
<a href="https://books.google.com/books?id=4C8vBQAAQBAJ&printsec=frontcover&dq=leonardo%27s+brain&hl=en&sa=X&ved=0ahUKEwi4uun0p9PaAhUFn-AKHTTXB8kQ6AEIKTAA#v=onepage&q=leonardo's%20brain&f=false"><i>Leonardo's Brain</i>, by Leonard Shlain</a><br />
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<span style="font-weight: normal;">About the Self</span></h2>
<a href="https://books.google.com/books?id=0XupDAAAQBAJ&printsec=frontcover&dq=7+habits+of+highly+effective+people&hl=en&sa=X&ved=0ahUKEwi0xImDqNPaAhXBmeAKHbTiCZQQ6AEIKTAA#v=onepage&q=7%20habits%20of%20highly%20effective%20people&f=false"><i>Seven Habits of Highly Effective People</i>, by Stephen Covey</a><br />
<a href="https://books.google.com/books?id=RlGbSSZLUEkC&printsec=frontcover&dq=notes+to+myself&hl=en&sa=X&ved=0ahUKEwj4icKPqNPaAhVtQt8KHZBfBY8Q6AEIKTAA#v=onepage&q=notes%20to%20myself&f=false"><i>Notes to Myself</i>, by Hugh Prather</a><br />
<a href="https://books.google.com/books?id=tdOpuh98PzcC&printsec=frontcover&dq=consolations+of+philosophy&hl=en&sa=X&ved=0ahUKEwiB3pqbqNPaAhWJPN8KHZD9DaUQ6AEIKTAA#v=onepage&q=consolations%20of%20philosophy&f=false"><i>The Consolations of Philosophy</i>, by Alain de Botton</a><br />
<a href="https://books.google.com/books?id=fz76AwAAQBAJ&printsec=frontcover&dq=art+is+a+way+of+knowing&hl=en&sa=X&ved=0ahUKEwij64mmqNPaAhWBNd8KHdacBjsQ6AEIKTAA#v=onepage&q=art%20is%20a%20way%20of%20knowing&f=false"><i>Art is a Way of Knowing</i>, by Pat B. Allen</a><br />
<a href="https://books.google.com/books?id=ILvfk3lU5LMC&printsec=frontcover&dq=world+in+six+songs&hl=en&sa=X&ved=0ahUKEwiP0LmvqNPaAhVIGt8KHcoUAlQQ6AEIKTAA#v=onepage&q=world%20in%20six%20songs&f=false"><i>The World in Six Songs</i>, by Daniel Levitin</a><br />
<a href="https://books.google.com/books?id=prV4UrZ2df0C&printsec=frontcover&dq=brain+on+music&hl=en&sa=X&ved=0ahUKEwi0vr66qNPaAhXpRt8KHZTYBvoQ6AEIKTAA#v=onepage&q=brain%20on%20music&f=false"><i>This is Your Brain on Music</i>, by Daniel Levitin</a><br />
<i>Music, the Brain, and Ecstasy</i>, by Robert Jourdain<br />
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This is by no means exhaustive, so if you have a favorite, please leave it in the comments!</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2363665256850600179.post-3942886971020906482018-01-12T18:20:00.000-05:002018-01-12T18:20:08.384-05:006 Ways to be Kind to Your Musical Self<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Have a Project for You</span></h2>
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Amid everything else going on professionally, academically, and personally, have a passion project that is for <i>you. </i>It's a project that you can pour your interest, creativity, and energy into when that uneasy feeling strikes. You know the feeling - the one that says "you're doing a lot of things, and you're active, but we both know that it's not <i>feeding</i> you." When that voice appears, it's time to dig in to your passion project.</div>
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It could be performance related, maybe a new piece you want to pursue. </div>
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It could be a composition you've been drafting. </div>
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It could be reading about a composer you've discovered and want to know more about. </div>
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It could be your love of photography, videography, visual art...anything. </div>
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Chances are, you already have an idea and just haven't started. </div>
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Start.</div>
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Have a YOU Practice</span></h2>
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There are certain fields that take an extraordinary amount of dedication to find success, and music is certainly one of them (not like I needed to tell you that). The flip side of our ability to focus is that we can neglect ourselves for a significant amount of time until the self says, "Hey! What about me?!" in the form of depression, panic attacks, malaise, fatigue, illness, or a host of other things. </div>
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We can't separate our musical selves from our complete selves: it's one of the reasons we choose to communicate emotion to the public. Enjoy some self-care in the form of nurturing your mind, spirit, body, or heart, whichever speaks to you most fervently. It can be making time to read, meditate, exercise, or call family or a long-distance friend. </div>
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Sometimes "No" is the Right Answer</span></h2>
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Overcommitment is one of the most common errors musicians make. We simply say yes to too many projects, never knowing which one will be the one that "lands" and provides a long-term avenue for fulfillment - financial and artistic. There's a time when saying yes to everything makes sense, like when you're trying to break into a new scene in a new place, but there's also a time when you have to start saying no for self-preservation. </div>
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A proposed opportunity or activity should meet at least one of your needs: artistic, professional, social, or financial. If it doesn't, it could be best to say no. If you've played months of short, non-fulfilling gigs, presenting a concert of new music with friends could be artistically and socially needed. If you're feeling particularly down about status, then aiming for - and saying yes to - any kind of professional opportunity can meet your needs. </div>
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A danger of overcommitment is a decrease in quality in your performance. We have to check and balance our level of activity with our ability to perform at that level <i>well</i>. If you are so busy you're screwing up, you're just showing that to more and more people, right? It could be time to say no.</div>
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Mentally Practice/Score Study</span></h2>
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When we start something new, it's really hard to get rid of that first practice sound. If there's not a specific direction in mind, whatever comes out of the instrument will get stuck in our ears as the default sound of the piece and be really, really hard to get rid of. </div>
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Absorb, wonder, and answer your own questions from the comforts of home, your favorite coffee shop, or a nice nook in the library. Analyzing and digesting a piece away from an instrument often cues <i>how</i> to play it, and can put a sound in your ear before that first practice session. </div>
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Think Long and Short Term</span></h2>
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There's two ways to think of this: 1 - thinking/planning ahead in 5yr, 1yr, and smaller increments, and 2 - to be kind to your future self by working hard now.</div>
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<b><span style="color: magenta;">On Thinking and Planning Ahead</span></b></div>
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It can be hard to think about a goal for 5 years from now when it feels like you can barely keep your head above water in the present. But perhaps a farther goal can help you discern when to say no to certain things. </div>
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Some goals, like building an interesting and active website, could take a year. Others, like wanting to become a famous soloist, will take longer, much longer than 5 years. You need to develop technique, win competitions, make recordings, find a niche that aligns with your passions, etc. Some of those steps can be 1yr goals that can only be met by smaller assignments made on a long term basis. </div>
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<b><span style="color: magenta;">Be Kind to Your Future Self by Working Hard Now</span></b></div>
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This one's for the procrastinators out there, myself included. Though I don't procrastinate in a commitment that involves others, if I'm booked for a solo performance I sometimes wait too long to decide what to play or start working on the piece. It's a problem because I know that I learn music quickly, so I know that I <i>can</i> do it; but I'm also going to be incredibly stressed and mostly unlikable during the process. </div>
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I've realized that it's a kindness to my future self to not procrastinate, as a means to keep a balanced stress level. It's a kindness to our future selves to work hard now. It's a kindness to the abilities of your future self to make sure you develop great reading skills now. It's a kindness to your future self, who will need employment, to attend the classes and develop the skills now. </div>
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<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif; font-size: large;">Get Quiet</span></h2>
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<span style="font-family: inherit;">Getting quiet doesn't have to mean anything formal, but it does mean for a short period of time to block out the needs and requests of others, turn off the screens, and put aside the studious self. You can get quiet in your office between appointments, in a practice room between classes, or even at an uncrowded bar to enjoy a drink just for yourself. In grad school my favorite place for quietude was in the courtyard at the Boston Public Library. It was quiet and nobody knew I was there aside from other strangers who I can only assume were in search of the same quiet I was.</span></div>
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<span style="font-family: inherit;">The main idea is that for a short while no information comes in and no information goes out. You just get to <i>be</i> for a minute and enjoy it. The cleanse provided by these quiet moments makes room for creativity and music, and makes it possible to focus on the demands of meaningful performance.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-17698294685496398372018-01-06T08:03:00.002-05:002018-01-06T08:03:15.468-05:00Fall 2017 - as L+M Duo and co-founder of PercussionMind<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUixfxGBqRPIp3sOGfq2N6dp9J6K2JkA2s_HhnIoXMnp1XF52vxAhrfTvFICm2NK_4qXtsNG9MsEpt8mtdh37_I34VVkStsY8mE1DKPoQ6IcVpdeYDTWEJsS2c-0GShalyneWh7a4Gus/s1600/L%252BM+Duo+Reef+premiere.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="414" data-original-width="871" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUixfxGBqRPIp3sOGfq2N6dp9J6K2JkA2s_HhnIoXMnp1XF52vxAhrfTvFICm2NK_4qXtsNG9MsEpt8mtdh37_I34VVkStsY8mE1DKPoQ6IcVpdeYDTWEJsS2c-0GShalyneWh7a4Gus/s400/L%252BM+Duo+Reef+premiere.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Premiering <i>Reef</i>, by Jason Haney, at the Contemporary Music Festival</td></tr>
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This fall has been a completely new adventure. Not necessarily the events within it, but managing them while going through the 2nd and 3rd trimesters of pregnancy. In most cases, it posed no extra challenges, but in others...phew!...more on that in a different post! </div>
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<span style="color: magenta;">L+M Duo</span></h3>
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In addition to my teaching at JMU, L+M Duo had an active start to its second season, featuring a premiere at JMU's Contemporary Music Festival (CMF), a new program at Virginia Tech University, and a residency at the University of Illinois at Chicago, where we workshopped and recorded 8 student compositions. </div>
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I also performed Christos Hatzis' <i>Fertility Rites</i> at CMF, a piece I booked long before having any inclination I'd be almost 8 months pregnant during the performance. At this time I could still maneuver behind a marimba pretty well!</div>
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I also presented a masterclass at Virginia Tech for the entire School of Music, all about using personal observation as a means to prevent injury. I think some are too quick to jump straight to manipulative methods to relieve symptoms without addressing the cause, so it's become a passion of mine to help guide young musicians to examine their playing with curiosity to find those causes. <br />
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<span style="color: magenta;">PercussionMind</span></h3>
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Revealed at PASIC 2017, <i>PercussionMind</i> is a project over a year in the making. It's now live on the web: <a href="http://www.percussionmind.org/">www.percussionmind.org</a>, and represents another interest and passion of mine - understanding one's self in order to make decisions and proceed in directions that are congruent with personal habits and natural tendencies. Mike Cerreto, my co-founder, was instrumental in the success and validity of the project. He even flew to Indianapolis to unveil the study with me in our session.</div>
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Even now, after revealing the results, we are still actively inspecting ways to make the study even more in-depth and personally meaningful to those who come in contact with it. There's an exciting new development in the works with The Highlands Ability Battery, but that's all I can say about that for now! </div>
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<span style="color: magenta;">JMU</span></h3>
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In the teaching and accompaniment realms, this semester (thankfully) fit expectations. I taught the number of students needed for the percussion studio, but I did scale back accompaniment activities, simply because I had no idea how I'd be feeling towards December, which is when coachings and recitals always ramp up. </div>
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Luckily, I haven't dealt with extreme wrist swelling or tendonitis as a result of pregnancy, something that women who aren't musicians often complain about! I figure this is because I practiced regularly and when technical demands of a piece <i>did</i> start to cause pain, I worked through them slowly or, in the case of <i>Happy Tachyons</i> by John Psathas, I had to admit that I needed to postpone performance. A great amount of pride can be gleaned from pushing through for all obligations, but is it worth it if you injure yourself in the long run?</div>
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This post seems so short, but in the midst of the semester it felt so busy! Many pieces learned, lessons taught, and projects completed. The <a href="http://www.atpercussion.blogspot.com/">@ percussion podcast</a> is still going strong; we just released our 126th episode! We've managed to not miss a week in our 2 years of existence, and that's the goal for the immediate future. </div>
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For now, the next big projects are completing arrangements for L+M, editing audio and video, and having a baby at some point in the first half of January. Standard fare. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-26303453466007386172017-10-02T17:19:00.000-04:002017-10-02T17:19:59.118-04:00Alignment: Body and Mind<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-2121541685191341482017-09-11T17:23:00.001-04:002017-09-11T17:23:46.319-04:00Marimba Body: Aching Elbows<div dir="ltr" style="text-align: left;" trbidi="on">
As we gear up for fall and the concert season ahead, whether as a student, professor, or touring artist, it's a good time to reflect on our technical habits. For those that took time off over the summer, there's the process of re-integrating hours of practice. For those that are preparing entire new programs (ehhem...yours truly), there's the challenge of not rushing through the learning process, mentally and physically. <br />
<br />
Throughout my time writing the Marimba Body series, folks have approached me with different questions of "do you have anything about ___?" Coming up a few times is the issue of elbow pain - what it is, how we get it, and how to heal and then prevent it. <br />
<br />
Here's what I've learned, experienced, and found.<br />
<br />
<h2 style="text-align: left;">
Three Common Pain Areas</h2>
<div>
Most commonly, percussionists experience elbow pain:</div>
<div>
- on the outside of the elbow (lateral epicondylitis, aka: tennis elbow)</div>
<div>
- on the inside of the elbow (medial epicondylitis, aka: golfer's elbow)</div>
<div>
- at the back of the elbow (posterior impingement or triceps tendonitis)</div>
<div>
<br /></div>
<div>
<b><u><span style="color: magenta;">Lateral Epicondylitis</span></u></b></div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThGNB7P91NksjSRw3SKFxDQf69E3P6LhzrFgvum6O7qi2ZNkRVOpvDSWASuxDJ-sWwv0lkUgSViKMN2ed8HUCPKj13j5yv-uUQJjbUNm4-4oQKjVD3Vm3JTiDw65VG-deMs9VSwg24Qw/s1600/LateralEpicondylitis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="410" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThGNB7P91NksjSRw3SKFxDQf69E3P6LhzrFgvum6O7qi2ZNkRVOpvDSWASuxDJ-sWwv0lkUgSViKMN2ed8HUCPKj13j5yv-uUQJjbUNm4-4oQKjVD3Vm3JTiDw65VG-deMs9VSwg24Qw/s320/LateralEpicondylitis.jpg" width="320" /></a></div>
<b><br /></b>
<b>Symptoms: </b>tenderness and perhaps pain around the lateral epicondyle (bony bit outside the elbow);<br />
weakness when gripping small objects, such as mallets;<br />
weakness and tenderness when supinating the forearm (rotating outwards, as in to play mallet 2 or 3)<br />
<br />
<b>Causes: </b>excessive use of the forearm that strains muscles;<br />
repetitive twisting of the wrist and forearm<br />
<br />
Related to activities like writing, typing, playing instruments (guitar, violin, percussion, etc), painting, racquet sports (especially backhands)<br />
<br />
<b>Definition: </b>inflammation at the attachment of the Extensor carpi radialis brevis (the muscle that extends the wrist, ie: during an upstroke) and humerus at the lateral epicondyle<br />
<br />
<b>Healing: </b>go easy, and don't try to "play through" the ache, as it could result in a tear, as the drawing above shows;<br />
ice the area if it helps;<br />
apply a compression wrap<br />
<br />
<b>Awareness and Prevention: </b>pay close attention to tightening the elbow during passages of tremolos, quick tempi, and large leaps - pause and relax the area before playing the passage again, focusing on a different physical sensation in the elbow than the time before<br />
<br />
<br />
<b><u><span style="color: magenta;">Medial Epicondylitis</span></u></b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmGxeHG0W4Z1IAr9ngpx34U2oHijtLg-7VR4nAvPQlYrSE5LIZoYUTzKoKo4OKt29AvCW8xDgDrwPDg-REAtTcsbVn_NYgEJBYpkISvnJqFYxk3VERWXb6qpeVVPSggra19O_LzZl8mU/s1600/MedialEpicondylitis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="430" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmGxeHG0W4Z1IAr9ngpx34U2oHijtLg-7VR4nAvPQlYrSE5LIZoYUTzKoKo4OKt29AvCW8xDgDrwPDg-REAtTcsbVn_NYgEJBYpkISvnJqFYxk3VERWXb6qpeVVPSggra19O_LzZl8mU/s320/MedialEpicondylitis.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://i1.wp.com/dhzyn09yup6mu.cloudfront.net/stiffness-from-golfers-elbow.jpg?resize=430%2C250&ssl=1">source</a></td></tr>
</tbody></table>
<b><br /></b>
<b>Symptoms: </b>slow-growing tenderness and pain at the medial epicondyle (bony bit on the inside of the elbow);<br />
pain while pronating the wrist (using the inside mallet on a surface too low for your height);<br />
tenderness during wrist flexion;<br />
numbness in 4th and 5th fingers<br />
<br />
<b>Causes: </b>gripping a small object for long period of time (like mallets or sticks);<br />
repetitive wrist flexion<br />
<br />
Related to activities like golfing, maxing-out with free weights, rock climbing, squeezing and rotating an object (ie: doorknob)<br />
<br />
<b>Definition: </b>inflammation at the attachment of Flexor pronator muscles and humerus at the medial epicondyle<br />
<br />
<b>Healing: </b>take a break from the painful activity;<br />
ice the area if it helps;<br />
begin therapeutic stretches and exercises as soon as possible<br />
<br />
<b>Awareness and Prevention:</b> pay close attention to holding mallets or sticks tighter than necessary;<br />
when working on fast finger strokes, focus on a relaxed elbow and neutral shoulder<br />
<br />
<br />
<b><u><span style="color: magenta;">Posterior Impingement</span></u></b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Hy4bCUHFAr0RG5O1qfo-MSPX9hsPkMo-QKVhLtC8jfZ5IXk_3DO4e-OgwULDjK1k164IGmvppOhg7NutWmgbm2erUxT7uhH7vr3YQY_Se6ca1suwBwkS5GtwDn7P8-DATv1ce097TMQ/s1600/ElbowPosteriorImpingement.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="410" data-original-width="483" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Hy4bCUHFAr0RG5O1qfo-MSPX9hsPkMo-QKVhLtC8jfZ5IXk_3DO4e-OgwULDjK1k164IGmvppOhg7NutWmgbm2erUxT7uhH7vr3YQY_Se6ca1suwBwkS5GtwDn7P8-DATv1ce097TMQ/s320/ElbowPosteriorImpingement.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://image.slidesharecdn.com/elbowinstabilityandterribletriad-151205135919-lva1-app6892/95/elbow-instability-and-terrible-triad-58-638.jpg?cb=1449324227">source</a></td></tr>
</tbody></table>
<b><br /></b>
<b>Symptoms: </b>pain and tenderness at the back of the elbow when the arm straightens;<br />
sensitivity to touch at the back of the elbow<br />
<br />
<b>Causes: </b>activities that repetitively straighten the elbow while adding sideways pressure<br />
<br />
Related to activities like pitching, martial arts, repetitive throwing, locking elbows during planks, or reaching for a note in an upper or lower octave from the elbow instead of the center of the body<br />
<br />
<b>Definition: </b>compression and damage to soft tissues at the back of the elbow due to excessive extension<br />
<br />
<b>Healing: </b>take a break from the painful activity;<br />
begin therapeutic stretches and exercises as soon as possible <br />
*Unlike the other injuries, posterior impingement is usually not damage to a tendon, and may take longer to heal.<br />
<br />
<b>Awareness and Prevention: </b>take care that the instrument is the correct height;<br />
in sports activities, keep a slight bend in the elbow to prevent hyperextension<br />
<br />
<br />
<b><u><span style="color: magenta;">Triceps Tendonitis</span></u></b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsl5IvEKZcnEnLlrPU2qoUqsUrLiN7H-BW6eR63loYPlmV2hp1JtdN9isP5dZF41kLs2-uFvAjpNnflbBqHwvsiXM0jOYWGdtsUt8f8TUbO_7bGcDm0g1uur5OsIOE0iYi2AozBIYvZg/s1600/TricepTendonitis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="600" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsl5IvEKZcnEnLlrPU2qoUqsUrLiN7H-BW6eR63loYPlmV2hp1JtdN9isP5dZF41kLs2-uFvAjpNnflbBqHwvsiXM0jOYWGdtsUt8f8TUbO_7bGcDm0g1uur5OsIOE0iYi2AozBIYvZg/s320/TricepTendonitis.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.handandwristinstitute.com/wp-content/uploads/WHatIs.jpg">source</a></td></tr>
</tbody></table>
<b><br /></b>
<b>Symptoms: </b>pain at the back of the elbow when pushing against resistance;<br />
back of the elbow is sensitive to touch<br />
<br />
<b>Causes: </b>forceful pushing, throwing, pressing as in a push-up (or applying too much tricep pressure during a stroke)<br />
<br />
Related to activities like bench presses, pushing heavy objects, or push-ups without proper support from the shoulder and back<br />
<br />
<b>Definition:</b> inflammation of the attachment of the tricep to the ulna at the olecranon process (bony bit at the back and bottom of the elbow)<br />
<br />
<b>Healing:</b> stop the painful activity;<br />
ice the area, and use a compression brace if helpful;<br />
elevate the elbow<br />
<br />
<b>Awareness and Prevention:</b> pay attention to not applying too much downward pressure with each stroke, especially during tremolos, rolls, and loud passages;<br />
when leaning against a table during study or meals, keep the back of the elbow relaxed<br />
- - - - -<br />
In conversations with different players, it seems that aching elbows most often occur in the non-dominant arm, while shoulder pains (especially at the insertion of the bicep) most often occur in the dominant arm. This is just anecdotal evidence I've collected, but it would be interesting to investigate in a more formal way.<br />
<br />
My hunch as to <i>why</i> it could happen is connected to my theories that improper shoulder alignment causes pain down below, as I talked about during my <a href="http://www.pas.org/resources/video-library/pasic-2015-full-sessions">PASIC 2015 presentation</a>. Without proper support from above the elbow joint, the strength needed is dispersed to smaller muscles below the joint, hence the gradual appearance of aches and pains.<br />
- - - - -<br />
<u>Sources</u><br />
<a href="http://www.sportsinjuryclinic.net/sport-injuries/elbow-pain/posterior-elbow-pain/triceps-tendon-inflammation">Sports Injury Clinic</a><br />
<a href="http://www.mayoclinic.org/symptoms/elbow-pain/basics/causes/sym-20050874">Mayo Clinic</a><br />
<a href="http://www.handandwristinstitute.com/triceps-tendonitis-specialist/">Hand and Wrist Institute</a><br />
<a href="https://www.newyorkorthopedics.com/2015/08/21/tennis-elbow-and-golfers-elbow-the-causes-symptoms-treatments/">New York Orthopedics</a></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2363665256850600179.post-10115219011529207372017-08-25T11:50:00.000-04:002017-08-25T11:50:54.544-04:00The Highly Sensitive Person/Artist/Musician<div dir="ltr" style="text-align: left;" trbidi="on">
Coming across a Facebook conversation about a child who was labeled as so sensitive to criticism that he was assigned to a special class, I found myself inspired to share one of the books nearest and dearest to my heart: <i>The Highly Sensitive Person</i>, by Dr. Elaine Aron, Ph.D.<br />
<br />
<div style="text-align: center;">
<img alt="Image result for the highly sensitive person" src="https://images.gr-assets.com/books/1320525063l/923950.jpg" /></div>
<br />
"How to thrive when the world overwhelms you" mmm, yes<br />
<br />
I found this book years ago, and immediately knew it was for me.<br />
<br />
Even the cover of this edition suits a sensitive person, with mild contrasts and just enough darkness to make sure you can read what's on the cover. Lovely<br />
<br />
There's all kinds of info in this book, from a self test, to discussion on therapy options, to discussion on how to be proud of this trait, not ashamed by it. <br />
<br />
<br />
<h2 style="text-align: left;">
What does it mean to be highly sensitive?</h2>
An HSP observes before acting, notices more about any situation (artistic, natural, social, etc.) than others, and is therefore more easily overwhelmed than his or her peers. <br />
<br />
In the <a href="http://hsperson.com/pdf/Authors_note_HSPbk_Preface.pdf">Author's Note</a> for her 2012 printing of <i>The Highly Sensitive Person</i>, Elaine writes that the word DOES contains the main characteristics:<br />
<br />
D - depth of processing<br />
O - over-stimulated easily (due to depth of processing)<br />
E - emphasis to empathy and emotion<br />
S - sensitivity to subtlety<br />
<br />
As percussionists/musicians/artists/good humans, there are clear lines to be drawn between these traits and our requirements and responsibilities throughout our lives. A life in the arts particularly suits an HSP, due to the narrow focus, thoughtfulness, and innate vulnerability attached to making personal expression a regular act in the public sphere. <br />
<br />
Here are some experiences that you may identify with if you're a fellow HSP.<br />
<br />
- I've always worked better alone, even when I was a kid. <br />
- I'd rather work a long time on a project and then show it to you when it's complete, not show you my process. This means adapting to the private lesson model, where you are criticized and guided in-progress.<br />
- I am highly self-critical, to the point that it's debilitating. So being called out in rehearsal is <u>the worst</u>.<br />
- In conversations where a person criticizes something I'm tangentially related to, I have to remind myself that it isn't a reflection on <u>my</u> choice to be involved, just a response to the situation in question.<br />
- As a child, it was very easy to discipline me: no harsh tones or increased volume was needed.<br />
- Small group social situations are easier for me, as they facilitate more 'real' discussion over 'small talk.'<br />
<br />
Are you highly sensitive?<br />
You can take the <a href="http://hsperson.com/test/highly-sensitive-test/">self test</a> for high sensitivity on Elaine's website.<br />
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<h2 style="text-align: left;">
<br /></h2>
<h2 style="text-align: left;">
Favorite moments from The HSP</h2>
<b><span style="color: magenta;"><br /></span></b>
<b><span style="color: magenta;">On being an HSP but functioning in a world that isn't necessarily "HSP friendly"</span></b><br />
Some HSPs, perhaps all of us at times, get sidelined because of thinking that there is no way an HSP can be out in the world and survive. One feels too different, too vulnerable, perhaps too flawed... (p. 49)<br />
<br />
Note: Elaine uses the word "arousal" to speak about the heightened state of the nervous system.<br />
It is important not to confuse arousal with fear. Fear creates arousal, but so do many other emotions, including joy, curiously, or anger. (p.9)<br />
<br />
Our culture has an idea of competition in the pursuit of excellence that can make anyone not striving for the top feel like a worthless, nonproductive bystander. This applies not only to one's career but even to one's leisure. Are you fit enough, are you progressing in your hobby, are you competent as a cook or gardener?... There is one other reason HSPs drive their bodies too hard, and that is their intuition, which gives some of then a steady stream of creative ideas. They want to express them all. (p. 52-53)<br />
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The world, as it is today, more readily rewards those that are loud, extroverted, and tend to act before thinking. <span style="font-size: xx-small;">see: the 2016 election</span><br />
Ironically and sadly, it is not necessarily the loudest among us who are best-suited to certain positions, leaderships, and mentor roles. <br />
<br />
<b><span style="color: magenta;">On an open, sensitive mind</span></b><br />
An expanded, loving mind, one that is open to the whole universe, is the opposite of a tightly constricted, overaroused mind. (p. 58)<br />
<br />
Introversion arises from a need and preference to protect the inner, "subjective" aspect of life, to value it more, and in particular not to allow it to be overwhelmed by the "objective" world. (p. 99)<br />
She goes on to quote Carl Jung:<br />
They [introverts] are living evidence that this rich and varied world with its overflowing and intoxicating life is not purely external, but also exists within...Their life teaches more than their words...Their lives teach the other possibility, the interior life which is so painfully wanting in our civilization.<br />
<span style="color: magenta;"><br /></span>
<b><span style="color: magenta;">On social discomfort</span></b><br />
Elaine talks about the awkward juxtaposition of an HSPs desire for deep connection with the overarousal a new social situation can create. Often, an HSP will retreat to a corner or sit quietly alone. The book talks about ways to combat this part of being an HSP, as functioning socially is certainly an important part of leading a fulfilled life. My experience of social discomfort comes in waves: sometimes I can meet new people and love it, but other times I shut down and cling to my husband like there's no tomorrow.<br />
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According to Elaine's research, HSPs tend to strive for deep, meaningful relationships. "Small talk" does not interest an HSP, and I'd assume that "shop talk" doesn't either, based on my experience. HSPs want to talk about the inner life full of meaning and depth. <br />
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...it can feel wonderful to stay home once you accept that home is truly where you sometimes belong (p. 154)<br />
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You <i>can</i> tolerate high levels of stimulation, especially when you are with someone who relaxes you and makes you feel safe. (p. 155)<br />
<span style="color: magenta;"><br /></span>
<b><span style="color: magenta;">On figuring ourselves out and perhaps going through therapy</span></b><br />
Because HSPs have such close contact with the unconscious, such vivid dreams, and such an intense pull toward the imaginal and spiritual, we cannot flourish until we are experts on this facet of ourselves. (p. 184)<br />
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The book goes on to provide tips on how others can deal with working with, raising, or dating an HSP. Elaine estimates that only about 15-20% of the population could be characterized as being highly sensitive. She says that's not enough to be widely understood but too many to be called a disorder. (Thanks, Elaine.)<br />
<b>_ _ _ _ _ </b><br />
<b><br /></b>
Whether for yourself, your students, your life partner, or your children, learning about this trait can only help in relating to others in terms of communication style and empathy. I highly recommend any of Elaine's writings.<br />
<br />
I'd love to hear from you if you are a fellow HSP, or think this book may be useful to you. <br />
<br /></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2363665256850600179.post-11564724656303876052017-07-18T10:45:00.000-04:002017-07-18T10:45:04.286-04:00Collaborative Rep - Spring 2017<div dir="ltr" style="text-align: left;" trbidi="on">
As collaborative piano takes up nearly 50% of my music-making during the academic year, I've started to keep lists...looooong lists... of everything I learn each semester. It's mostly so I can feel a sense of accomplishment, but it's also smart to keep a running rep list, no matter what it's for.<br />
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If you're not already keeping track of rep you learn - for whatever instrumentation - I'd go ahead and start!<br />
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<h3 style="text-align: left;">
<b><span style="color: #c27ba0;">Performed in Recital</span></b></h3>
<u><span style="background-color: black; font-family: inherit;">Flute</span></u><br />
<span style="background-color: black; font-family: inherit;">Chaminade, Concertino</span><br />
<span style="background-color: black; font-family: inherit;">Clarke, <i>Hypnosis</i></span><br />
<span style="background-color: black; font-family: inherit;">Mouquet, <i>Pan et les Oiseaux</i></span><br />
<span style="background-color: black; font-family: inherit;">Ganne, Andante and Scherzo</span><br />
<span style="background-color: black; font-family: inherit;">Bohm, Fantasy, Op. 21</span><br />
<span style="background-color: black; font-family: inherit;">Schumann, <i>Three Romances</i></span><br />
<span style="background-color: black; font-family: inherit;">Griffes, <i>Poem</i></span><br />
<span style="background-color: black; font-family: inherit;">Reinecke, Ballade</span><br />
<u style="background-color: black;"><br /></u>
<u style="background-color: black;">Clarinet</u><br />
<span style="background-color: black;">Cahuzac, <i>Cantilene</i></span><br />
<span style="background-color: black; font-family: inherit;">Hindemith, Sonate</span><br />
<span style="background-color: black; font-family: inherit;">Rabud, <i>Solo de Concours</i></span><br />
<span style="background-color: black; font-family: inherit;">Saint-Saëns, Sonata</span><br />
<span style="background-color: black; font-family: inherit;">Bassi, Fantasia from <i>I puritani</i></span><br />
<span style="background-color: black; font-family: inherit;">Weber, Concertino in E-flat Major, Op. 26</span><br />
<span style="background-color: black; font-family: inherit;"><br /></span>
<u><span style="background-color: black; font-family: inherit;">Violin</span></u><br />
<span style="background-color: black; font-family: inherit;">Bartok, <i>Romanian Folk Dances</i></span><br />
<span style="background-color: black; font-family: inherit;">Khachaturian, <i>Concerto</i>, II. </span><br />
<span style="background-color: black; font-family: inherit;"><br /></span>
<u><span style="background-color: black; font-family: inherit;">Percussion</span></u><br />
<span style="background-color: black; font-family: inherit;">Sejourne, Concerto for Marimba and Strings</span><br />
<span style="background-color: black; font-family: inherit;">Rosauro, Concerto for Marimba and Orchestra</span><br />
<span style="background-color: black; font-family: inherit;">Green, <i>Cross Corners</i></span><br />
<span style="font-family: Roboto, arial, sans-serif; font-size: x-small;"><span style="background-color: white;"><i><br /></i></span></span>
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<b><span style="color: #c27ba0;">Performed in Masterclass, Jury</span></b></h3>
<div>
<u>Flute</u></div>
<div>
Mozart, Concerto in G Major</div>
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Sancan, Sonatine</div>
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Hindemith, Sonate</div>
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<u>Clarinet</u></div>
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Bassi, <i>Fantasia da Concerto</i></div>
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Arnold, Sonatina</div>
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Alwyn, Sonata</div>
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Gaubert, <i>Fantasie</i></div>
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<u>Saxophone</u></div>
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Ibert, Concertino</div>
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Koechlin, from <i>Etudes</i></div>
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Demersseman, <i>Fantaisie</i></div>
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Bozza, <i>Divertissement</i></div>
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Lantier, <i>Sicilienne</i></div>
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Glazunov, <i>Concerto</i></div>
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<div>
In looking at the list, I can tell I forgot to write down a few pieces. Others were begun but not completed, so they aren't included either. </div>
<div>
Regardless, it looks and felt like a lot of music. It was split between 20 different students. </div>
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<br /></div>
<div>
This coming semester I've only accepted 10 into my accompaniment studio, which should hopefully make life a little simpler. It's not so much learning the music that's the problem: it's coordinating schedules with 20 students and their applied lesson professors that starts to wear on all of us after a while. I'm hoping that 10 is an easily manageable number. </div>
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<br /></div>
<div>
Plus, we have 11 incoming freshmen to the percussion studio, so there will be more lessons to go around there as well. And I'm planning on taking a psychology course this fall, as it has always been an interest of mine. (...If that wasn't obvious between some essays here and segments on @ percussion podcast.)</div>
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<br /></div>
<div>
June's concerts in Chicago went well. Haven't watched the videos yet, but will do soon. We are coming up on the <a href="http://stauntonmusicfestival.org/">Staunton Music Festival</a>, where I'll be involved in two concerts. One will feature a US premiere of <i>Iron Curtain</i>, a percussion quartet by <a href="http://www.moritzeggert.de/index.php?reqNav=news">Moritz Eggert</a>, who will be in residence. Looking forward to receiving the music!</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-18733066466136318032017-06-17T17:42:00.000-04:002017-06-17T17:42:04.551-04:00NMG, IWBC, and Chicago concerts next weekend!<div dir="ltr" style="text-align: left;" trbidi="on">
Though it may seem that this post is about testing you on your professional music acronyms, I promise that's not the case. Laurel's been a busy bee since school let out in early May.<br />
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<span style="color: #674ea7;">New Music Gathering 2017</span></h3>
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<a href="http://newmusicgathering.org/">New Music Gathering</a> (NMG) is a pretty cool 3-day conference for anyone who participates in new music. From May 11-13 we all gathered at Bowling Green State University to talk about, listen to, and dream about new projects together. You can view this year's lecture, presentation, panel, and recital schedule <a href="http://www.newmusicgathering.org/schedule-of-events.html">here</a>. It was really cool - and not just because Steven Schick was the <a href="https://www.youtube.com/watch?v=6pM9v3BgVNM">keynote speaker</a> and featured guest artist. </div>
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<img alt="Image may contain: 1 person, on stage, sitting and indoor" height="236" src="https://scontent-iad3-1.xx.fbcdn.net/v/t1.0-9/18557171_1663262860374797_595641541048689366_n.jpg?oh=29f5dba49c56f6157ad814ec184b244f&oe=59E2C432" width="320" /></div>
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<div>
L+M Duo performed during a concert on Saturday afternoon called Grab Bag of Awesome, featuring us as well as other chamber groups performing all kinds of music. We played our first-ever commission, <i><a href="https://www.youtube.com/watch?v=DUMSImIWgEE&t=6s">Magicicicada</a></i>, by Pennsylvania-based composer <a href="http://www.rustybanks.org/rbcomp.html">Rusty Banks</a>. Though Marianne met Rusty before (actually at NMG 2016!) this was my first time chatting with him in person, and we snapped this photo right after the Grab Bag of Awesome concert finished! </div>
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<img alt="Image may contain: 3 people, people smiling, people standing" height="316" src="https://scontent-iad3-1.xx.fbcdn.net/v/t1.0-9/18582048_1663419570359126_214023537251333305_n.jpg?oh=eb8f9d41a531016c92a9b24b44776d3d&oe=59E8F666" width="400" /></div>
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The conclusion about NMG is simple: if you're into new music and meeting people that love it like you do, just go.</div>
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<span style="color: #674ea7;">International Women's Brass Conference</span></h3>
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To have never heard of <a href="http://www.iwbc2017.com/">IWBC</a>, I was surprised to learn that this year's conference, held at Rowan University, was the <u>25th anniversary</u>. It's by pure happenstance that I ended up there.</div>
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<div>
In March, I was a contracted pianist for the Southeast Horn Workshop, held at JMU. I accompanied a masterclass given by hornist Kristen Fowler,and found her very easy to work with. Fast-forward to early May, and Kristen emails wondering if I can play for her at IWBC, held June 7-10. It would be a quick learn of the rep, and only ONE REHEARSAL, but we did it!</div>
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<a href="https://2.bp.blogspot.com/A3jq3_T7iV2uXI5njYfzes-pWaX_EE7zm_zQFNB6nSjHinJ1vkmcbiXktE5sXwREOsH5nQ=s400" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="300" height="320" src="https://2.bp.blogspot.com/A3jq3_T7iV2uXI5njYfzes-pWaX_EE7zm_zQFNB6nSjHinJ1vkmcbiXktE5sXwREOsH5nQ=s400" width="240" /></a></div>
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The entire program was called <i>Trauma and Triumph</i>, and is Kristen's testimony of healing through her experience with childhood sexual assault. She wrote prose pieces that she recited before each movement of each piece - all of which were composed by women.</div>
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<div>
I only spent one day at the conference, and didn't get to see too much for the frantic search of a warm-up and practice space. An interesting talk (that I admittedly wasn't too sure about at first) was about social psychology theories at work when you're in a scenario made of 85% men and 15% women (or less). For info on that, you can check out Episode 99 of @ percussion. <i>How's THAT for a shameless plug, hmm??</i></div>
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<h3 style="text-align: left;">
<span style="color: #674ea7;">And now...Chicago</span></h3>
<div>
L+M Duo will close our first season in Chicago next weekend with performances at <a href="http://www.fourthchurch.org/concerts/">Fourth Presbyterian</a> and <a href="http://www.constellation-chicago.com/calendar/">Constellation</a>. Since they are different spaces with different audiences, the programs will vary somewhat, with the Fourth Pres concert featuring some arrangements and the Constellation concert featuring a world premiere by Boston-based composer <a href="http://www.aaronjaymyers.com/">Aaron Jay Myers</a> - a good friend from grad school. </div>
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His piece is called <i>Yes, They are a Duplicitous Bunch</i>, and is inspired by the current Washington administration. (spoiler alert: an artist comments on current society in his art) </div>
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<br /></div>
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The piece is relentless, syncopated, and full of energy. </div>
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If you're in Chicago, it would be awesome if you could catch one of our shows: June 23 at 4th Pres at 12:10pm (FREE), or June 25 at Constellation at 8:30pm ($10).</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-32574747168283116562017-05-04T20:47:00.000-04:002017-05-04T20:47:42.853-04:00PercussionMind Revealed at PASIC 2017!<div dir="ltr" style="text-align: left;" trbidi="on">
Woohoo, y'all!!<br />
<blockquote class="tr_bq">
<span style="font-family: arial; font-size: 12.8px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: #9fc5e8;">On behalf of the Percussive Arts Society, <i>I am pleased to invite you</i> to participate in the 42 annual Percussive Arts Society International Convention (PASIC® 2017) in Indianapolis, Indiana. This year, PASIC® will take place Wednesday, November 8 through Saturday, November 11 at the Indiana Convention Center.
Your Professional Development proposal, “<b>PercussionMind: The Mental Performance Habits of Today's Top Percussionists...and Where You Fit In</b>,” has been accepted to be presented at PASIC17! </span></span></blockquote>
I am beyond excited that a current passion project, PercussionMind, will be revealed this year at PASIC. If you want a quick summary of what it is, and learn about my collaborator, Mike Cerreto, check out the tab in the menu bar above. :)<br />
<br />
PercussionMind is inspired by that long thought-journey taken as a young adult as you wonder what, exactly, suits you best in the professional music realm. Here's a jaunt through my personal story:<br />
<br />
In early undergrad, I thought I wanted to be an orchestral timpanist, as I <i>loved</i> playing timpani with a group; but, once I realized I couldn't tolerate the process of practicing excerpts, I learned that wasn't for me. Then, I thought I wanted to have my own college studio and go straight through school, including a DMA; but, once I realized that my passions are a bit wider than <u>only</u> percussion, I learned that wasn't a good fit, at least directly. I tried competitions as a soloist, thinking that would boost my confidence and provide a platform, only to learn that you are most successful in those situations when you no longer <i>need</i> them.<br />
<br />
It feels important to say that right now, as an <a href="https://www.jmu.edu/music/people/profiles/percussion-profiles/black-laurel.shtml">Instructor of Percussion at JMU</a> (a part time position), I've stepped into a niche that allows me to challenge myself and students, all while sharing that in which I'm fluent and growing in that which has fallen by the wayside.<br />
<br />
There are many reasons I've developed into a person who's highly reflective and observant (that's another post entirely!!), but suffice it to say that I've always been interested in practices that encourage wholeness of an individual, a commitment to "true-ness" in all actions. A career, at least to me, is a natural extension of this desire. So, it's no surprise that when I met a Performing Arts Psychologist I couldn't stop asking him questions.<br />
<br />
Before Mike Cerreto <i>became </i>my collaborator, discussions started with wondering about whether or not there were certain mental habits that one needs to be successful in the professional percussion realm. Naturally, there are behavioral ones: diligent practice, discipline, focus, and commitment. But what about those things that are vital and inescapable to our inner worlds: self-evaluation, emotional distraction, intellectual worth, pressure preference, and extro/introversion?<br />
<br />
It was <i>these</i> questions that we wanted to answer, and so, PercussionMind was born.<br />
<br />
We are forever grateful to 28 professionals who volunteered their time in order to create this study. Without them, PercussionMind wouldn't be possible. They come from four performance domains/career paths:<br />
<br />
<b> International Soloists</b>,<br />
<b> Orchestral Players</b>,<br />
<b> Distinguished Higher Ed Teachers</b>, and<br />
<b> Diverse Path-Makers</b>.<br />
<br />
Our analysis thus far shows that though there are certain traits all paths have in common, such as long-term focus, there are others that differ from domain to domain. It's these differences that are of particular interest to us, mostly because they hold the most meaning for anyone who seeks to gain insight about their own mental habits, and how they can best be put to use. <br />
<br />
PercussionMind is interactive, insightful, imaginative, and above all, important. There's perhaps nothing more important than having an understanding and respect for yourself and your mind, and how they will help you fulfill your musical goals. <br />
<br />
I look forward to sharing developments of PercussionMind with you little by little between now and November. And when the time comes, Mike and I both hope we'll see you at our session at PASIC:<br />
<b style="font-family: arial, helvetica, sans-serif; font-size: 12.8px;"><span style="color: #9fc5e8;">PercussionMind: The Mental Performance Habits of Today's Top Percussionists...and Where You Fit In.</span></b><br />
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<b style="font-family: arial, helvetica, sans-serif; font-size: 12.8px;"><span style="color: #e69138;"><br /></span></b>
<b style="font-family: arial, helvetica, sans-serif; font-size: 12.8px;"><span style="color: #9fc5e8;">Oh, and... May the fourth be with you.</span><span style="color: #d5a6bd;"> </span></b><br />
<b style="font-family: arial, helvetica, sans-serif; font-size: 12.8px;"><span style="color: #e69138;"><br /></span></b></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-80109477247429562542017-02-05T16:54:00.000-05:002017-02-10T12:26:44.142-05:00Marimba Body: Thumbs<div dir="ltr" style="text-align: left;" trbidi="on">
Thumbs.<br />
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Without them who knows how we'd play our instruments.</div>
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Interest in the relationship between the hand, wrist, and thumb began a few years ago when I took piano lessons to refine my technique. (As similar as piano and percussion are in <i>theory</i>, there's much less crossover than I mistakenly thought and hoped.) </div>
<div>
Anyway, something my mentor said was when the thumb isn't being used it should relax towards the rest of the hand and fingers. Sure, may sound obvious, but in the throes of playing - piano or percussion - it's easy to forget little things like this. </div>
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Brain: Play a broken 13 over 7, across 6 surfaces...crescendo...oh, right. THUMB.</div>
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<i>End Scene</i></div>
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<i><br /></i></div>
<div style="text-align: left;">
Thumbs that are mis-mapped, working more than they should, or working when they don't need to contribute to funny aches, pains, and numbness that can get mistaken for carpal tunnel. </div>
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Just like all other subjects in the Marimba Body series, how we relate to the structure and movement design of the thumb is evident in the effectiveness of technique and absence or presence of discomfort.</div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal;">Skeletal Structure</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4B72HoR8CuqalrIsJ6fLxMVD6dm1ymdQjtj-sb15wMQd2T97kdtjOBjc3yLckvnsJm09Fizs37frP8d8Isz51yXWg4AbcwNnU9LIbNFab3GEMeE1tbIJXBcd68SdLCf_9zNtAPfOwnMM/s1600/Hand_and_wrist_bones_II.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4B72HoR8CuqalrIsJ6fLxMVD6dm1ymdQjtj-sb15wMQd2T97kdtjOBjc3yLckvnsJm09Fizs37frP8d8Isz51yXWg4AbcwNnU9LIbNFab3GEMeE1tbIJXBcd68SdLCf_9zNtAPfOwnMM/s1600/Hand_and_wrist_bones_II.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjJuqvthPnRAhVBKCYKHVi3AswQjRwIBw&url=http%3A%2F%2Fwww.physio-pedia.com%2FWrist_and_Hand_Osteoarthritis&bvm=bv.146094739,d.eWE&psig=AFQjCNEiCzR-NwqgO6nNQlmRYmJCXS-yew&ust=1486386695092816">source</a></td></tr>
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From the fingertips, the bones of the hand are the phalanges (3 in the index-pinky fingers; 2 in the thumb), metacarpals (5 of them - one for each finger), and the carpals, which articulate the wrist joint. <i>Disclaimer about the diagram: the ulna doesn't actually contact the carpals. There's space between.</i></div>
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While the metacarpals of the four fingers are within our palm, the metacarpal of the thumb aligns outside it, giving the digit a much larger range of motion and greater independence than the others. You can try to feel the length of that metacarpal with your fingertips: anything that moves around is a tendon, but if you imagine the shape of the bone as you feel, you might be able to get a sense of how far down that metacarpal goes.</div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal;">Ligaments and Tendons</span></h2>
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Ligaments connect bone to bone, and are unbelievably strong: bones break before ligaments break, if that's any indication.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9xJ2CdgVAxUE-JgiMYOVHbiQ5JOvm8gNfzJwO0VuYqMqocljLp29Ecw2zcwVOlZuSyBCmYbFvU8DcPufs-8we1UHDQUTttcLnZF79zITC03qpD3byQw9gI_C2HEDAzMgImwEUz7u3D-8/s1600/ligaments+of+hand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9xJ2CdgVAxUE-JgiMYOVHbiQ5JOvm8gNfzJwO0VuYqMqocljLp29Ecw2zcwVOlZuSyBCmYbFvU8DcPufs-8we1UHDQUTttcLnZF79zITC03qpD3byQw9gI_C2HEDAzMgImwEUz7u3D-8/s400/ligaments+of+hand.jpg" width="341" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwi01uaYifnRAhXH6yYKHTXaAMYQjRwIBw&url=http%3A%2F%2Fdoctorlib.info%2Fmedical%2Fanatomy%2F23.html&bvm=bv.146094739,d.eWE&psig=AFQjCNGMWAw1IKfz89kcW9B78WbgilAQHA&ust=1486387795922191">source</a></td></tr>
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The two drawings above are of a right hand: upper left shows posterior (back of the hand), bottom right shows anterior (palm). The labels of ligaments are too small to read, but that's ok for our purposes, as we just need to look at them. </div>
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Ligaments above are drawn as white bands. Along each finger they connect phalanges to one another and to the respective metacarpal. Notice how much thicker they appear to be on the palm side of the hand; really, this makes sense considering the muscle is located here. </div>
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Very important is the ligament running horizontally across the metacarpals of the index-pinky fingers. This Deep Transverse Metacarpal ligament shapes the top of the palm. </div>
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Physiologically, it stabilizes the palm and makes the job of our small hand muscles easier: imagine if we had to control each finger from the wrist rather than the top of the palm - talk about carpal tunnel and injuries.</div>
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There's obviously <i>something</i> that keeps the thumb connected to the palm, and that's the job of muscles and tendons.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuRrspoSijO8WwXmnUrOTKN2orJa5rfQNkdz1nwNB1C_ZBDwRBLgpAfACOJCcXmwaJt1y-YLYM2k7BlBSOdHZUFpjTWIYIYwj2PMzX-cdZF78ISMXg4S9OQOrI27_n_lK6CNCVvNoOkY/s1600/muscles+and+tendons+of+the+hand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuRrspoSijO8WwXmnUrOTKN2orJa5rfQNkdz1nwNB1C_ZBDwRBLgpAfACOJCcXmwaJt1y-YLYM2k7BlBSOdHZUFpjTWIYIYwj2PMzX-cdZF78ISMXg4S9OQOrI27_n_lK6CNCVvNoOkY/s640/muscles+and+tendons+of+the+hand.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">source</td></tr>
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Above, tendons are white and muscle tissue is red. Looking at the thumb, it's clear that its phalangeal length contains no actual muscle, only tendons, ligaments, and bone. (Well, and veins and stuff, but that's not the point right now.) The vast majority of muscle <u>within the hand</u> that moves our thumb is on the anterior side, near the wrist. We all remember aches there in school as we furiously took notes. Guitar and string players are probably keenly aware of this muscle, and tend to have the largest bulge there of all musicians. </div>
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Knowing the location of muscle is key in determining if the body is being used correctly. If you try to move your thumb from a muscle you imagine to be at its second knuckle, you will quickly get sore, as there's no muscle there to move, only tendon to swell.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8wIrf7wHpR97DLYGf4IL6_L5UQmTkxs7BHRKdhOxyFu9D7MWAmog33QkyRvvtTnK6oDCN8cWwbUKj0u2IO1DHopd2AR6Qot9dIo9CwrG_DhPASW5geUGFojRI5QZfOKOjv0tUngzrr10/s1600/Forearm+Thumb.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8wIrf7wHpR97DLYGf4IL6_L5UQmTkxs7BHRKdhOxyFu9D7MWAmog33QkyRvvtTnK6oDCN8cWwbUKj0u2IO1DHopd2AR6Qot9dIo9CwrG_DhPASW5geUGFojRI5QZfOKOjv0tUngzrr10/s320/Forearm+Thumb.JPG" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.militarydisabilitymadeeasy.com/forearmandhandmuscles.html">source</a></td></tr>
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This diagram shows flexor muscles that help move the thumb toward the palm. If you try, you can feel the muscles working all the way up your forearm. Similarly, to extend the thumb up or stretch it away from the palm involves muscles of the forearm, though not all are shown here. </div>
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To isolate thumb movement as something that only happens in the digit itself is misleading, and, for a professional musician, dangerous. </div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-weight: normal;">Habit to Avoid </span></h2>
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One of the main culprits of pain at the base of the thumb is keeping it outstretched for long periods of time. Though I encountered this problem first on piano, it applies to 4-mallet playing, too. <a href="http://www.practisingthepiano.com/improve-your-thumb-technique/">This post</a>, by pianist Graham Fitch, is really enlightening when it comes to causes of thumb injury.It takes more energy to hold a large interval than it does a small one. And depending on how you habitually work your thumbs, your own "default" interval may tell you whether or not you are overworking the thumb. If your "default" is larger than a 4th or 5th, you're probably overworking the thumb. This is visually more relevant to cross-grip players. </div>
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Since the mechanism for Musser and Stevens grips is different from the cross grips, thumb issues there are more about locking joints than overworking. For example, a thumb whose tip points up towards the player - ie: hitchhiker thumb - is overstretching the anterior ligament between the phalanges and compressing the tendon on the posterior side. Eventually, numbness may set in as a result. </div>
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Another place thumbs can cause trouble is in hand-drumming. Slamming the thumb down on the rim of a conga is quite unpleasant, and so we talk at length about finger/hand position. It bogs us down and locks us up rather than encouraging the free feeling innate to hand drumming. Relax the thumb towards the palm, align the wrist, and away we go.</div>
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<h2 style="text-align: left;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large; font-weight: normal;">Normal Varian<span style="font-family: "georgia" , "times new roman" , serif;">t</span>s</span></h2>
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From person to person there are many variants in the size and characteristics of thumbs. Some of us have "toe thumbs" with wide tips, others have narrow tips, some are thin and willowy and others are rather stocky. None of this is weird: it all falls within the category of normal variants, or arbitrary differences between us that don't affect quality of use. Other examples are hair and eye color. </div>
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I have a theory, though, that these idiosyncrasies are some of the things that determine nuances of our own technique, or even what technique best suits a player. For example, I have really long thumbs. They don't move better or worse than short thumbs, they're just long. Normal variant = long thumb</div>
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The first 4-mallet grip I learned was Stevens, but in comparing my hands to photos in MOM it didn't look right, and I was somehow stretching my index finger out too far. Well, guess what, y'all, when ya got long thumbs, the only way to make a fulcrum is to outstretch an index finger. </div>
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Check it out:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigGRQSUJvI_mPh_B2JBB_wzQa3WlW96b_w9FYU2LSlCkNd21HkjPeFVznvpWC184N8DRFwuAoKOce-ZgJgmFHiwJACljAtr3M6viVXSS1JUuBbqNNkRNG7bKTGbWfUm3qMa-CnT0BPFLM/s1600/20170205_163016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigGRQSUJvI_mPh_B2JBB_wzQa3WlW96b_w9FYU2LSlCkNd21HkjPeFVznvpWC184N8DRFwuAoKOce-ZgJgmFHiwJACljAtr3M6viVXSS1JUuBbqNNkRNG7bKTGbWfUm3qMa-CnT0BPFLM/s320/20170205_163016.jpg" width="180" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4MbZdm5rNZFnI6p-R2GJZ7P-UGODCl_0K2V74iL_OJujJno1aH9fYo355gi1mY3A9XYDgEcyICtfiUCVj9mi5yXVk2nyUpg0UrNeAOESt1DLr0MTauA9LkoZNpnINdr_1EaWK-92sYPg/s1600/20170205_163032.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4MbZdm5rNZFnI6p-R2GJZ7P-UGODCl_0K2V74iL_OJujJno1aH9fYo355gi1mY3A9XYDgEcyICtfiUCVj9mi5yXVk2nyUpg0UrNeAOESt1DLr0MTauA9LkoZNpnINdr_1EaWK-92sYPg/s320/20170205_163032.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">thumb length forces the index to partially extend</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVhRdZ6X1Eh8HZmtihqSrcaqgAfoipO2uIPf4a5Hx32_o7DPiBwkvykhwfjS8Ipae3cenPs7n9bdJmjk-5Y8vxpQgMTybgNEvOSPZADX5tK50qjP9K70XIGFl4_tWoY_24OLu_s7tRdQ/s1600/20170111_153508.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVhRdZ6X1Eh8HZmtihqSrcaqgAfoipO2uIPf4a5Hx32_o7DPiBwkvykhwfjS8Ipae3cenPs7n9bdJmjk-5Y8vxpQgMTybgNEvOSPZADX5tK50qjP9K70XIGFl4_tWoY_24OLu_s7tRdQ/s320/20170111_153508.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm_jw4W9ZShk1j31mtiHV2olwCgfi2SaFy-uUyMLBDZtzpw7h6BlTdwupEVADlLVjySwZzmDutvzVu635fMCHcX8LtAy06KX-0XSkYAdig-87hmbQEhumevDdwFlS75aPDz4HiXjvnl0/s1600/20170111_153445%25280%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm_jw4W9ZShk1j31mtiHV2olwCgfi2SaFy-uUyMLBDZtzpw7h6BlTdwupEVADlLVjySwZzmDutvzVu635fMCHcX8LtAy06KX-0XSkYAdig-87hmbQEhumevDdwFlS75aPDz4HiXjvnl0/s320/20170111_153445%25280%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">longer thumb makes securing an interval easier</td></tr>
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This stretching really taxed the small muscles in my hand, and made playing something I wanted to do but never <i>enjoyed</i> due to discomfort. In trying to make my hands match someone else's in form rather than function, I started to compress and lock joints in my hand. My long thumbs don't make me a bad player - in fact, they make big intervals easier, to a certain degree - but they did tell me, through discomfort, that they were more suited to a cross grip. It's that easy, and that non-controversial. A 3-finger fulcrum suits me better, too, all because it more closely maintains a relaxed hand/thumb relationship. </div>
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Our normal variants are the things that make us unique, and, I believe, contribute to our personal <i>sound</i>. They are things to be embraced, not to wish were different or manipulate into working a different way than designed. </div>
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I'd love to know if others out there have changed technique or adjusted a current one to fit idiosyncrasies, too. Consider it a bit of informal research - I'd like to report on this for <a href="http://www.atpercussion.blogspot.com/">our podcast</a> in the coming weeks! </div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2363665256850600179.post-79099649661348697322017-01-20T09:25:00.000-05:002017-01-20T09:25:34.102-05:00Fall 2016 | Early 2017<div dir="ltr" style="text-align: left;" trbidi="on">
This last fall was one of busyness and development. There are lots of exciting things to announce, like:<br />
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I'm now on <a href="https://www.jmu.edu/music/people/profiles/percussion-profiles/black-laurel.shtml"><span style="color: #e69138;">faculty</span></a> at James Madison University!</div>
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I've established a new chamber group:<a href="https://www.facebook.com/marimbapianoduo"> <span style="color: #e69138;">L+M Duo</span></a> with Chicago-based pianist <a href="https://www.newmusicschool.com/faculty/marianne-parker"><span style="color: #e69138;">Marianne Parker</span></a></div>
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I was accepted to the PAS Health and Wellness committee</div>
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The <a href="http://atpercussion.blogspot.com/"><span style="color: #e69138;">@ percussion</span></a> podcast is alive and well, recording episode 77 this week!</div>
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<span style="color: #d0e0e3;">JMU</span></h3>
Being asked to join the faculty at JMU was certainly a highlight of the last few months. It's great to be at a university again, teaching with husband, and resume working with passionate, talented colleagues. It has been great to teach percussion again, share my 'healthy playing' research findings, and occasionally exercise empathic skills in those "talking lessons" which more resemble life coachings than music lessons.<br />
I also taught a Percussion Methods class for the first time. I learned a lot: things I'd do differently, things I'd incorporate, things I'd stick to my guns about - like talking about Body Mapping and healthy playing right off the bat. It's amazing how we all, once charged with executing a strange new task, lose a good deal of coordination, and need a third party to point it out to us. <br />
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<span style="color: #d0e0e3;">L+M Duo</span></h3>
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Marianne and I met when we were both at UT, Knoxville. We share each other's instruments - percussion and piano - which means we have a really easy time playing and rehearsing together. In just a few short months we've commissioned a new piece: <i>Magicicada</i>, by <a href="http://www.rustybanks.org/"><span style="color: #e69138;">Rusty Banks</span></a>; premiered a special arrangement of Jacob TV's <i>Body of Your Dreams</i>; given a debut tour through East TN; been accepted to perform at a new music festival in 2017; and had our Chicago debut at the University of Illinois at Chicago. </div>
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<img alt="Image may contain: 2 people, people smiling" height="292" src="https://scontent-atl3-1.xx.fbcdn.net/v/t31.0-8/13668764_1747353312181276_4750357640602270511_o.jpg?oh=e6b5586764eed2b377dc5a43a2f6a946&oe=59027F4F" width="400" /></div>
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In June 2017 we have two more Chicago performances, one at Constellation, the well-established new music venue. We have a new commission with Boston-based composer <a href="http://www.aaronjaymyers.com/"><span style="color: #e69138;">Aaron Jay Myers</span></a>; he's a colleague of mine from Boston. I'm excited to have something from him because he's one of those folks that really knows how to write for marimba!</div>
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<span style="color: #d0e0e3;">Health & Wellness, Y'all</span></h3>
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Maybe it's because I'm from a medical family, or because I LOVED my high school Physiology class, or because Alexander Technique changed my life....but I'm stoked to put my passion for health to use with and for PAS. Musicians tend to think about bodies only once there's a problem, but paying attention before then can help reduce occurrence and cause of injury. </div>
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There's a great group of people on the committee, including powerhouse Sherry Rubins, who has been a university professor, orchestra member, and fitness teacher <u>simultaneously</u> and <u>successfully</u> for some time. I'm inspired by that.</div>
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On this note, a new avenue of reading and writing for me has to do with the intersection of the mind, body, and brain as it relates to self-care. I'm coming across fascinating things, and I can't wait to share them.</div>
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<span style="color: #d0e0e3;">Early 2017</span></h3>
Casey and I recently returned from the Indiana All-State Percussion Ensemble weekend, where we both performed with the group and presented clinics/masterclasses. I played <i>Marimba Spiritual</i> and Casey performed <i>White Knuckle Stroll with Ensemble</i>, as well as conducted his piece <i>Occhio</i>. I was also asked to present a class on keyboard fundamentals to the band directors, and decided to merge that topic with my movement studies in a clinic called <i>A Kinesthetic Approach to Keyboard Fundamentals</i>. We looked at lots of pictures of bones and muscles, in addition to playing some little ditties on glockenspiel, vibraphone, and marimba.<br />
<br />
The next two events of 2017 are both at JMU and quite different in nature. In late January I'll be the accompanist for the Men's Choir Invitational. I always enjoy the sound of a men's choir, and I get to work with a dear friend and brilliant leader, <a href="http://www.jmu.edu/music/people/profiles/education-profiles/hayes-w-bryce.shtml"><span style="color: #e69138;">Dr. Bryce Hayes</span></a>, so this is an event I really look forward to. <br />
In February, Casey and I are both involved in the <a href="https://www.jmu.edu/music/cmf.shtml"><span style="color: #e69138;">Contemporary Music Festival</span></a>, featuring composer <a href="http://www.augustareadthomas.com/"><span style="color: #e69138;">Augusta Read Thomas</span></a>. The festival spans three days, and includes daily evening concerts and masterclasses/lectures by Ms Thomas. Casey and I will perform <i>Celestial Canons</i> with its composer, JMU professor <a href="http://www.ericguinivan.com/"><span style="color: #e69138;">Dr. Eric Guinivan</span></a>. The piece premiered in August of 2016 at the Staunton Music Festival. On a personal note, it's one of the more involved pieces I've learned in terms of the variety of instruments and implements used. It even requires us to disassemble a chime rack, if that's any indication.<br />
<br />
At the end of February I'll travel to Tarleton State University in TX to perform and present a masterclass. Thus far the rep is <i>Marimba Spiritual</i> and <i>Passacaglia</i>, which I'll get to play with my co-host and new Tarleton faculty member, <a href="http://www.benjaminacharles.com/bio/"><span style="color: #e69138;">Ben Charles</span></a>!<br />
<br />
I'm excited and grateful that there are more events this spring, but this is a good place to end for now. It's going to be a great year!<br />
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-9231284741286529452016-09-22T15:12:00.000-04:002016-09-22T15:12:21.088-04:00A Body of Joy Cannot Hold Despair<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
One of my most inspiring teachers, actress
Carol Mayo Jenkins, would be pleasantly [un]surprised to learn that one
of her adages has been confirmed time and time again by science. I'll
never forget the class when she said to us (and I paraphrase): </div>
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="color: #9fc5e8;">Feel this. Do you know a body of joy cannot hold despair, and a body of despair cannot hold joy. </span></div>
</blockquote>
<div style="text-align: left;">
She told us to stand tall, arms outstretched, face towards the ceiling;
from there, we were to find the emotion of despair. One by one we each
collapsed and closed slowly, unable to maintain such an upright,
celebratory, and open position. That day was important; it was the day I realized that
my kinesthetic awareness could affect how I experience my life.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
---</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Those of us that identify as artistic, creative types often deal with levels of anxiety and depression, sometimes very mild, sometimes more severe. We Millennials, Gen X-ers, Baby Boomers, and Boomlets aren't the first to deal with them - a glance over the heartbreaking <a href="http://www.beethoven.ws/heiligenstadt_testament.html">Heiligenstadt Testament</a> confirms that. And yet, though we have the advantages of modern medicine, we also live with the effects of our modern technology.</div>
<div style="text-align: left;">
<br /></div>
<i><a href="http://www.nytimes.com/2015/12/13/opinion/sunday/your-iphone-is-ruining-your-posture-and-your-mood.html?_r=0">Your iPhone is Ruining Your Posture - and your Mood</a></i>, from December 2015 is "old news," yet its message remains relevant. The author refers to several international studies that are not about iPhones <i>specifically</i>, but about the unintentional slumped posture - iHunch, text neck - that results from constantly using such a handheld device.<br />
<br />
iHunch refers to slumping by lengthening the neck forward and looking down, and it puts enormous pressure on the small bones of the neck. When our head hangs down this way, rather than balancing on the spine, our 10-12 pound noggin exerts around 60 pounds of pressure on the neck. <i>Ouchies.</i> <br />
<br />
<img id="img" src="http://www.optimumworkstationassessments.co.uk/wp-content/uploads/2014/12/text-neck-posture.jpg" style="height: 333px; width: 589px;" /><br />
<br />
What is clear is the physical discomfort of this posture. But what's more interesting is what happens mentally and emotionally as a result of it. Research about this connection is referred to as embodiment theories of emotion, which seeks to name the relationship between our somatovisceral and motoric systems (e.g.,
mood and posture). If you're like me you wonder which system informs the other...does mood inform posture or does posture inform mood? Which one is the more powerful leader in the relationship? Could it be possible to treat depression with physicality as well as cognitive and chemical therapies?<br />
<h3 style="text-align: left;">
<span style="color: #45818e;">The Studies</span></h3>
<div style="text-align: left;">
<a href="http://psycnet.apa.org/journals/hea/34/6/632.pdf">Researchers in New Zealand</a> hypothesized that iHunch-ian posture leads to greater stress response. Using methods in line with psychological research standards, they measured perceived threat, self-esteem, task persistence and cardiovascular response in randomized slumped and upright groups. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The study found that the slumped group, in comparison to the upright group, showed: greater feelings of fear in social threat situations; markedly lower self-esteem; spoke fewer words overall, but greater numbers of negative and self-focused language; and an overall lower pulse point. While the cardiovascular measure did <i>not</i> align with the hypothesis, the psychological factors were confirmed: slumped posture leads to greater stress response. </div>
<br />
Since the health dangers of psychological stress are well known. the potential of learning that something as simple
as posture can affect outcomes is hopeful and exciting.<br />
<br />
A <a href="http://onlinelibrary.wiley.com/doi/10.1002/cpp.1890/full">study in Germany</a>, whose test group consisted of 30 clinically depressed individuals, showed the same collection of 32 words to both slumped and upright
groups, and after a 5-minute 'distractor' task, the patients were asked
to recall as many words as possible. Those allowed to slump recalled more negative than positive words, while the upright group recalled a balance, if not slightly more positive words. <br />
<br />
<a href="http://www.scielo.br/pdf/rbp/v32n4/a10v32n4.pdf">Researchers in Brazil</a> found that among those diagnosed with Major Depressive Disorder, not only was there a tendency for slumping posture during an episode, but a vast majority slumped on the left side. During remission the patients would "grow out of" the slumping posture.<br />
<br />
I find the New Zealand study most intriguing. That a body of despair (ie: slumped posture) could create a depressive mind speaks to the power of the relationship between our mind and body. In a body of despair, is it worth trying to think happy thoughts? <br />
<br />
<div style="text-align: center;">
<img id="img" src="http://www.creativityland.ca/wp-content/uploads/2011/10/Think_happy_thoughts.gif" style="height: 374px; width: 499px;" /></div>
<div style="text-align: left;">
<br /></div>
<h3 style="text-align: left;">
<span style="color: #9fc5e8;"><span style="color: #45818e;">The Postscript</span> </span></h3>
<div style="text-align: left;">
Here on the blog, I've avoided the word "posture" for a long time, and even now only use it as a blanket term for body placement, not as an ideal to achieve. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In most of my essays posture is discussed as a means to avoiding injury and playing with ease. Coming across the iHunch article and subsequently reading the cited studies cast a different light on the upward ease I've so often written about. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
As a person who finds herself anxious from time to time (but less and less, thankfully), there's a glimmer of hope and spark of confidence that comes from reading these findings. The possible therapeutic interventions, and how noninvasive they are, only strengthen my personal theories about the relationship between body and emotions. I start to wonder if kinesthetic mindfulness in my practice can subconsciously help me find ways out of those anxious moments. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Viewed this way, the tenets of an approach like Alexander Technique take on a new depth. Not only are they helpful in the usual way, to avoid tension while playing, but they become exemplars for an integrated physical and cognitive therapy about letting go and allowing ourselves to literally rise out of the weight of our troubles. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
It's a beautiful notion, really. </div>
<br />
<br />
<br />
<h4 style="text-align: left;">
Sources</h4>
<div style="text-align: left;">
</div>
<div data-canvas-width="181.44295313270513" style="left: 83.1688px; text-align: left; top: 286.176px; transform: scaleX(1.08986);">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"> <span style="font-family: inherit;">Janette Zamudio Canales, Táki Athanássios Cordás, Juliana Teixeira Fiquer, André Furtado Cavalcante, Ricardo Alberto Moreno, "<a href="http://www.scielo.br/pdf/rbp/v32n4/a10v32n4.pdf">Posture and body image in individuals with major depressive disorder: a controlled study</a>" <i>Revista Brasileira de Psiquiatria</i>, 2010, Vol. 32, No. 4, p. 375-380.</span></span></span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Amy Cuddy, "<a href="http://www.nytimes.com/2015/12/13/opinion/sunday/your-iphone-is-ruining-your-posture-and-your-mood.html?_r=0">Your iPhone is Ruining your Posture - and your Mood</a>" <i>The New York Times</i>, Sunday Review. published Dec. 12, 2015.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Johannes Michalak, Judith Mischnat, Tobias Teismann, "<a href="http://onlinelibrary.wiley.com/doi/10.1002/cpp.1890/full">Sitting Posture Makes a Difference - Emobidment Effects on Depressive Memory Bias</a>" <i>Clinical Psychology & Psychotherapy</i>, 2014, Vol. 21, Issue 6, p. 519-524. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Shwetha Nair, Mark Sagar, John Sollers, III, Nathan Consedine, Elizabeth Broadbent, <a href="http://psycnet.apa.org/journals/hea/34/6/632.pdf">Do Slumped and Upright Postures Affect Stress Responses? A Randomized Trial</a> <i>Health Psychology</i>, 2015, Vol. 34, No. 6, p. 632-641, published by the American Psychological Association. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-13124799007215573092016-08-01T10:22:00.001-04:002016-08-01T10:22:31.051-04:00Migraines, and Working Through Them<div dir="ltr" style="text-align: left;" trbidi="on">
The weather this week in our part of VA has done nothing but create headache, both literally and figuratively. If you're one of the unlucky millions of people who suffer from chronic migraines, the constant shifts from hot/somewhat dry to blustery, stormy humidity and cooler temps would have you reaching for either Excedrin or exceptional amounts of ibuprofen, as I've been doing these last few days.<div>
<br /></div>
<div style="text-align: center;">
<img height="207" src="https://i.imgflip.com/ectrw.jpg" width="320" /></div>
<div>
<br /></div>
<div>
The world doesn't stop for a migraine, though sometimes our schedules allow us to sneak in a nap that helps dull the pain. For those of us that make a living playing music, an ill-timed migraine can mean a bad performance or thwarted practice schedule.</div>
<div>
<br /></div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span style="color: #45818e;">What Makes a Headache a Migraine?</span></h3>
<div>
Migraines tend to not be acute, and rather progress through four stages over one to several days: Prodrome, Aura, Headache, and Post-drome. <a href="http://www.mayoclinic.org/diseases-conditions/migraine-headache/symptoms-causes/dxc-20202434">Mayo Clinic</a> has an entry that explains symptoms, but here's a synopsis.</div>
<div>
<br /></div>
<div>
<u>Prodrome</u></div>
<div>
- food and stomach weirdness, in what you want to eat or drink and how your body behaves</div>
<div>
- sudden mood changes</div>
<div>
<br /></div>
<div>
<u>Aura</u></div>
<div>
<i>Not everyone experiences aura</i>.</div>
<div>
- visual anomalies, in the form of zig-zag vision, flashes of light</div>
<div>
- hearing phantom sounds, like music </div>
<div>
- difficulty speaking, perhaps accompanied by facial numbness</div>
<div>
- limb weakness</div>
<div>
<br /></div>
<div>
<u>Headache</u></div>
<div>
- heightened, painful sensations of all senses</div>
<div>
- throbbing on one or both sides of the head</div>
<div>
- nausea and lightheadedness</div>
<div>
<br /></div>
<div>
<u>Post-drome</u></div>
<div>
- dizziness</div>
<div>
- confusion and moodiness</div>
<div>
- continued sensitivity to light and sound</div>
<div>
<br /></div>
<div>
A migraine is sadly an <i>event</i> in your life; there are headaches and then there are migraines, so if you're lucky enough to be unsure of which you deal with, chances are it isn't the latter.</div>
<div>
<br /></div>
<div>
Most recently, my plans to record a new video (which has since been done and is available <a href="https://www.youtube.com/watch?v=KxNkyZm9gzE">here</a>) were interrupted by a migraine that set in. I lost two days completely, but managed to record half the piece while still in the Post-drome phase - nothing like playing Bach to keep you dizzy, confused, and moody, right?</div>
<div>
<br /></div>
<div>
In an informal survey, I learned I'm not alone in being unable to play when a migraine hits. Some of us aim for soft sounds, while others know to just stay away...far, far, away. If we're lucky, we're collaborating with people or studying with teachers that are sympathetic to our plight, and for that we are grateful.</div>
<div>
<br /></div>
<div>
Everyone is different in terms of their own symptoms and triggers, and everyone probably has their own method of dealing with a migraine when it hits. Here's what I do.</div>
<div>
<br /></div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span style="color: #45818e;">Staying Productive in the Four Phases</span></h3>
<div>
<u>Prodrome</u></div>
<div>
Luckily, this phase doesn't completely interrupt life, other than the foreboding doom of what's to come. I've found that drinking lots of water and eating healthy food, in addition to sleeping normally can ease the headache later on. </div>
<div>
It's also a time to get strategic about how to still get stuff done in the coming days. </div>
<div>
<br /></div>
<div>
- Gather scores for study and mental practice.</div>
<div>
<br /></div>
<div>
- Pack in as much practice as you can <i>now</i>, to prepare for being unable to play for at least a day. If you don't already have a detailed practice plan to get you through your playing obligations, make one up at this time that is realistic: ie, plan to lose more time than you'd like. </div>
<div>
<br /></div>
<div>
- Gather notebooks if you compose, blog, or research. You may not be able to look at a computer screen, but you might be able to write nice and slow.</div>
<div>
<br /></div>
<div>
- Gather hard-copy reading material. Again, stay away from a screen.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<u>Aura / Headache</u></div>
<div>
Since my migraines [currently] have me experiencing auras during the actual headache, I'm placing them together here. Basically, this is the time when you feel <i>the worst</i>. Can't eat, want to be in quiet darkness, and want to do nothing but sleep. </div>
<div>
<br /></div>
<div>
Though I don't regularly deal with visual anomalies, I do hear phantom music. It started a few months ago - whenever the migraine is settling in I hear a string orchestra that isn't there. Sometimes it's an organ, but usually strings. My layman's reasoning has decided it's because my auditory cortex is throbbing, or getting too much blood flow, and so it's replaying something I've previously heard. My hypochondronical reasoning gets going, too, but let's not talk about that. </div>
<div>
<br /></div>
<div>
Once past the terrible hours of the actual headache, some of these things may be possible.</div>
<div>
<br /></div>
<div>
- Slow reading and writing, around 30% of normal</div>
<div>
<br /></div>
<div>
- Mental practice, maybe try to learn notes while sitting up in bed or on the couch</div>
<div>
<br /></div>
<div>
- If you can look at a screen with the backlight all the way down, you might be able to slowly catch up on easy email. Stress only makes these headaches worse, so skip the really involved ones.</div>
<div>
<br /></div>
<div>
- Try to find something to look forward to for when you feel better. Make social plans, find a new recipe to try, plan a trip to your favorite bookstore, local museum, or market. Having something positive waiting for you the *moment* you're able to do it is helpful.</div>
<div>
<br /></div>
<div>
- Move a little bit. There are certain <a href="http://www.yogajournal.com/category/poses/yoga-by-benefit/headache/">yoga postures</a> that can help ease pressure on the head and neck. Personally, I find Extended Puppy Pose and Head-to-Knee Forward Bend very calming and distracting.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<u>Post-drome</u></div>
<div>
Practice at this time is a complete toss-up. Sometimes it's possible, sometimes it isn't. I've learned, though, that if I can play, it isn't a time to perfect complicated passages, but rather a time to slowly learn new notes or practice something tedious, like un-flamming something noodle-y.</div>
<div>
<br /></div>
<div>
- Pad some rudiments or <i>Stick Control</i>, something that is almost brainless.</div>
<div>
<br /></div>
<div>
- Learn new notes without big expectations for yourself, and learn them quietly.</div>
<div>
<br /></div>
<div>
- If you can look at a screen, now is a time to type out anything you wrote, music or otherwise. My last migraine stalled my recording plans, but I was able to edit a promo video for my new project, <a href="https://www.youtube.com/watch?v=YRLimKLp6zs">L+M Duo</a>, because the program has a dark interface. Since I couldn't leave the house (too bright and hot), I sat there for 8 hours completing it. </div>
<div>
<br /></div>
<div>
- If you can tolerate sound, score study with recordings. </div>
<div>
<br /></div>
<div>
Hopefully Post-drome doesn't last too long, and you're able to get back to it rather quickly. My last one was about 24 hours, and I was able to record towards the end of it. </div>
<div>
<br /></div>
<div>
If you're like me, chronic migraines are in your family history. I grew up watching my mother suffer through them, and developed an understanding of how to care for yourself through them. I also learned that an understanding family is very important, and I'm grateful to have that. (Even the cat knows to not misbehave.)</div>
<div>
Professionally, I've never cancelled a gig or class due to a migraine, but I have left the second it was acceptable, perhaps ending class early or escaping a gig before speaking with the audience. </div>
<div>
<br /></div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span style="color: #45818e;">Hopeful Research</span></h3>
<div>
We still don't know what causes migraines. The term <a href="https://migraineresearchfoundation.org/about-migraine/migraine-triggers/">trigger</a> is thrown around to describe the tastes, smells, or motions that may play a role in their creation, but even they vary from person to person. New prescription meds are available now that may not erase the migraine but shorten the Headache considerably, and reduce symptoms of the Prodrome and Post-drome phases. However, these are generally incompatible with mood maintenance medications.</div>
<div>
<br /></div>
<div>
On July 27th of this year, researchers at Griffith University made a call for volunteers to undergo a study involving self-help treatment for migraines. They're taking an 8-session treatment previously available to psychologists and teaching it to the volunteers. You can learn more about that <a href="https://app.secure.griffith.edu.au/news/2016/07/27/headache-sufferers-asked-to-undertake-self-help-treatment/">here</a>, and maybe even sign up! I'm greatly considering it, as prescription meds are my last, but perhaps realistic, resort.</div>
<div>
<br /></div>
<div style="text-align: center;">
<img height="320" src="http://assets.diylol.com/hfs/786/71d/bb7/resized/oberyn-meme-generator-does-anyone-have-an-asprin-i-have-a-splitting-headache-b8f810.jpg?1401758971.jpg" width="320" /></div>
<div>
<br /></div>
<div>
<br /></div>
<div>
Anyone have other suggestions on how to stay productive during a migraine? You can leave them in the comments below so we can all benefit. :)</div>
<div>
<br /></div>
<div>
<u><br /></u></div>
<div>
<br /></div>
<div>
<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-11503180881112712882016-07-05T11:42:00.001-04:002016-07-05T11:43:15.129-04:00Marimba Body: Loose Jaw, Loose Fingers<div dir="ltr" style="text-align: left;" trbidi="on">
If you attended my class last year at PASIC, you may recall beginning with a simple exercise. I asked everyone to find something to grasp - in most cases it was mallets or sticks, but some used a water bottle or wallet. <br />
Then, we all grasped those items tightly. While gripping, I asked everyone to "check in" with their jaw. Laughs and chortles filled the room as we all realized that they were tight as well. Further examination showed that the neck, shoulders, elbows, and wrists were tightening as a result.<br />
<br />
It's tempting to investigate why this tandem tightness occurs, but what's more important is simply that it <i>does</i>, regardless of the reason. <br />
<br />
A loose jaw is a shortcut to relaxation. Free it and you will automatically feel relief along the arm.<br />
<br />
<h2 style="text-align: left;">
<span style="color: #741b47; font-family: inherit;">Temporal-mandibular Joint</span></h2>
<div style="text-align: left;">
It's easier to free the jaw if we know exactly what area should receive focus. To that end, here's a little info about the skeletal and muscular structures of the jaw.</div>
<div style="text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibxouuRm_BMv2xpxT1_W_w8k5MTgs8cdoT0b9u1IriHVDZZwEk7iZ57Y7mfQtWHmLdyQ2p9UTLVRH46BfAadUPNz8QEOhEbzxEU_djpwRjBnCcBKFlMNlTM45kQ-mnrofW25aaOU7yvxE/s1600/jawside.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibxouuRm_BMv2xpxT1_W_w8k5MTgs8cdoT0b9u1IriHVDZZwEk7iZ57Y7mfQtWHmLdyQ2p9UTLVRH46BfAadUPNz8QEOhEbzxEU_djpwRjBnCcBKFlMNlTM45kQ-mnrofW25aaOU7yvxE/s400/jawside.jpg" width="365" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.boneporosis.com/images/jawside.jpg">source</a></td></tr>
</tbody></table>
<div style="text-align: left;">
The jaw (temporal-mandibular joint) is articulated by the <i>temporal bone</i> and the <i>mandible</i>. The mandible, shown in purple above, forms the lower jaw. In fact, it is the only bone of the skull that actually moves! All others are lightly fused, forming the shape of the head and face as we know it. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
You'll notice how stocky the mandible is, thick and sturdy. While some bones of the face aren't much thicker than a fingernail, the mandible is dense enough to be felt through the skin.</div>
<div style="text-align: left;">
The upper jaw is made of the maxilla, shown in light green, and <u>does not move</u>. </div>
<div style="text-align: left;">
<b>So, when freeing the jaw, we are only concerned with loosening the lower half - it's the only part that moves! </b></div>
<div style="text-align: left;">
<b><br /></b></div>
<div style="text-align: left;">
Fifteen pairs of muscles articulate the mandible, which isn't surprising given its constant usage. Muscles that contribute to chewing, talking, and moving the neck all have close relationships with the lower jaw.</div>
<div style="text-align: left;">
Some connect at the interior side of the mandible and aren't visible, like the ones highlighted below.</div>
<div style="text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQwNybkMYcbU86n3A2T56o31fPRdVM3r5QOXwDVpzXMthSpFJ8W3ldgWdJ0_rjb3rN9bKvjsfpLZ5IVCCJ_0OeU7H5c9-iqiXKypjQ1gwTD6Ny1t6PNq9-ayNuTYAwA-Jk-WzjYfJy1M/s1600/pterygoids.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQwNybkMYcbU86n3A2T56o31fPRdVM3r5QOXwDVpzXMthSpFJ8W3ldgWdJ0_rjb3rN9bKvjsfpLZ5IVCCJ_0OeU7H5c9-iqiXKypjQ1gwTD6Ny1t6PNq9-ayNuTYAwA-Jk-WzjYfJy1M/s320/pterygoids.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://doctorspiller.com/images/occlusion/pterygoids.jpg">source</a></td></tr>
</tbody></table>
<div style="text-align: left;">
But, others are visible when they contract, and are helpful when trying to relax the jaw.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9ogp16R0DWImZ6hsqI3g2SZ1H6oYxZfBT4UnY7Z0r-1egorBfMgA2TULtUFHamSYl_JjTm1wMX7XBa3dCTnF0txjMRkjbPIpHfkvOwgjE3IxhqVME4SrvzQ0jFBKmAZkKSaQq4qoiEw/s1600/masseter-muscle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9ogp16R0DWImZ6hsqI3g2SZ1H6oYxZfBT4UnY7Z0r-1egorBfMgA2TULtUFHamSYl_JjTm1wMX7XBa3dCTnF0txjMRkjbPIpHfkvOwgjE3IxhqVME4SrvzQ0jFBKmAZkKSaQq4qoiEw/s400/masseter-muscle.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://corewalking.com/wp-content/uploads/2014/09/masseter-muscle.jpg">source</a></td></tr>
</tbody></table>
<div style="text-align: left;">
As the masseter muscle contracts, clenching the lower and upper teeth together, it protrudes on the mandible below the level of the ears. If you deal with TMJ, you may already be too familiar with the masseter.</div>
<div style="text-align: left;">
The other muscle we can see during contraction is the temporalis, visible at the temple. Both the temporalis and masseter are involved in mastication and speech. Singers out there are aware of how a tight jaw tightens the muscles around the larynx, straining and minimizing their sound. If you're ever witnessed an Alexander Technique specialist working with a singer you've probably heard the drastic change in the tone and volume of the voice as the jaw loosens.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<h2 style="text-align: left;">
<span style="color: #741b47;">Do It Yourself Exercises</span></h2>
<div style="text-align: left;">
For many, simply thinking about loosening the jaw will afford them relaxation all over the body. For others, a bit of attention during everyday activities can show us how often the jaw grips when it simply doesn't need to. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Consciously loosen the jaw while:</div>
<div style="text-align: left;">
- typing</div>
<div style="text-align: left;">
- driving</div>
<div style="text-align: left;">
- walking and running</div>
<div style="text-align: left;">
- lifting weights or working around the house</div>
<div style="text-align: left;">
- writing by hand</div>
<div style="text-align: left;">
- engaging in hobbies (knitting, gaming, reading, etc.)</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
When it comes to playing, there are many ways to incorporate loosening the jaw. I have several scores where I actually wrote the word "jaw" as a reminder to relax - and in performance this was really helpful, both in terms of physicality and warding off any anxiety.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In practice, if you're just learning a piece, decide to only learn new phrases with a loose jaw. If you're like me, you'll discover that those sections are somehow easier than those learned without such attention. Plus, if they're technical, you'll notice they are easier to execute than you'd expect.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
If you're addressing a piece that's been in your hands for a while, do a run-through that pauses every 4 measures or so. In the pause, loosen your jaw, maybe even let it hang open while you play. You may learn there are certain passages that really tighten you up, whether that tension begins in the fingers or the jaw. No matter the source, the solution is a relaxed jaw.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Part of Alexander Technique is the idea of indirect solutions to physical tensions. The connection between the jaw and fingers is one such solution. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
So, the next time you're opening a new jar of jelly think about your jaw before wrapping your hand around the top. You may be shocked at how much easier it is to open!</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
- - - - - </div>
<div style="text-align: left;">
<span style="color: #b45f06;">If the ideas in this essay are helpful to you, or the practice suggestions yield positive results, please let me know! I'm compiling feedback as a means to informal research, and appreciate any comments. If you have questions, shoot those this way, too!</span></div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2363665256850600179.post-44226092800922893302016-06-17T11:15:00.000-04:002016-06-17T11:15:34.590-04:00Early June: R!S and TAPS East Coast<div dir="ltr" style="text-align: left;" trbidi="on">
It's been a busy first half of the month so far. Though summer isn't technically upon us, there's something about the month of June that makes it a month for personal projects.<br />
Perhaps it's because my entire life has been attached to an academic calendar, or perhaps it's because it's a month where there's typically more nice than dreary weather - either way, the first half of this selfish month has been a total joy.<br />
<br />
<h3 style="text-align: left;">
<span style="color: #e69138;">New Article</span></h3>
<div>
It's been out for a little while, but you can read "Developing Kinesthetic Awareness: A Guide to Mindset, Explorations, and Wrists - Part 2" in <a href="https://s3.amazonaws.com/pasdigitaledition/onlinemags/rhythmscenejun16/June2016DigitalEdition.pdf">this month's <i>Rhythm! Scene</i></a>. Find it on page 14!</div>
<div>
<br /></div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span style="color: #e69138;">TAPS East Coast</span></h3>
<div>
<div class="separator" style="clear: both; text-align: center;">
</div>
By now there's evidence on social media that TAPS East Coast was a blast, both as a human and as a musician. Held at the New England Music Camp (NEMC) at Snow Pond, the setting was nothing short of breathtaking. The faculty were housed in cabins, the students in the new dorm, and our activities took place in the historic Bowl of the Pines located in the center of the NEMC campus.</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOF5a3tg9s3JyiL6YI94J_iL2ClWI8z4RBM5eoWW4_kG4DmBkUfBTN2JIRouOgvBGx5F4vCwwO7WZGwLz3H1otfyOBBzDwUDqE8QdH4Jpck9qNuiiQkjqug3u3GZIuTAN1QKQdh3re9w/s1600/13321917_505931932927269_8226494667348652880_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOF5a3tg9s3JyiL6YI94J_iL2ClWI8z4RBM5eoWW4_kG4DmBkUfBTN2JIRouOgvBGx5F4vCwwO7WZGwLz3H1otfyOBBzDwUDqE8QdH4Jpck9qNuiiQkjqug3u3GZIuTAN1QKQdh3re9w/s400/13321917_505931932927269_8226494667348652880_n.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lake Messalonskee from The Lodge</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi332agOkNTUbo00dkur13vY3rxSY0A5cdGW4agXQP8lkjXXdMUAYRgvTVZLlCXiBcR4jWjGmp0WXfqXB3_aYZpk4VhVaZW92MwBuGQXdC7fhqetozQkxt9NamhxX92DWiiKrCLZ_3EFjM/s1600/20160606_173320.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi332agOkNTUbo00dkur13vY3rxSY0A5cdGW4agXQP8lkjXXdMUAYRgvTVZLlCXiBcR4jWjGmp0WXfqXB3_aYZpk4VhVaZW92MwBuGQXdC7fhqetozQkxt9NamhxX92DWiiKrCLZ_3EFjM/s400/20160606_173320.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">view of the Bowl from the audience field</td></tr>
</tbody></table>
<br />
We presented masterclasses, taught private lessons, held a mock audition, recorded a podcast, and presented a concert, complete with a performance of <i>Ionisation</i>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy3SciC8LsG7VK1-15J0Wt7YIV4pSAhhA2sFerKP9OtL5iUroZThBj3hJvtM-r5-GpwY_HScS13y6HnioGN2XGdz_BCryF4VaDzr62IN5jKkO39SnVyCvlwm1-kUOQrFORTDqqVMrg-bM/s1600/13417410_10100397841569131_6033640042354826723_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy3SciC8LsG7VK1-15J0Wt7YIV4pSAhhA2sFerKP9OtL5iUroZThBj3hJvtM-r5-GpwY_HScS13y6HnioGN2XGdz_BCryF4VaDzr62IN5jKkO39SnVyCvlwm1-kUOQrFORTDqqVMrg-bM/s400/13417410_10100397841569131_6033640042354826723_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ionisation</i> dress rehearsal</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCSVd1PRT28iJPRTmjhFIUZ7fdSVuO-z1y-hZ4h_AgM1SM2DrUEGTVn69SD9GXXQgk_QbYt3U3N9vLAQ8aLQbL41VkJEgZACiSk5R3hqdeE8cXU2D11-m-CpLCXN0bt1xgBwt1lykwpA/s1600/13433141_507140086139787_6971948463821819791_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCSVd1PRT28iJPRTmjhFIUZ7fdSVuO-z1y-hZ4h_AgM1SM2DrUEGTVn69SD9GXXQgk_QbYt3U3N9vLAQ8aLQbL41VkJEgZACiSk5R3hqdeE8cXU2D11-m-CpLCXN0bt1xgBwt1lykwpA/s400/13433141_507140086139787_6971948463821819791_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">coaching some Ivan Trevino</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjij66YWWzbbM4GiuOHXfUFXQRQkZArRFlnGh3hDkyToiAqliGsoAM1MvPs7WYm79PWa3iMkv4ibrh2c81IJR1j7TloCQeMMTlqHy2jSbjnx8YmZVX6Rv8czOyxRrqe-QqlUsbaJzf8mmo/s1600/20160607_100709.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjij66YWWzbbM4GiuOHXfUFXQRQkZArRFlnGh3hDkyToiAqliGsoAM1MvPs7WYm79PWa3iMkv4ibrh2c81IJR1j7TloCQeMMTlqHy2jSbjnx8YmZVX6Rv8czOyxRrqe-QqlUsbaJzf8mmo/s400/20160607_100709.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Casey performs <i>Meditation no.1 </i>during his masterclass</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4OcVG6qhzzbgtGH8XpuT1uKwnwZLr2Yxp9QmVBtj1wbYZ04oS2XBD-dsAyx6edUurChas0uUXs1hGZuDy-mqc_-tj2RrXooCCZzxnPR16JKNsK8rDpCCnR5tnhRDuU3CmuQ6eQHCHNc/s1600/13415520_10209070948189371_155371869808090646_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4OcVG6qhzzbgtGH8XpuT1uKwnwZLr2Yxp9QmVBtj1wbYZ04oS2XBD-dsAyx6edUurChas0uUXs1hGZuDy-mqc_-tj2RrXooCCZzxnPR16JKNsK8rDpCCnR5tnhRDuU3CmuQ6eQHCHNc/s400/13415520_10209070948189371_155371869808090646_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">one of the mock audition winners in performance</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
Thanks go to Innovative Percussion for sending mallets for each participant, and to Majestic for sending not only a Prophonic snare drum for giveaway but also the gorgeous 5 octave instrument you see in the photos.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11In2IrDz9ZrePusV7TQuoA0Hc5K49OYHTJP9njxc2bbQyz39ajvPIDR1RuspXq36Qpz1eQibGcfWr-EOqpsu0RwBf1QdowUBB2XphEfEUgV9twwSP7JhRzoxKWaLbuzEKL0pFE7Yp4I/s1600/20160606_173013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11In2IrDz9ZrePusV7TQuoA0Hc5K49OYHTJP9njxc2bbQyz39ajvPIDR1RuspXq36Qpz1eQibGcfWr-EOqpsu0RwBf1QdowUBB2XphEfEUgV9twwSP7JhRzoxKWaLbuzEKL0pFE7Yp4I/s400/20160606_173013.jpg" width="400" /></a></div>
<br />
I had a great time at TAPS East Coast, and there's another one in July in Long Beach, California. You can learn more about that <a href="http://tedatkatz.com/percussionseminar/taps-long-beach-july-2016/">here</a>.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-87094352454981570792016-06-01T22:43:00.000-04:002016-06-01T22:43:01.352-04:005 Practice Habits to Avoid<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
There aren't many other calming moments than the tranquil, blank mental space that accompanies those first few days at the end of the school year. Suddenly there is <u>so much time</u>, assuming we can stop feeling exhausted.<br />
<br />
<div style="text-align: center;">
<img height="222" src="http://www.relatably.com/m/img/sleeping-memes-tumblr/tired_pup.jpg" width="320" /></div>
<br />
Time can be our friend or our enemy in terms of our practice. In preparations for TAPS East Coast, which starts this weekend, I find myself examining my thoughts about practice. Since many of us are now in a limbo stage, somewhere between relaxed and feeling guilty about it, I'm hoping we can bond over these ideas.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<b><span style="color: #b45f06;">Playing Cold</span></b> – Some people warm up,
some don’t. Though some rep doesn’t
require it, if we’re coming in from cold weather, just woken up, playing after a multi-week break, or about
to run a complicated recital program, we <u>have</u> to warm up. Cold muscles don’t move as well, which means
the work goes elsewhere, like the tendons.</div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<b><span style="color: #b45f06;"><br /></span></b>
<b><span style="color: #b45f06;">Cram Practicing</span></b> – Sometimes life only
gives us 2 weeks to prep a half recital, but if there’s any way to avoid it, we
should. <br />
If we’ve not practiced for days
and think that 4 hours before a lesson will do any good…nope. <span style="text-indent: -0.5in;">And that's for several reasons, from induced anxiety to poor recall. Even those of us that can learn
music quickly shouldn’t rely on those abilities: it’s much smarter to begin
preparations far too early and maybe feel “bored” in the process than potentially injure
ourselves.</span></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<b><br /></b>
<b><span style="color: #b45f06;">Taking Too Much Time Off</span></b> – Though
time off can be good for our mindset and attitudes, it’s not always great for
our hands. Just like athletes lose speed
and strength with every day they don’t work out or practice, so do we. Plus, the danger of taking too much time off
is that we will cram practice once we’re back to it. There’s the saying that it takes 10,000 hours
of practice to master an instrument; presumably, the healthiest way to log that
time is to do it evenly, not in spurts.</div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<b><br /></b>
<b><span style="color: #b45f06;">Mindless Use</span></b> – Musicians are often told
that we feel pain because we overuse our muscles. But I wonder if what has to happen is we become more considerate of how we use our muscles in other ways. For example, if you want to practice 4 hours
a day, play Xbox 4 hours a day, spend hours on the computer, and then do an
upper body workout you’re probably going to feel pain in your forearms as each
of those activities work the same muscles. <br />
Perhaps we have to accept that being a musician means prioritizing our
muscle use: as silly as it sounds, on days when I’m playing marimba and piano
for many hours, I know I can’t go home and crochet, though it’s a pastime I cherish
because my great-grandmother taught me how.
I can only crochet on days when I don’t practice as much, otherwise my
fingers get over-fatigued.</div>
<br />
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<b><span style="color: #b45f06;">Rep Jumps</span></b> – We’re all guilty of wanting
to play something cooler and more difficult.
Be that as it may, it’s careless to skip levels of rep, and though our
minds can handle something harder, perhaps our hands aren’t ready. Much motivation for practice comes from
exposure to difficult pieces, but I don’t think there are many piano teachers
who would suggest their students go from Bach’s <i>WTC </i>straight to Chopin’s <i>Revolutionary</i>. There are steps in-between, and it’s healthy
and necessary to take them.<br />
<br />
Do you all do any of these things? The above list includes some of my bad practice habits. There are good ones, too, but those are for another time.</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-3453814737412889062016-05-13T09:08:00.002-04:002016-05-13T09:08:28.037-04:00Tutorial: DIY Marimba Felts<div dir="ltr" style="text-align: left;" trbidi="on">
If there's anything more frustrating than moving a marimba, it's moving a marimba and realizing you've lost a felt or two. Disappeared - like socks in the dryer. <div>
<br /></div>
<div>
Though I've been known to use a hair tie in a last-minute situation, I took 20 minutes this morning to make my own felts - 55, to be exact! That's what - <i>less than 30 seconds each?! </i></div>
<div>
<br /></div>
<div>
Here's how I did it.</div>
<div>
<br /></div>
<div>
<b><span style="color: #b45f06;">Supplies</span></b></div>
<div>
- one piece of black felt ($0.40 at Michael's)</div>
<div>
- ruler</div>
<div>
- sewing machine (needle and thread works, too, but will take longer)</div>
<div>
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<div class="separator" style="clear: both; text-align: center;">
</div>
The brand of felt I found is called Creatology. Here's the label:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEG-NdQYJJuxZhOvt2cNWYniuR6sMjprBb1UeG2RGTpMpJA87QO7fhzG3Nm8h6MdkPxaDizr0mcE1nMdFR6QlF6Rlwhyphenhyphenam7PrzJlBEhuh55EztNWK2_iHrMV8OKH4nDx3kSqdkE0771k/s1600/20160513_080243.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEG-NdQYJJuxZhOvt2cNWYniuR6sMjprBb1UeG2RGTpMpJA87QO7fhzG3Nm8h6MdkPxaDizr0mcE1nMdFR6QlF6Rlwhyphenhyphenam7PrzJlBEhuh55EztNWK2_iHrMV8OKH4nDx3kSqdkE0771k/s320/20160513_080243.jpg" width="240" /></a></div>
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<div>
<b><span style="color: #b45f06;">Instructions</span></b></div>
<div>
1. Remove a felt from the marimba to take some measurements. I've found that most are really similar in size, but measure to be sure. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5BR_qSxe4cuPXmFeG62QRGiWcMY73GF_3q8v-2TeVWCdVovNOXxcmNlskSdgAqjGgg_uCUH5Muh5GjxPQTTQoir6AarwE-J3faumy2I596_nxFl8BuSdFPVTPU1Tvvhn0lFhRDXD-XQ/s1600/20160513_080039.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5BR_qSxe4cuPXmFeG62QRGiWcMY73GF_3q8v-2TeVWCdVovNOXxcmNlskSdgAqjGgg_uCUH5Muh5GjxPQTTQoir6AarwE-J3faumy2I596_nxFl8BuSdFPVTPU1Tvvhn0lFhRDXD-XQ/s320/20160513_080039.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This one is one inch long on the folded edge, 7/8" wide.</td></tr>
</tbody></table>
<div>
You'll also want to measure from the fold to the first row of stitching, if there is some visible. This one is 5/8". You'll want to stitch at this measurement so your felts match the original.</div>
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<br /></div>
<div>
2. From your sheet of felt, fold one long edge in the width of your measurement from above (7/8"). You can pin it along the length to help it stay straight. </div>
<div>
I'm sewing 5/8" from the folded edge. Whether sewing by machine or hand, you'll want to use a little stitch so they don't unravel when you cut the finished strip into pieces.</div>
<div>
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3FquLKqGCvl8m6Q7Q-TZO74tE51RXWZX_NxvpsiiqAOpYEQkJtKcC3j9pRibHR974OsJQpfhURuXdS-rRFpqyNBc2lNg0SoO-OMK_czlUFYa_jLoeFbuSFOz9FZXB9QYo6O605e1SCY/s1600/20160513_080443.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3FquLKqGCvl8m6Q7Q-TZO74tE51RXWZX_NxvpsiiqAOpYEQkJtKcC3j9pRibHR974OsJQpfhURuXdS-rRFpqyNBc2lNg0SoO-OMK_czlUFYa_jLoeFbuSFOz9FZXB9QYo6O605e1SCY/s400/20160513_080443.jpg" width="300" /></a></div>
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3. Once sewn, cut the strip along the rough edge.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWuIC6SsIxaMXYyxfl7riQ9vCvh0RG3Yz6VMTzyND_CzSLwK8efinX5t1WF-5qe2j0yVEL-FxEg-XQow2xaSQpVv8IVJjpgRfzdi6sX2dIQoHBVU3gkJ0FlCAVF7rx1AH3OvVatjFavM/s1600/20160513_080828.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWuIC6SsIxaMXYyxfl7riQ9vCvh0RG3Yz6VMTzyND_CzSLwK8efinX5t1WF-5qe2j0yVEL-FxEg-XQow2xaSQpVv8IVJjpgRfzdi6sX2dIQoHBVU3gkJ0FlCAVF7rx1AH3OvVatjFavM/s400/20160513_080828.jpg" width="300" /></a></div>
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4. Repeat steps 2 and 3 until you run out of felt. I was able to get 5 folded strips out of this one.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91m_hTWGMpwAKNuMua7ALm2TNGGl4u6edXEMno9hYf2LGbCkFA6CgTP7q2puWAfx0xaNeVXoS1iemqvxhYAIlqqS3dcqVod16jGTF0sRwK4uq9SgMPyxZETW0alA-72rndswsaUiYp5g/s1600/20160513_081955.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91m_hTWGMpwAKNuMua7ALm2TNGGl4u6edXEMno9hYf2LGbCkFA6CgTP7q2puWAfx0xaNeVXoS1iemqvxhYAIlqqS3dcqVod16jGTF0sRwK4uq9SgMPyxZETW0alA-72rndswsaUiYp5g/s320/20160513_081955.jpg" width="320" /></a></div>
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5. Cut each strip into pieces using the length measurement from above (1"). <br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyqmH9hrOhJvdUzFn-V4YDdRmUMHA12yRV0swd5y6WJl0ZxSbQt_XDOS7iAkHCwNuRnAIrkG0N_3838L1-pkxGjti15RPvRGkh5Lme3iP8Xo1QTMZPklYz4iKdpvRa0WcMDs5XF9su9Y/s1600/20160513_082821.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyqmH9hrOhJvdUzFn-V4YDdRmUMHA12yRV0swd5y6WJl0ZxSbQt_XDOS7iAkHCwNuRnAIrkG0N_3838L1-pkxGjti15RPvRGkh5Lme3iP8Xo1QTMZPklYz4iKdpvRa0WcMDs5XF9su9Y/s320/20160513_082821.jpg" width="320" /></a></div>
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6. Slip those DIY felts on and get to practicing!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXehhEzCLSVyHwiAyZ39GOGuWWTZH1VMcRzZbZW7PBRgLZp7JGuCoGr2GJtyv8ZT3WEfq-UoPkPd1vgheX5HzQK0Gv6jQwsySv5IIUOdlTwqvY0js2mQcTBA5g0ly1WWJUtEf6PERlY5I/s1600/20160513_082859.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXehhEzCLSVyHwiAyZ39GOGuWWTZH1VMcRzZbZW7PBRgLZp7JGuCoGr2GJtyv8ZT3WEfq-UoPkPd1vgheX5HzQK0Gv6jQwsySv5IIUOdlTwqvY0js2mQcTBA5g0ly1WWJUtEf6PERlY5I/s320/20160513_082859.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I face the rough edges toward the center - just an aesthetic choice. :)</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<div>
<b><span style="color: #b45f06;">Recap</span></b></div>
<div>
55 felts | 20 minutes | $0.40 cost of materials </div>
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<div>
<u>A hint if using needle and thread</u>: I suggest sewing one line of stitches, then without cutting the thread flip the felt over and sew the same line again from the other side, being careful to "fill in the gaps" between stitches. (If you don't fill in the gaps, all the stitches will come out when you cut your strip into pieces.)</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-77164947961330627862016-05-07T10:05:00.000-04:002016-05-07T10:05:21.775-04:00TAPS East Coast<div dir="ltr" style="text-align: left;" trbidi="on">
TAPS, ya'll. TAPS made me not hate excerpts. For those that know me, this is a huge deal. Let me explain.<br />
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<img height="400" src="https://scontent-iad3-1.xx.fbcdn.net/v/t1.0-9/1918328_453507454836384_3142359341634750116_n.jpg?oh=6d61f321e8b09eafb6f378c764d23a8f&oe=57E0793C" width="400" /><br />
<br />
My undergraduate education began with assignments of only snare drum, and almost exclusively excerpts. If you're looking for a way to get rid of a student, I suggest this route. Not only was I not yet mature enough to have the focus and discipline to learn these, but they were killing my motivation to practice. I <i>wanted</i> to practice; I was desperate to learn. Sure, my buzz rolls got pretty good, but I hated the rest of it. I dreaded practice, which as we all know, really sucks.<br />
<br />
Luckily, my ornery side kicked in and I just started learning marimba pieces in my own time, so the music student was saved! But that first semester of school has never left me. Since then, any time a person mentions excerpts, I cringe. With less self control I'd act like Michael from The Office.<br />
<br />
<div style="text-align: center;">
<img src="http://cdn1.theodysseyonline.com/files/2014/11/16/635517686285011592546178059_michaelscott54.gif" /></div>
<br />
In grad school, the quickest way to get me to leave a room was to talk about excerpts. Was I being a downer at a party? - say the words Messiaen, exotic, and birds in a sentence and I'm outta there. Party restored. It became a joke of the studio.<br />
<br />
So, when I say that TAPS made me not hate excerpts...this is a reeeeeally big deal. Firstly, Ted Atkatz is awesome. You want to talk about being true to your musical self, he's one to interview. And the insight, advice, and completeness of his approach to teaching the orchestral musician - <u style="font-style: italic;">NOT</u> the excerpts (there is a HUGE difference) - is refreshing. Also, he's really funny. Put Ted and Casey Cangelosi in a room and watch the shenanigans unfold. Musically brilliant shenanigans.<br />
<br />
And normal shenanigans.<br />
<br />
But let me be clear, TAPS isn't only about excerpts. Sure, there's a mock audition, and the chance to win cymbals, a snare drum, and a tambourine, but each faculty member brings something different to the table, too. At TAPS East Coast, there's me, <a href="http://www.caseycangelosi.com/">Casey</a>, <a href="http://www.shauntilburg.com/">Shaun Tilburg</a>, and <a href="http://tedatkatz.com/">Ted</a>. The structure of TAPS allows faculty to attend each other's classes, establishing a sort of roundtable structure to the event, not a dry lecture environment. As a non orchestra-focused player, I look forward to contributing to the days with a marimba masterclass and discussions about movement, injury prevention, and performance anxiety.<br />
<br />
Why am I sharing this?<br />
<br />
Because there's still time to sign up for TAPS East Coast. <i>And! </i>The video application has been waived, so <a href="http://snowpondmusicfestival.com/programs/ted-atkatz-percussion-seminar-taps-east-coast/">signing up</a> has never been easier. 1 online form, 2 recommendation letters, and $75 later, you'll be joining us in <a href="http://snowpondmusicfestival.com/accommodations-6/">beautiful Sidney, Maine</a> for TAPS East Coast.<br />
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In addition to classes, a mock audition, and prizes, there will be a tour of the <a href="http://vicfirth.com/how-a-vic-firth-stick-is-made/">Vic Firth factory,</a> which I'm really excited about! I've never toured something like that before. <br />
<br />
Here's the <a href="http://tedatkatz.com/percussionseminar/taps-east-coast-june-2016/">Mock Audition rep</a>. Perhaps you already know it, and were contemplating purchasing your own cymbals or snare drum...you may as well win them, attend some great masterclasses, and have some ridiculous laughs in the process.<br />
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Learn more on the <a href="https://www.facebook.com/tedatkatzpercussionseminar/">TAPS Facebook page</a> and <a href="http://tedatkatz.com/">Ted's website.</a><br />
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<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-77304177603419354852016-04-20T14:20:00.001-04:002016-04-22T12:43:36.583-04:00Marimba Body: Superfriends (aka Wrists part 3)<div dir="ltr" style="text-align: left;" trbidi="on">
Tendons are like a muscle's alter ego: a superhero that manages to somehow make sure every scenario ends up ok, regardless of villainous plots. They have undeniable strength, can hold on to just about anything, and save just about anyone.<br />
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Like Superman and Clark Kent, tendons aren't separate from muscles. They are simply two kinds of soft tissue, gently converging to form one shape. In a way, one without the other is functionless. Both are needed to form a cohesive whole.<br />
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<div style="text-align: center;">
<img src="http://whoartme.com/wp-content/uploads/2014/07/p4020552-21-scaled1000.jpg" height="320" width="254" /></div>
<br />
Any time a muscle attaches to a bone, a tendon forms the literal connection. Take a look at the diagram below. There's a tendon - drawn here in white - at each end of the bicep and tricep. <br />
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<img height="344" src="https://s-media-cache-ak0.pinimg.com/736x/53/f0/3f/53f03fed12af3be1605e70234b5c2662.jpg" width="640" /><br />
<br />
Though it might be oversimplified to the MD's and DO's out there, each muscle in the body has a tendon at each end to anchor it to the skeleton.<br />
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What is exceptional about the wrist is the number of highly active tendons running through such a small space. Not only are there tendons for the wrist, but the fingers as well: tendons that help move the wrist inevitably help move the hand and fingers. <br />
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<h3 style="text-align: left;">
<span style="color: #e69138;">
Tendons at Work</span></h3>
Recall the four ways the wrist moves: flexion, extension, adduction, and abduction. <br />
Speaking from a minimal perspective, there's a tendon running through the wrist, across the palm, to the end of each finger in order to facilitate the movement of flexion. There's a tendon running the same path on the other side to facilitate extension. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://anatomyeshs.wikispaces.com/file/view/forearm_muscle001005.jpg/113585327/456x307/forearm_muscle001005.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwij8duK3p3MAhWCbSYKHUR-AQoQjRwIBw&url=http%3A%2F%2Fanatomyeshs.wikispaces.com%2Fch.8%2Bmuscular%2Bsystem&bvm=bv.119745492,d.eWE&psig=AFQjCNFq4bJ9guX8iWI4chzTCIp8mqNajQ&ust=1461259470880992">source</a></td></tr>
</tbody></table>
<br />
InnerBODY is a <a href="http://www.innerbody.com/image_skel13/ligm27.html">website</a> featuring 3D models of the wrist that highlight and explain the function of whatever tendon you choose. Here's a screen shot of one of the diagrams.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglt8w5OM9U4f5zewl272JvNqOek7n7neYSIJup1EA1atPN-Ftfa5_Y1M1lO3RWZpEnXtJviZ98Q16Fb49zZXOxGoW2ScOmlGm0O9Wwxd0S93GWW0p2X_LPH5KXiLc1FNCPX5qP7dNCGkM/s1600/wrist+for+LB.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglt8w5OM9U4f5zewl272JvNqOek7n7neYSIJup1EA1atPN-Ftfa5_Y1M1lO3RWZpEnXtJviZ98Q16Fb49zZXOxGoW2ScOmlGm0O9Wwxd0S93GWW0p2X_LPH5KXiLc1FNCPX5qP7dNCGkM/s400/wrist+for+LB.PNG" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
You can see [just a few] tendons (here, off-white) extending across the wrist to the tips of the fingers. Can you see the translucent band of tissue that encircles the wrist, like a watch? That's the Extensor Retinaculum of the Hand, and it's made of <u style="font-style: italic;">heavy</u> connective tissue that forms little tunnels for tendons to pass through over the carpals, among other things. Without it, imagine the tangles all those tendons would create. <span style="font-size: x-small;">Hot mess. Hot. Mess.</span><br />
<br />
<h3 style="text-align: left;">
<span style="color: #e69138;">Finger - Forearm Connection</span></h3>
How often do we move our wrists when we aren't also engaging the fingers? <br />
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Like the wrist, fingers are moved by forearm muscles. There are muscles in the hand that contribute, but that's a post for another day. <br />
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You can feel the finger-forearm connection if you put your palm on a table and try to move each finger individually - you can feel it all the way up your forearm, probably see it, too.<br />
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We can't move our fingers without affecting our arms. It's an obvious but pertinent observation we must make.<br />
<br />
<h3 style="text-align: left;">
<span style="color: #e69138;">Perception</span></h3>
In studying the animations on InnerBODY, I find it fascinating to look at the size of the muscle attached to each tendon, as this clues me in on which muscles should be used more. You'll notice the muscles involved in flexion and extension are much larger than those meant for adduction and abduction, and upon reflection, will probably note that most wrist movement each day lies in the flexion/extension plane.<br />
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Where we place our focus during movement informs what muscles are working. Any personal trainer will tell you to think about the muscles you should use during burpees or squats, and once you do, the movement narrows to those particular muscle groups, rather than getting dispersed to other muscles that should be supplemental only. Playing can be the same way. <br />
<br />
Let me share a personal story.<br />
<br />
When I first started working full time as an accompanist, I was immensely frustrated by tendonitis creeping into my left hand. I had done so much movement work with marimba playing -- how was this possible?! I knew how to move; I had fixed bad, old habits. Yet there I was, dealing with a sore wrist and a thumb that liked to go numb.<br />
<br />
In hindsight, the pain came from two things: playing piano for hours on end when I hadn't done that in years, and; thinking that my wrist had muscle in it. Though my upper arms and elbows were loose, I thought piano playing happened in my hands and lower halves of my forearms. <b>Erroneous. Erroneous perception on all counts</b>. <br />
<br />
Movement occurs when muscle tissue contracts, not tendon tissue. Tendons are connective, not controlling. My area of focus forced tendons to control the muscles I wanted, instead of the other way around. It's like I was curling my bicep while thinking about the inch of space above my elbow - no bueno. Also...ouchies.<br />
<br />
In the years since then, I've retaught myself how to play piano, and rarely deal with strange sensations in my hands. If I do, I explore to find the acute cause, and work slowly from there. Something I found in my initial search years ago was that my thumbs liked to be slightly taut and extended away from the palm. Such tension can mimic the same symptoms as Carpal Tunnel: numbness, soreness, slight loss of control. <br />
<br />
So, if any of you are wondering if you have Carpal Tunnel...maybe check out your thumbs. Perhaps they've been working a little too hard.<br />
<br />
If you've had a similar experience, please share it with me in the comments. :)<br />
<br />
Thanks for reading!<br />
<br />
<br />
<br />
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-79843851426785529832016-04-05T06:24:00.000-04:002016-04-05T06:24:08.111-04:00Rhythm! Scene, April 2016<div dir="ltr" style="text-align: left;" trbidi="on">
Hi, friends!<br />
<br />
As announced last week, <a href="https://s3.amazonaws.com/pasdigitaledition/onlinemags/rhythmsceneapr16/April2016RS_DigitalEdition.pdf">here</a> is the first of two articles to appear in <i>Rhythm! Scene</i>, the online publication of PAS. You can find my contribution on pages 18 and 19.<br />
<br />
<i>Rhythm! Scene </i>is edited by <b><i>@ percussion</i></b>'s own Megan Arns.<br />
<br />
If you aren't the reading type, you can check out the demonstration video that accompanies the article below. I take you through some discovery exercises about how it really feels to move the wrist in different ways.<br />
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<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/GWSDl4uDoOw/0.jpg" src="https://www.youtube.com/embed/GWSDl4uDoOw?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<br />
Thanks for reading, everybody. More body info coming your way soon :)</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-31991420225957036502016-03-28T14:17:00.000-04:002016-03-28T14:17:34.059-04:00Upcoming Excitables<div dir="ltr" style="text-align: left;" trbidi="on">
Cool things are in the works, everybody.<br />
<br />
<h2 style="text-align: left;">
<br /></h2>
<h2 style="text-align: left;">
Publications</h2>
<div>
I'm excited to let you know that I'll have two articles coming out in <i>Rhythm! Scene</i>: one in April, the other in June. It's a two-parter about developing kinesthetic awareness and applying that knowledge to our wrists. </div>
<div>
<br /></div>
<div>
In the April issue: developing a kinesthetic mindset, discovery exercises for kinesthetic awareness, and discussion of two stabilizing ligaments in the wrist.</div>
<div>
<br /></div>
<div>
In the June issue: tendons, common injuries, and a kinesthetic checklist to help avoid them.</div>
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<br /></div>
<h2 style="text-align: left;">
<br /></h2>
<h2 style="text-align: left;">
TAPS - June 6-12, 2016</h2>
<div>
This June yours truly will be part of the faculty at the Ted Atkatz Percussion Seminar (TAPS) on the East Coast at the Snow Pond Music Festival. The seminar takes place in beautiful central Maine and it isn't too late to submit an audition tape. Here are the <a href="http://snowpondmusicfestival.com/programs/ted-atkatz-percussion-seminar-taps-east-coast/">guidelines</a>. </div>
<div>
<br />
TAPS is for college students looking to develop excerpts, audition skills, and musicality. Several TAPS alumni have been admitted to some of the most prestigious orchestra festivals: it works! Check out more <a href="https://www.facebook.com/tedatkatzpercussionseminar/?fref=ts">here</a>.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="400" src="https://scontent.xx.fbcdn.net/hphotos-xtf1/v/t1.0-9/1918328_453507454836384_3142359341634750116_n.jpg?oh=94076d6109bf5c8862d7935aec21a5b8&oe=57915F3C" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
Since marimba playing is often included on an audition list, I'll be presenting a masterclass on the instrument, with a focus on adapting works, as Bach is often required. I'll also incorporate a lot of movement study into the class and throughout the week, as weird body habits often work their way into orchestral playing. Think crash cymbals, tambourine, and snare drum.<br />
<br />
My goal is that while other faculty work on excerpt-specific details, I can contribute with insight as to physical habits that may be a hindrance to the student. Casey and I were at TAPS Australia in January, and it was a blast. If you are even contemplating attending - send in a tape!! If you'd like to know more, <a href="http://www.impactmania.com/article/featured-artist-ted-atkatz-percussion-seminar-taps/">here's an enlightening interview</a> with Ted.<br />
<br />
TAPS East Coast Faculty: <a href="http://www.tedatkatz.com/">Ted Atkatz</a>, <a href="http://www.shauntilburg.com/">Shaun Tilburg</a>, <a href="http://www.caseycangelosi.com/">Casey Cangelosi</a>, and me!<br />
<h2 style="text-align: left;">
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<h2 style="text-align: left;">
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<h2 style="text-align: left;">
one for WON Update</h2>
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<div>
Remember that thing I talked vaguely about back in December, called One for WON? Well, I'm still working on it, still building a website that's usable, and still developing ideas and a niche for it. There are many, many things floating around in this brain of mine, and I will release them as soon as they're ready. Please be on the lookout for a launch of the website, and announcement of microgrant opportunities!!</div>
<div>
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</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2363665256850600179.post-36791020774275180282016-03-16T11:42:00.000-04:002016-03-16T11:42:12.937-04:00Marimba Body: Wrists (part 2 - Skeletal Structure)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
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Injuries occur from overuse and misuse. Overuse is a depressing notion for percussionists, as it implies that we will eventually "hit our quota" in terms of how many strokes we get to play in our lifetime. But hear the good news, brothers and sisters! - injury happens most often from habitual misuse of a joint, <u>not</u> overuse. Hallelujah! In the words of a dear friend, "Praise Jesus and pass the biscuits!"<br />
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<h2 style="text-align: left;">
Mismap = Misuse</h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://mathworld.wolfram.com/images/eps-gif/CircleEllipseIntersection_1000.gif" height="166" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">circle vs ellipse</td></tr>
</tbody></table>
Misuse <i>requires</i> a mismapping of the body's structure. It means repetitive motion of the body in a way that is incongruent with its design. For example, if you think your wrist is a ball and socket joint (movable in 360 degrees) instead of a flexible hinge - technically, an<i> ellipsoid </i>joint - you will eventually injure yourself. Why? Because you'll be forcing the joint to overextend from an ellipse to a circle, resulting in tendonitis. The anatomical difference is that a ball and socket, such as the hip, requires a spherical head, and there's no such thing in the wrist. Therefore, a wrist is not meant to move in a perfect 360 degree circle.<br />
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Compare the pictures below.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.cybersurgeons.net/resources/style/images/uploads/body%20systems/skel-hipjoint.png" height="245" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">femoral head = sphere</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="320" src="https://ittcs.files.wordpress.com/2010/10/img_0284.jpg" style="margin-left: auto; margin-right: auto;" width="251" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiciMe9zb3LAhXMmh4KHXayB7cQjRwIBw&url=https%3A%2F%2Fittcs.wordpress.com%2F2010%2F10%2F15%2Fnotes-on-anatomy-and-physiology-the-elbow-forearm-complex%2F&psig=AFQjCNHgsdd08K0_lmigOq4F3sSpQkWd2w&ust=1457956531939589">source</a></td></tr>
</tbody></table>
Mismapping is actually a huge deal. It seems trivial at the outset: <i>so what, the bone isn't spherical...wanna fight about it</i> <span style="font-size: x-small;">(read in a Brooklyn accent for full effect) </span>- but mismapping is how we get hurt. As people who depend on a healthy body condition for our livelihoods, constructing a correct body map is crucial to longevity, and to some degree, success.<br />
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<span style="font-size: x-small;"></span><br />
<span style="font-size: x-small;"></span>
<h2 style="text-align: left;">
radiocarpal joint</h2>
<div>
These drawings of the anterior view of the right hand (palm side) show that the wrist is articulated by several bones: the radius and carpals. Though the ulna parallels the radius in the forearm, it merely provides elliptical movement for the wrist, made possible by ligaments. <br />
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="249" src="https://gymnasticsinjuries.files.wordpress.com/2013/09/wristbones.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=&url=http%3A%2F%2Fwww.regenexx.com%2Fwrist-replacement-success-rates%2F&bvm=bv.116636494,d.eWE&psig=AFQjCNEPD_MM5xngvrK3bKtAuxeKoZOU4Q&ust=1458064245108185">source</a></td></tr>
</tbody></table>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="https://ittcs.files.wordpress.com/2010/10/img_03095.jpg?w=300&h=237" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://ittcs.wordpress.com/2010/10/15/notes-on-anatomy-and-physiology-the-elbow-forearm-complex/">source</a></td></tr>
</tbody></table>
</div>
<div>
<br />
If both the radius and ulna ended closely to the carpals, our hands would basically move in one direction, like a door opening and closing. The flexibility we need to play marimba, multi set-ups, drumset, and just about everything else is made possible by the space between the ulna and carpals.</div>
<div>
Soft tissues fill that space in the form of ligaments, tendons, muscles, and blood vessels, and there will be more about them in a future post. :)<br />
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<div>
This leads us, as percussionists, to a very important concept, demonstrated in the video below. </div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/uvaQnh-p0uU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/uvaQnh-p0uU?feature=player_embedded" width="320"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
Video not working? Click <a href="https://www.youtube.com/watch?v=uvaQnh-p0uU">here</a>. </div>
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<br /></div>
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<h2 style="text-align: left;">
movement</h2>
The two primary planes of movement, grouped as flexion and extension, and adduction and abduction, respectively, dictate how we can best approach playing in order to prevent injury. <br />
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Notice that the field of possible motion for flexion and extension is quite large compared to that for adduction and abduction. This explains, to a great extent, why nearly every technique is based on some mix of flexion and extension: there are simply more possibilities, more opportunities for specificity, and, due to more muscle support, greater control. <br />
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Some techniques, like French grip on timpani, rely on adduction and abduction, but the sound desired from the grip correlates to having less power and less range of motion: lightness, bounce, percolating energy. <br />
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There is something to be said about the alignment of the fingers and health of the wrist, even in flexion and extension.<br />
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Check out the diagram below. It shows a continuous arced line from the elbow, through the radius, to the tip of the middle finger. The wrist's axis is most supported along this arc. </div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.daviddarling.info/images2/forearm_hand_anatomy.jpg" height="129" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
You can imagine how the wrist contorts to force the other fingers into the center axis. <br />
- Centering the thumb would require constant adduction, and compression of the space between the ulna and carpals.</div>
<div>
- Centering the index finger would require slight adduction, causing tension in the upper forearm near the elbow.<br />
- Centering the fourth or fifth fingers would require extreme constant abduction, resulting in pain at the center of the wrist.<br />
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<h4 style="text-align: left;">
A Brief Testimonial</h4>
</div>
With hindsight has come clarity about one of my own alignment missteps about five years ago.<br />
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In summer 2011, once out of school but still pushing myself in practice sessions, I developed a strange torque in my left wrist. In my efforts to align my outer mallet with my forearm I constantly abducted my wrist, thinking that my pinkie should be in a straight line with my forearm, not at an angle.<br />
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Eventually a dull pain developed at the top of my wrist, where a watch would be. I wore a brace at night maybe once or twice a week, and other than that all was fine. At least, until preparing for a performance at the Zeltsman Marimba Festival in Appleton, WI. While playing a fast, awkward run, there was a loud *pop* from my left wrist and immediate immobility. <br />
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Terrified, I called my doctor (aka, my mom), and explained what happened - that it felt like my tendons just popped over one another and now wouldn't move. She assured me that it would move again, probably in a few minutes, but that I was maybe dealing with the beginnings of Carpal Tunnel Syndrome. <br />
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People in my family have had surgery for it, and never recover full strength after, so her words were terrifying to hear. I could NOT be 25 with Carpal Tunnel, not if I was going to keep playing. <br />
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Through research I learned that I was aligning the wrong finger, and should have focused on my middle finger, as shown in the diagram above. Once I figured this out, it only took a few weeks of mindful practice to get rid of it. And, perhaps most excitingly, years later my chops are better, my tempos are faster, and my adventurous side has been able to experiment with adaptations that before would never have worked for me, like the <a href="https://www.youtube.com/watch?v=51SXczkevLA"><i>Corrente</i> from BWV 830</a>.<br />
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I still mindfully practice, and still slowly investigate my own alignment. <br />
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It has become a joyful part of my practice.<br />
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<br />
<h4 style="text-align: left;">
Up Next</h4>
<div>
To further clarify these ideas of alignment, I will make a video showcasing ways to discover your own tendencies, get familiar with your wrists, and investigate your technique for potential injury-causing habits. </div>
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<div>
I will release it before the end of the month, so stay tuned! </div>
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- - - - - - - </div>
<div>
Bruce MacFarlane, MD. "<a href="https://ittcs.wordpress.com/2010/10/15/notes-on-anatomy-and-physiology-the-elbow-forearm-complex/">Notes on Anatomy and Physiology: The Elbow-Forearm Complex</a>." written Oct 2010, accessed March 2016. </div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2363665256850600179.post-15724792491671186322016-03-08T09:15:00.000-05:002016-03-08T09:15:05.208-05:00Marimba Body: Wrists (part 1)<div dir="ltr" style="text-align: left;" trbidi="on">
Wrists intimidate the be-Jesus out of me. They're an unbelievably complex joint - an area where so many small moving parts converge into one tiny space. Not only that, but as percussionists wrists receive an overwhelming amount of attention, so there's a certain gravity to any information presented on them. Hence why the wrist is a multi-part series of posts.<br />
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There's much to say and even more to learn about this joint, but I thought that perhaps one of the most useful ways to begin would be to view some diagrams. Perhaps in viewing the joint from the many layers on the inside, we can rethink how we perceive its movement on the outside.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://imgc.allpostersimages.com/images/P-473-488-90/38/3815/7MQIF00Z/posters/barry-slaven-x-ray-of-a-human-12-year-old-hand-and-wrist.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://imgc.allpostersimages.com/images/P-473-488-90/38/3815/7MQIF00Z/posters/barry-slaven-x-ray-of-a-human-12-year-old-hand-and-wrist.jpg">source</a></td></tr>
</tbody></table>
<h3 style="text-align: left;">
From the Inside, Out</h3>
<div>
<b>Skeletal Structure</b></div>
<div>
Just like other joints, the wrist is not a bone but a place of movement. The diagram below shows the right arm if you turn your palm towards you, bend the elbow, and move your forearm in front of your body. The wrist occurs in the space between the ends of the radius and ulna and the many small carpals just past them.</div>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="127" src="http://www.daviddarling.info/images2/forearm_hand_anatomy.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.daviddarling.info/images2/forearm_hand_anatomy.jpg">source</a></td></tr>
</tbody></table>
<br /><div>
There will be a future post focusing on the skeletal structure of the wrist.</div>
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<br /></div>
<div>
<br /></div>
<div>
<b>Tendons and Ligaments</b></div>
<div>
Ligaments attach bone to bone. The drawing below shows ligaments on the palm-side of the wrist; here, for a right hand.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="366" src="http://www.drlox.com/images/stories/images/Wrist%20Ligaments%201.gif" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.drlox.com/images/stories/images/Wrist%20Ligaments%201.gif">source</a></td></tr>
</tbody></table>
Ligaments viewed from the back of the right hand:<div>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.theodora.com/anatomy/images/image335.gif" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.theodora.com/anatomy/images/image335.gif">source</a></td></tr>
</tbody></table>
<div>
A future post will focus on the ligaments.</div>
<div>
<br /></div>
<div>
Tendons attach muscle to bone. When you consider the many ways wrists and hands move, the incredible number of tendons in this area is not surprise. Staying with the right hand:</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://www.eorthopod.com/sites/default/files/images/wrist_anatomy_tendons01.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.eorthopod.com/sites/default/files/images/wrist_anatomy_tendons01.jpg">source</a></td></tr>
</tbody></table>
<div>
<br /></div>
<div>
Here's a reminder of the tendons coming from the forearm: </div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="488" src="https://osteopathysingapore.files.wordpress.com/2015/04/extensor-muscles.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://osteopathysingapore.files.wordpress.com/2015/04/extensor-muscles.jpg">source</a></td></tr>
</tbody></table>
</div>
<div>
Yep. More on that later, too.</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<b>Muscles</b></div>
<div>
Three layers of muscle, for the right forearm, palm up. </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="550" src="https://s-media-cache-ak0.pinimg.com/736x/6f/c3/51/6fc351f8b675b59c58a6fb495d3c29d7.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://s-media-cache-ak0.pinimg.com/736x/6f/c3/51/6fc351f8b675b59c58a6fb495d3c29d7.jpg">source</a></td></tr>
</tbody></table>
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You guessed it: more on this in a future post, too. </div>
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<div>
Right forearm, posterior view:</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="640" src="http://higheredbcs.wiley.com/legacy/college/tortora/0470565101/hearthis_ill/pap13e_ch11_illustr_audio_mp3_am/simulations/figures/muscle_forearm2.jpg" style="margin-left: auto; margin-right: auto;" width="534" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://higheredbcs.wiley.com/legacy/college/tortora/0470565101/hearthis_ill/pap13e_ch11_illustr_audio_mp3_am/simulations/figures/muscle_forearm2.jpg">source</a></td></tr>
</tbody></table>
<br /><div>
<b>Common Injuries</b></div>
<div>
Though I'm a big believer that pain in a small joint means misuse of a larger joint and/or muscles, there are certain injuries whose symptoms affect the wrist in an isolated way.</div>
<div>
<br /></div>
<div>
First, there's Carpal Tunnel. If you feel pain or numbness on the thumb side of your hand, you may be dealing with this. Many things can cause compression of the median nerve, but a common thought is that smaller wrists have less room for tendons to move, so the nerve is compressed as a result.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="258" src="http://minerviniacupuncture.com/cities_we_serve/images/carpal_tunnel_diagram_600_px_03.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://minerviniacupuncture.com/cities_we_serve/images/carpal_tunnel_diagram_600_px_03.jpg">source</a></td></tr>
</tbody></table>
More than one person I know has dealt with a ganglion (yeah, new word for me, too). They are attached to deep tissues, and are a swelling of joint fluid. Yikes.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="262" src="http://puntroadspinal.com.au/wp-content/uploads/2013/05/051113_1100_Wristgangli1.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://puntroadspinal.com.au/wp-content/uploads/2013/05/051113_1100_Wristgangli1.jpg">source</a></td></tr>
</tbody></table>
Another injury (and new-to-me term) is de Quervain's tenosynovitis. To us, we call it "that sharp pain at the bottom of my thumb that doesn't go away when I stretch it." For more information on these and other injuries, check out <a href="http://puntroadspinal.com.au/category/body-pains/wrist-and-hand-pain/">this website</a>.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://puntroadspinal.com.au/wp-content/uploads/2013/03/033113_0018_deQuervains1.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://puntroadspinal.com.au/category/body-pains/wrist-and-hand-pain/">source</a></td></tr>
</tbody></table>
<br /><div>
Explanations and explorations of injuries will pervade each future post.</div>
<div>
<br /></div>
<h4 style="text-align: left;">
To Conclude</h4>
<div>
If you're a fan of the <i>Marimba Body</i> series, would you mind giving me a shout in the comments? I'd love to know if these posts are useful to others out there, and if you all research these topics too. :)</div>
<div>
<br /></div>
<div>
Next post: Skeletal Anatomy of the Wrist.</div>
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Unknownnoreply@blogger.com4