INSTRUMENTS / MUSIC


MUSICIANS

I. NECK

  • IASTM to neck and shoulder
  • Jace Allbright DPT posture taping method
 Taping method developed by Jace Allbright, DPT, to improve posture. Paraspinal facilitating tape is placed on tension with the musician in spinal flexion. With shoulder stooped forward, tape is placed on tension from the inferior angle of the scapula up to the actor over the acromiom.  Lastly, while the musician is still in the stooped position, a horizontal tape is placed over the spine of the scapula on tension with the anchor over the humerus. This taping method promotes proper activation of posterior chain to improve posture in the musician.

Taping method developed by Jace Allbright, DPT, to improve posture. Paraspinal facilitating tape is placed on tension with the musician in spinal flexion. With shoulder stooped forward, tape is placed on tension from the inferior angle of the scapula up to the actor over the acromiom.  Lastly, while the musician is still in the stooped position, a horizontal tape is placed over the spine of the scapula on tension with the anchor over the humerus. This taping method promotes proper activation of posterior chain to improve posture in the musician.


BRASS

1. OVERVIEW

  • Prevalence: 61.1% (1)


KEYBOARD

I. OVERVIEW

  • Injury Prevalence -  33.0%-59.2% (1) 

II. INSTRUMENT SPECIFIC REHABILITATION

  • Alfred Cartot - The Rational Principles of Piano Technique
  • Tobias Matthay - The Frist Principles of Pianoforte Playing, Relaxation studies


 

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STRING INSTRUMENTS

I. OVERVIEW

  • Prevalence - 33.0%-76.8% (1)
    • Guitar 61.3%-81.1% (1)


WOODWIND INSTRUMENTS

I. OVERVIEW

  • Prevalence - 58.0%-88.1% (1)
  • Common Injuries:
    • Sternocleidomastoid strain - prolonged head rotation posture will overload to the right
    • Flute knot - upper fibers of the trapezius muscle strain due to forward head posture

II. FLUTE SPECIFIC REHABILITATION

  • Werner Richter  - smear octaves
  • Imagery - sound out of the blow hole and up around you
  • Hum while playing
  • Embochure Flexibility 
    • low long tone
    • lower octaves
    • alternate up an down octaves - Flexible Lip Centers
      The lip corners move forward as the flutist ascends to the highest octaves. Moving the corners of the lips allows the lip centers to move gradually closer and closer to the far side of the blowing edge and this shortening of the length of the “air reed” allows easy high register tone and tuning. High notes may require over one-half to two-thirds of the blowhole to be covered by the lower lip. Do not roll the flute inward with the wrists to achieve this shortening of the air reed length. Instead, move the lips gradually, gradually forward at the lip centers as the flute ascends. (Figure 5)

      To descend, slowly move the corners of the lips back again. Low notes need only one-quarter of the blowhole covered with the lower lip to sound well. Eventually, with practice, this flexible embouchure movement will take place almost unnoticeably in the very center of the lips creating a longer and shorter “tube” between the lips.
    •  hum while playing
    • smear octaves
  • Belt Trick - Fill up with air, as described above, and pretend you have a belt around your middle that is far too large for you. Make the imaginary belt taut by pushing gently outward all around the lowest ribs, and keep the imaginary belt taut the whole time you sustain a rich tone on the flute. This engages those extra abdominal muscles that help control the exhalation. After a few moments of deliberately engaging these muscles, forget the “belt too big” image, and let the abdominal muscles relax into their new role.
  • Prevention


REFERENCES

  1. Silva AG, Lã FM, Afreixo V. Pain prevalence in instrumental musicians: a systematic review. Med Probl Perform Art. 2015 Mar;30(1):8-19. Review.