Yesterday on our podcast, Jen and I talked about some exciting things we have coming up! My exciting thing is the Covid Comeback Challenge!
You can secure your spot here, or hit that “Contact” button and tell me what instrument you play. Let’s do this!
You may not be performing on stage at the moment but practicing can still wear tear on your body. I’m here to help! In 1.5 hours I’ll will walk you through an instrument specific workout that will keep you strong, healthy and injury free throughout your career as a musician.
What you’ll learn:
Each workout is designed specifically for YOUR instrument and includes:
I will be hosting my Live Workout series most Tuesdays and Thursday at 10 AM CST with bonus “Essential Excercises” workouts on Sundays at 5:00 PM. If you can’t attend the session, not a problem! I will send you a recording following the workout to cover everything you need to know about the strength training you need!
Essential Exercises Workouts:
In these workouts we will go through my book and cover the basics of form and the bare bones exercises you need to be doing in any workout as a musician. These will be based off my book “The Musician’s Essential Exercises” – we will be going through the book, explaining and doing the exercises and also going through and doing the workouts in the back so you can feel competent going forward with any workout you do, knowing what is appropriate for you.
These workout are separate from the instrument specific workouts.
You do not need the book but it is helpful. These workouts are not included in the Buy 5 deal, but 1 workout IS included if you buy all as a package.
All instrument specific workouts are on sale for $49 until 2 days before, then they go up to the full price of $79.
For a limited time only, buy 5 & get 1 FREE! Enter coupon code BUNDLEDEAL at checkout!
All video access: You can get access to all 20 instrument specific workouts plus 1 Essential Exercises video for the discounted rate of $1200, which is 5 free classes and a savings of $400! That’s all 20 classes (both live AND recorded) and 20 instrument specific workout PDFs, plus the Essential Exercises class of your choice. Enter coupon code “ALL” at checkout. And don’t forget, there is the option to pay in installments, so you can space things out as you need to without waiting on the content.
FAQ
Why 1.5 hours?
This gives us the optimal amount of time without being rushed to be able to not just do a workout, but explain the how and why and lead you through it all.
Will we be working out the entire time?
Doing? Yes. Working out like you would normally do in a gym? No!
Do I need any equipment?
These are structured with little to no equipment, but I will definitely show you options if you do have equipment! Foam roller, lacrosse ball, exercise bands, dumbbells are all things I may use.
What if I can’t make the workout time?
All the workouts will be recorded so you can watch and re-watch anytime you want.
Will you see me?
Only if you want me to! You have the option to show your screen or not, totally up to you. If I can see you, I have the opportunity to see you in real time, giving you feedback on how you’re performing the exercise and answering your questions.
What happens after I make my payment?
You’ll be sent an email with the Zoom registration details, Make sure you click on that to register for the class! When you’ve done that, you’ll get the Zoom class link.
What if I have more questions?
Great! Let’s set up a time to talk! Email me at angela@musicstrong.com.
Back pain can encompass everything from a deep low ache at the bottom of the spine to a sharp pain between the shoulder blades and everything in between. Today we’re going to focus in on low back pain among guitarists: main causes and what YOU can do when it strikes.
If you look at yourself sideways in the mirror and imagine an “X” from your low back to hip flexors and glutes to core and then arch your low back, that’s what we call Lower Crossed Syndrome. The hip flexors and back get tight, deep core and glutes are weak. If the glutes and deep core, namely TVA, aren’t strong enough to hold your pelvis in neutral, all the load shifts to your low back, causing pain.
When we think “core” we usually think about the Rectus Abdominus, otherwise known as the “6-pack muscle” but, what we’re referencing here is the non-sexy ab muscle, your transverse abdominus (TVA for short) that wraps around your insides like a corset. This muscle is crucial for supporting you when you play. Want to know how to feel it? Gasp and brace for impact like someone is about to punch you. You’ll feel a deep tightening all around your middle. That’s your TVA.
Technically, your core is everything but your appendages and any imbalance in the core can cause back pain. Hunching over the guitar? Reaching for the mic with your neck? Slouched on a stool? All these can cause imbalance through the core and if things are weak, the load shifts to what can handle it, in this case, your low back. Add a heavy guitar and for us females the weight of our “girls” and that’s just more weight in the front pulling us forward. That core has to be strong to offset it all!
This can be done sitting or standing. The key is to tuck your pelvis under (think dog with a tail between its legs), squeeze your butt and only slightly lean forward. This is an active stretch and activates Sherrington’s Law which states that you cannot have two opposing muscle forces contract at the same time. If you’re squeezing your glutes, your hip flexors have to relax. See this video for more tips.
What are these “sit bones” you may ask? They are the bottom of your pelvis, and when you sit with feet flat on the floor you should feel one bone each in your butt. These are your sit bones and your spine goes right between them. If you can balance equal weight between them, congratulations! That is proper posture and your entire spine is now doing the work of holding you upright. If you’re balanced, good posture should feel effortless.
This is a sneaky one. A lot of guitarists, especially in the Classical genre, either use a foot stool or prop to elevate their left knee, or even put their left foot on top of their right to help support the proper positioning of the guitar. This can be compounded by crossing your legs (ever notice you tend to cross one more than another?) or even sitting with one leg crossed, tucked underneath. What happens in these positions is that it creates an imbalance in the hips, pushing one hip higher than the other.
This goes right with #2 because while your glutes are technically part of your core, they work together to keep your entire low back/hip region stable and happy. Frequently one, if not both, are weak which shifts responsibility to your low back. My favorite exercise to target your TVA is the dead bug exercise. The motion of this exercise isn’t what’s important, it’s the things you don’t see. Pull your belly button into your spine and brace like someone is going to punch you. Hold your low back on the floor and only then lift your legs. Low back shouldn’t move off that floor no matter what!
Rock on!
You can also check the original article by clicking this link.
I've found that composers who understand an instrument's capabilities are far less likely to write something that will cause repetitive strain or injury! - Danielle
"Toolbox Sessions" Virtual Conference - To connect composers and orchestrators with experienced performers and collaborators to delve into effective writing for their respective instruments and voices.
Date: May 19-21, 2022
Website
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Do you ever wish composers know the struggles we experienced while playing their pieces?
You know there are just some of those musical pieces that take a toll on your body? We love them but as in the case of our latest podcast guest, harpist Danielle Kuntz, the piece by Prokofiev she referenced just automatically is understood that you will develop tendonitis by the end of playing it.
Isn't it insane? Don't you wish composers knew how to better write for your instrument?
That's why she created THE TOOLBOX SESSIONS ( And if you hurry you can still register HERE ). It is a 3-day virtual summit designed to give you the tools you need to write for instruments & voices! From May 19-21, you'll get to join 12+ presentations on writing for specific instruments/voices (oboe, voice, harp, percussion, & more), taught by performer-educators who are passionate about collaborating with composers and arrangers. To have a $10 discount type the code TUNEDANDSTRONG22 on registration.
A lot of musicians feel constant pressure to always be practicing. When the COVID-19 pandemic first hit and we all suddenly had a lot of free time on our hands, many musicians continued pushing full speed ahead in preparation for virtual competitions, and some of it was because we didn't know what else to do, and sitting with our emotions can often feel uncomfortable or even unsafe at times.
"When I was first experiencing my injury, there were no resources available to me. The majority of my recovery process has been a series of finding out what worked for me and what didn't, and I found the best results when I combined my work with somatic education professionals with the strength training and exercise routines I was doing with my physical therapist - Francesca"
If you're experiencing feelings of overwhelm, or feeling like you aren't able to stay on top of everything in recovery for your injury and in maintaining other responsibilities, the most important thing is to know that you're not alone. Consistency and celebrating 'small wins' is the goal, and knowing that the path will not always be linear. Find your support system and rely on them when things become difficult, and know that you are always making progress.
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Do you ever wish composers know the struggles we experienced while playing their pieces?
You know there are just some of those musical pieces that take a toll on your body? We love them but as in the case of our latest podcast guest, harpist Danielle Kuntz, the piece by Prokofiev she referenced just automatically is understood that you will develop tendonitis by the end of playing it.
Isn't it insane? Don't you wish composers knew how to better write for your instrument?
That's why she created THE TOOLBOX SESSIONS ( And if you hurry you can still register HERE ). It is a 3-day virtual summit designed to give you the tools you need to write for instruments & voices! From May 19-21, you'll get to join 12+ presentations on writing for specific instruments/voices (oboe, voice, harp, percussion, & more), taught by performer-educators who are passionate about collaborating with composers and arrangers. To have a $10 discount type the code TUNEDANDSTRONG22 on registration.
Many musicians are injured and many are playing in pain. In 2012, Dr. Bronwen Ackerman, Professor of Biomedical Science at the University of Sydney, surveyed members of the eight professional full time orchestras in Sydney. 84% of the musicians had experienced pain that had interfered either with playing their instrument or participating in orchestral rehearsals and performances. 50% had pain at time of the survey. Another study, done in 2008 by the American Association of Physician Assistants, found that there was a 50-76% of musicians reported musculoskeletal injuries. In comparison, a 2009 study found that the injury rate for Cirque du Soleil artists was 9.7% compared to a 15.2% injury rate for NCAA collegiate women’s gymnasts.
Ackermann, B., Driscoll, T., & Kenny, D.T. (2012). Musculoskeletal pain and injury in professional orchestral musicians in Australia. Medical Problems of Performing Artists, 27(4), 181-7.
Heinan. M. (2008). A review of the unique injuries sustained by musicians. Journal of the American Academy of Physician Assistants. 21(4), 45-6, 48, 50.
Shrier, I., Meeuwisse, W.H., Matheson, G.O., Wingfield, K., Steele, R.J., Prince, F., Hanley, J., & Montanaro, M. (2009). Injury patterns and injury rates in the circus arts: an analysis of 5 years of data from Cirque du Soleil. American Journal of Sports Medicine. 37(6), 1143-9.
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Kelly Mollnow-Wilson teaches is a licensed massage therapist and Neurokinetic Therapist Level 3 as well as being a certified Body Mapper. She teaches at Oberlin Conservatory. Her "frankenflute" was altered by Alexa Still and the footjoint was modified by John Lunn.
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Do you ever wish composers know the struggles we experienced while playing their pieces?
You know there are just some of those musical pieces that take a toll on your body? We love them but as in the case of our latest podcast guest, harpist Danielle Kuntz, the piece by Prokofiev she referenced just automatically is understood that you will develop tendonitis by the end of playing it.
Isn't it insane? Don't you wish composers knew how to better write for your instrument?
That's why she created THE TOOLBOX SESSIONS ( And if you hurry you can still register HERE ). It is a 3-day virtual summit designed to give you the tools you need to write for instruments & voices! From May 19-21, you'll get to join 12+ presentations on writing for specific instruments/voices (oboe, voice, harp, percussion, & more), taught by performer-educators who are passionate about collaborating with composers and arrangers. To have a $10 discount type the code TUNEDANDSTRONG22 on registration.
Have you ever had a lesson and thought about your teacher, “Wow, what is wrong with that person?” Or worse yet, thought “What is wrong with me?” only to realize in hindsight that you were not the one at fault?
In this episode, Angela and Jen discuss the concept of Toxic Teachers: instructors at various levels within the music industry with horrible habits and/or approaches that leave long-lasting negative effects on their students. Join us as we unpack what these habits can look like, how they can be twisted to gaslight the student, and how to avoid the impact of these negative effects!
As always, please share with a friend and if you enjoy our podcast, please leave us a good review so you can help us get in front of more musicians!
“I’m just a musician, no one is going to pay THAT much!!”
We’ve talked about “lack mindset” before when it comes to music and business, and many professionals are now working to change music culture to eliminate it as a factor. But even so, it can be difficult for many of us to charge “living wage” rates as self-employed musicians! And it is scary when we find ourselves comparing our desired rates to things like colleagues’ rates, mentors’ rates, or worrying about losing current students or clients.
How can you combat these fears and charge what you need to survive? Join us for our chat with “The Lucrative Artist,” Dr. Brian Witkowski, as he discusses how to combat these common issues and reach your full professional potential!
What do you REALLY know about your body??
In this 2-part conversation, we chat with Dr. Lea Pearson: flutist, body mapper, author of "What Every Flute Teacher Needs to Know About the Body," and owner of Music Minus Pain.
Join us as we discuss anatomy and body mechanics as topics in music instruction, the history of the work within the educational system, and training TEACHERS to have a better understanding for their students!!
Master Teacher Dr. Lea Pearson has been training students, performers, and teachers in innovative techniques for over 30 years. Dr. Pearson holds a Doctor of Musical Arts degree in flute performance, a Master’s Degree in performance practice from Stanford University, and was a Fulbright Scholar at the Sibelius Academy in Helsinki.
One of the first Licensed Body Mapping Educators in the world, Dr. Pearson authored the acclaimed book “Body Mapping for Flutists: What Every Flute Teacher Needs to Know About the Body.” She has helped thousands of musicians recover their ability to play with joy and ease with her sold-out workshops and master classes.
Her influence among flute teachers is legendary. Guiding international performers from Brazil to China, Dr. Pearson has taught at London's Guildhall School of Music and Drama, The US Air Force Band, and over than 100 colleges, conservatories, military bases, conferences, camps, and festivals around the globe. Her work as a Fulbright Scholar prepared her to teach musicians the missing piece - exactly how to play freely and efficiently to create the artistry they desire.
With a career as an active performer, college teacher, and a Kennedy Center Teaching Artist, Dr. Pearson applies her vast expertise to solving the music industry’s hidden secret: the pain and anxiety caused by traditional methods of instruction. Her chosen legacy is to transform the system of music education so all musicians can fully and freely express their artistic voice.
Find more about Lea here:
Website
Take a QUIZ to find out your strengths and challenges in teaching!
Facebook
Books:
Body Mapping for Flutists: What Every Flute Teacher Needs to Know About the Body.
Available at Flutistry, Flute World, Flute Specialists, GIA Music, & Carolyn Nussbaum.
What do you REALLY know about your body??
In this 2-part conversation, we chat with Dr. Lea Pearson: flutist, body mapper, author of "What Every Flute Teacher Needs to Know About the Body," and owner of Music Minus Pain.
Join us as we discuss anatomy and body mechanics as topics in music instruction, the history of the work within the educational system, and training TEACHERS to have a better understanding for their students!!
Master Teacher Dr. Lea Pearson has been training students, performers, and teachers in innovative techniques for over 30 years. Dr. Pearson holds a Doctor of Musical Arts degree in flute performance, a Master’s Degree in performance practice from Stanford University, and was a Fulbright Scholar at the Sibelius Academy in Helsinki.
One of the first Licensed Body Mapping Educators in the world, Dr. Pearson authored the acclaimed book “Body Mapping for Flutists: What Every Flute Teacher Needs to Know About the Body.” She has helped thousands of musicians recover their ability to play with joy and ease with her sold-out workshops and master classes.
Her influence among flute teachers is legendary. Guiding international performers from Brazil to China, Dr. Pearson has taught at London's Guildhall School of Music and Drama, The US Air Force Band, and over than 100 colleges, conservatories, military bases, conferences, camps, and festivals around the globe. Her work as a Fulbright Scholar prepared her to teach musicians the missing piece - exactly how to play freely and efficiently to create the artistry they desire.
With a career as an active performer, college teacher, and a Kennedy Center Teaching Artist, Dr. Pearson applies her vast expertise to solving the music industry’s hidden secret: the pain and anxiety caused by traditional methods of instruction. Her chosen legacy is to transform the system of music education so all musicians can fully and freely express their artistic voice.
Find more about Lea here:
Website
Take a QUIZ to find out your strengths and challenges in teaching!
Facebook
Books:
Body Mapping for Flutists: What Every Flute Teacher Needs to Know About the Body.
Available at Flutistry, Flute World, Flute Specialists, GIA Music, & Carolyn Nussbaum.
Strength ≠ bodybuilding.
The two Things are not mutually exclusive. In this episode of the tuned and strong podcast Angela and Jen discuss how strength is not a dirty word, it's not a scary word and it probably means something sometimes other than what you think it does.
Dr. Allyson Royal is a violist and educator active in the Tallahassee and surrounding areas. In her past life as an athlete chasing down the title of "Superwoman," she faced a massive injury in the form of multiple herniated discs, pinched nerves, and degenerative disc disease. After years of being told to "stop moving," Allyson is back to working with her body again and finding new ways in which it is, in fact, capable! Join us as we discuss her process of growing from athlete to resting, and once again back to aspiring mover!
Find Allyson online!
Allyson's Facebook Page
Allyson's Instagram Account
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Dr. Heidi Kay Begay is a self-employed flutist, educator, podcaster, and non-profit organizer. Heidi is the creator and host of the Flute 360 podcast, which delivers educational content (to the modern-day flutist) through various platforms. Since 2018, the podcast has produced over 170 episodes, received over 56,000 downloads from 70 countries, and has obtained numerous corporate sponsorships. Heidi’s mission is to help musicians reach new heights so they can feel empowered, confident, and have a life they love on and off the stage! Please visit https://heidikaybegay.com for more information!
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Arthur Breur (he/him) composes personalized, melodic music for live performance, for everything from solo instrument or voice, to full orchestra, concert band, and other large ensembles.
His compositional style was shaped by three primary influences growing up: a strong church choir program, the great classic film scores of the 1970s, and children’s television programs like Sesame Street and The Muppets.
Arthur is the Composer in Residence for the Tualatin Valley Symphony and the Tualatin Valley Community Band, and uses his role not just for his own music, but to promote the creation and performance of new music by other composers.
Over the more than 35 years he has been composing, he has written more than 150 individual pieces, including works for five weddings, two musicals, bar and bat mitzvahs, and numerous video and film productions.
In addition to composing, he owns and runs a web development company that he founded in 2001 and has published the novels of three authors.
Arthur Breur currently lives in Portland, Oregon with his husband, Brian.
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Dr. Garrett Hope’s purpose is to use his God-given creativity and communication skills to entertain and enlighten, draw people together for a common cause, and to coach others to see new opportunities.
An award-winning composer of film and concert music, Garrett engages with performers and audiences to tell stories and create life-changing experiences. He loves working with educational ensembles, and especially values his work with students.
As a coach and public speaker, Garrett empowers people to see new opportunities and take courageous action. He does this by helping them identify and break through the beliefs that they hold about themselves that are preventing them from achieving their potential. He helps creatives build networks and make strategic business decisions so they can make a living doing what they love.
Garrett holds degrees from the University of Nebraska–Lincoln, the University of Northern Colorado, and Colorado Christian University. He is a native of Colorado, but currently lives in Nebraska with his wife and daughter.
For more information visit www.garretthope.com.
