How the body can support us - and we support it
We deal with the question of how the body can effectively and meaningfully support practice. This question cannot be answered across the board for everyone: What is very good for one person may not work at all for someone else. Basically, however, it can be said that active movements are very good when practising.
We are concerned with practising in such a way that during the practice (i.e. at the same time!) or in direct connection with the it (e.g. directly before!) the potential of the body is used in such a way that it can support the achievement of new progress in the best possible way.
Our approach is practical: trying things out, observing, changing and adapting are the main focus here. In our approach, we distinguish between three categories, with the knowledge that there cannot be any hair-trigger demarcations. They only serve as a rough orientation and are not yet to be understood as a conclusive naming or enumeration.
- Conscious activities: Which consciously executed movements support the practice process?
- Evoke: Allowing the "fitness" necessary for making music to improve at the same time
- Does good: Supportive things that take the strain off the limbs that are particularly stressed during play.
To rule out this misunderstanding from the outset: We are not concerned with the question of what movements we make when playing a work on stage, whether little, dissolute, high-pitched or rather "quiet". We are concerned here with daily practising, not performing.
We are also not concerned here with the choice of food, what is best to drink, at what times it is best to do what, whether it is better to sit or stand when practising, etc. We are also not concerned with techniques such as mental exercise, Alexander Technique, Feldenkrais or the like.