It is a very common habit to bring one’s head to the flute by distorting the neck. Sometimes the flutist is thinking (in tunnel vision) only about the music and playing at the appropriate time. It is easy to become anxious to play. Other times a flutist distorts his neck not in an effort to reach the flute, but because he is straining to see the music. The visual cortex is in the back of the skull. Invite the student to see the music from this point—see from the back of his head. In this way, the student inhibits his habit by thinking of something new. Ask that he let the music come to his eyes and not his head to the music.
Standing while playing can pose several obstacles. In order to have the finest projection, the flute must face your audience. Aiming your instrument in such a way means that your head will also be poised with your face towards the audience. Your neck will be poised in a neutral, natural way. There should be a slight spiral, or rotation beginning with your shoulder girdle. This rotation accommodates expansion through the shoulder girdle. Without the spiral, the right shoulder blade will push into the ribcage. The flutist that does not allow the shoulder girdle to have its natural rotation must fight against it by tightening and holding the shoulder girdle still. This will interfere with breathing and may cause her neck, shoulders, and upper back to become sore.
Once the shoulder girdle is released into its own natural pattern of movement, the spine can accommodate the spiral by lengthening into a slight spiral, too. The pelvis will also turn and so your legs may need to change to a new stance. Your right leg and foot may follow the spiral to the right with the right foot slightly behind the left foot. Do not swivel your torso so far to the right that you feel your left knee twist. This is a gentle rotation that should feel easeful.
Since your head and neck face the audience, your left leg and foot should face it as well. If your shoulder girdle, torso, and both legs were to face slightly to the right, it would be very difficult for your head and neck to face a different direction and it would require force, which is unnecessary in this case. By allowing your left leg and foot to face the audience, you establish a lengthening base of support for your head and neck to face the audience. With your right leg and foot facing slightly to the right (following the slight rotation of your shoulder girdle and torso), and your head, neck, left leg, and foot facing the audience, you will feel more easeful and open as you play.
This spiraling technique can also be applied to sitting and playing. It may help to turn your chair a bit to the right. You may find it more comfortable to let your right heel come off the floor.
VI. Lesson Structure
A way to cut down on the risk of Repetitive Strain Injuries is to incorporate breaks into lesson time. Spend the break stretching or take a walk around the room. By including a pause into the lesson, the teacher and the student can become aware of their desire to fixate on the music and inhibit that habit in order to return to a state in which they are aware of their entire surroundings. The longer we perform a single task, the easier it is to lose our sense of awareness, and the more likely we are to rely on our habits. Hence, in addition to finding an expanded form of awareness, the teacher and student may prevent themselves from falling back into habits. By pausing, they will both feel refreshed and easeful. With their whole selves energized, they can use their directions to continue the lesson.
Halting the lesson can at times be disadvantageous. If, for instance, a teacher stops a student frequently, it may trigger the startle response, or the pattern of tension that precedes the “fight or flight” response. It can increase the student’s level of tension overall and it may increase the desire to be right (or, the fear of being wrong and therefore, the fear of playing). If you wait until the end of a piece to critique the student, the student will grow accustomed to playing straight through (which will be helpful during performances) and build confidence. This of course, will mean more work for you, the teacher. It will be a wonderful lesson in inhibition. You will need to develop your memory, have a score, or have a pen and paper nearby to mark mistakes, but in return you will have stronger players in your studio.
Obviously, each student is unique. The style of teaching you use for one student will not necessarily be appropriate for another. Just as there are benefits to pausing the student, there are advantages to allowing the student to play uninterrupted. So long as the Alexander principles are present, both you and your student will improve.