Back and Shoulder Stretches for Musicians

Many musicians complain of back and shoulder pain. Regular stretching will ease pain in the shoulder and back, increase flexibility and prevent repetitive strain injury.

Musicians sit or stand in the same position for extended periods of time when practicing. Common complaints include:

• shooting pain through the shoulder and back

• dull ache in the shoulder and back

• stiffness

The degree of pain varies from mild discomfort to debilitating. If unchecked, these chronic conditions can end one's musical career.

Musicians are prone repetitive strain injury such as Thoracic Outlet Syndrome, Bursitis and Tendinitis. Pain and injury in musicians stem from poor posture, faulty technique, repetitive strain and overuse. Musicians can alleviate shoulder and back pain and avoid injuries by incorporating stretching exercises into their regular routine.

How Musicians Should Stretch the Back and Shoulder Muscles

Musicians should stretch prior to practicing or performing. Stretches can be done after a shower or after performing light exercises. Musicians should take breaks frequently to stretch. For example, stretches can be done before moving onto a new technical exercise or piece or after drilling a trouble spot.

Refer to the exercises and photos below:

1 Shoulder Shrugs

Purpose: To ease shoulder tension, alleviate shoulder pain and loosen up the shoulder muscles.

Performance:

• From a standing or sitting position, shrug your shoulders, drawing them up towards your ears.

• Hold your shoulder muscles taut for five seconds.

• Relax.

• Repeat at least two more times.

2 Shoulder Blade Pinch

Purpose: To ease shoulder tension, alleviate shoulder pain and loosen up the shoulder muscles.

Performance:

• Interlock your fingers and place them behind your head. Keep your elbows straight out to the side.

• Pull your shoulder blades together to produce tension in your upper back and shoulder blades.

• Hold this position for five to ten seconds.

• Relax.

• Repeat three to four times.

3 Shoulders & Pectoral Stretch

Purpose: To ease tension in the shoulders and pectoral muscles, alleviate shoulder pain and loosen up the shoulder muscles.

Performance:

• Interlace your fingers behind your back.

• Slowly turn your elbows inward and straighten your arms.

• Hold the stretch for five to 15 seconds.

• Relax.

• Repeat at least twice.

4 Prayer Stretch

Purpose: To ease tension and provide back pain relief.

Performance:

• Kneel on the floor.

• Reach out with both arms straight in front of you along the floor.

• Lower your body onto your heels.

• Hold this position for 20 - 30 seconds.

• Relax.

• Repeat at least twice.

5 Downward Facing Dog

Purpose: To ease tension and relieve pain in the back.

Performance:

• Start on all fours.

• Drop your head down.

• Raise your buttocks straight up towards the ceiling while straightening out your arms and legs. Keep your heels on the floor.

• Allow your spine to sink into your body and lengthen.

• Hold this stretch for 20 - 30 seconds.

• Relax.

• Repeat at least twice.

6 Cat Stretch

Purpose: To ease tension and provide back pain relief.

Performance:

• Start on all fours.

• Drop your head down.

• Raise your spine up between the shoulder blades while maintaining an abdominal hollow.

• Allow your spine to relax.

• Hold this stretch for 20 - 30 seconds.

• Relax.

• Repeat at least twice.

6 Standing Forward Bend

Purpose: To ease tension and relieve pain in the back.

Performance:

• Stand with your feet hip-width apart.

• Slowly bend forward, one vertebra at a time, allowing your head and arms to drop towards the floor.

• Keep your knees soft..

• Allow your spine to lengthen.

• Hold this stretch for 20 - 30 seconds.

• Relax.

• Repeat at least twice.

7 Cross Spiral Stretch

Purpose: To ease tension and provide back pain relief.

Performance:

• Lie on your back, holding your arms outstretched to the side.

• Bend your right knee and bring it over to your left side towards the floor, allowing it to drop over your left leg.

• Turn your head to the right.

• Hold this stretch for 20 - 30 seconds.

• Relax.

• Switch sides.

• Repeat.

For further advice, musicians should speak with a doctor, chiropractor, physical therapist or massage therapist. Alternately, musicians can take a class that involves a high degree of stretching, such as yoga.

An excellent set of stretches is outlined in Madeline Bruser's book The Art of Practicing: A Guide to Making Music from the Heart. You may also find the following articles useful: Oh, My Aching Back!, The Benefits of Yoga and How it Helps Healing, Understanding Musician Injuries.

By dedicating as little as five minutes a day to stretching, musicians can ease shoulder pain, treat back pain and prevent musician injuries.

Eric Whitacre's Virtual Choir, Live at TED 2013

I am very excited about this one. Although I wasn't able to participate, it is just a delight to be able to watch this and know that I've made connections with some of the people in the Virtual Choir who participated in this special project.

This time, Eric Whitacre had a live choir perform onstage with a virtual choir on screen. Just wild.

Virtual Choir for the world!

The full TED Talk:

Happy 328th Birthday Johann Sebastian Bach

According to some historical pundits, today is Johann Sebastian Bach's 328th birthday.

Although I can't say that he's my favourite composer, I do have tremendous respect for his genius. To be able to hear how five voices can weave together harmoniously in a fugue and create that - it's just amazing.

I must admit that I enjoy listening to Bach's music more than playing it.

A quick search on Amazon reveals that these are 10 of the most popular recordings of the master of the fugue:

1. Joan Kennedy: The Joy of Classical Music- The Audio Companion to the Best Seller

2. Bach: 6 Brandenburg Concertos / 4 Orchestral Suites -Trevor Pinnock and The English Concert (1989)

3. Best of Bach

4. Bach: St. Matthew Passion by The Collegiate Chorale, Charles Bressler, Betty Allen, William Wildermann and Adele Addison (1999)

5. J.S. Bach: Matthäus-Passion by Johann Sebastian Bach, Herbert von Karajan, Walter Hagen-Groll, Berlin National Cathedral Choir and Berlin Philharmonic Orchestra (1990)

6. Bach: Matthäus-Passion (St. Matthew Passion) by Elisabeth Schwarzkopf / Peter Pears, Dietrich Fischer-Dieskau / Walter Berry, Raymond Clark / Bela Dekany, Ralph Downes / Christa Ludwig and Nicolai Gedda / John Carol Case (1989) - Original recording remastered

7. Build Your Baby's Brain 1 by Wolfgang Amadeus Mozart, Ludwig van Beethoven, George Frederick Handel, Franz [Vienna] Schubert and Antonio Vivaldi (1998)

8. Leonard Bernstein - A Total Embrace: The Conductor by Pyotr Il'yich Tchaikovsky, Igor Stravinsky, Maurice Ravel, Johann Sebastian Bach and Bela Bartok (2003) - Original recording remastered

9. Paper Music by Bobby McFerrin, Peter Howard, Johann Sebastian Bach, Luigi Boccherini and Gabriel Faure (1995)

10. UltraSound - Music for the Unborn Child by Claude Debussy, Johann Sebastian Bach, Robert Schumann, Jules Massenet and Wolfgang Amadeus Mozart (1999)

If I had to choose which three to add to my library on my next music order, I'd have to go with the following:

#5 - Herbert von Karajan, Walter Hagen-Groll, Berlin National Cathedral Choir and Berlin Philharmonic Orchestra's recording of St. Matthew's Passion:  A solid group of performers and at a price point that I might - just might - loan out to a responsible student.

#8 - Leonard Bernstien's recording: I have fond memories of studying Leonard Bernstein in music history.

#9 - Paper Music with Bobby McFerrin: I've enjoyed Bobby's music in my youth. I admire him even more with the work he has been doing with The Music Instinct: Science and Song, which looks at music and the brain.

I leave you with one of my favourite works by Johann Sebastian Bach, the Brandenberg Concerti

Review of Johnny Summers – Piano Sessions Vol. 1 CD Release Concert

Calgary multi-instrumentalist Johnny Summers and friends delivered an intimate and passionate performance on Saturday, March 16, 2013 at the University of Calgary's Rozsa Centre. The event was a CD Release Party to introduce Summers’ third jazz album, Piano Sessions Vol. 1.

The Calgary event also featured Chris Andrew on piano, Al Muirhead on trumpet, Jason Valleau on bass and vocals, Sheldon Valleau on ukulele and vocals and finally, Shane Statz on tenor sax. Johnny Summers performed on vocals, trumpet and flugelhorn.

Swing, Ballads and Blues Featured in Johnny Summers' Piano Sessions Vol. 1

The concert opened with "She Thinks that I Still Care". Unlike with George Jones' original country stylings, this interpretation was injected with a "hot summer's day in New Orleans" feel.

The dramatic pauses at the ends of key phrases set a playful tone to the number. The trumpet and piano solos were longer than they were on the album, giving Johnny Summers and Chris Andrew an opportunity to really expand on their ideas.

Between numbers, Johnny explained some of his inspirations for recording this jazz album.  Listening to great crooners such as Harry Connick Jr. and Tony Bennett, as well as instrumentalists Bill Evans, Chet Baker and Paul Blaine instilled the idea of an album featuring piano and voice. "That's beautiful to me," he said.

"You're extremely exposed," he divulged. Johnny added, "You have to have a good sense of time."

During the recording sessions, four additional songs were recorded, which didn't make it onto the album: "I'll Be Home for Christmas" and "Winter Wonderland", "Look for the Silver Lining" and "Mood Indigo." The classic Christmas songs were bundled together in Winter Wonderland.  The other two made it onto Saturday's programme.

Jerome Kern & B.G. DeSylva's "Look for the Silver Lining" was made famous by Chet Baker. This medium swing song had a light, breezy feel to it.

Chris' solo was peppered with syncopated rhythms and impressive runs. In contrast, Johnny's solo on his brand new Yamaha flugelhorn was tender and warm, gradually blossoming into each a high point. Partway through, the groove became more animated and the two traded 4's.

The ballad "Maybe This Time" has been recorded by many artists, including crooner Tony Bennett. Johnny shared some of his memories of hearing Bennett sing live in concert. "He walks on stage...and you feel the electricity...When he sings, he fills you."

Johnny's interpretation was soulful and wistful, with an unhurried tempo throughout. That made the climax more impassioned. The piano shakes were performed in a dreamy fashion.

Jason and Sheldon Valleau of the band, The Polyjesters, lent their talents to "My Baby Just Cares for Me". This jazz standard by Walter Donaldson and Gus Kahn has been considered the signature piece of Nina Simone.

This medium swing number featured a soft, easygoing piano solo by Chris. The crescendo towards a soft, fermata in Johnny's trumpet solo was a short reprieve before the melody shot up to the instrument's upper register. The lyrics were delivered with a cheeky and humourous flair. The impromptu "doo-doo-doo" at the end of the tag was by Sheldon was a nice touch.

Variety, Extended Solos and Delightful Surprises at Johnny Summers CD Release Concert

One of the highlights in the second set was Nat King Cole's "I'm an Errand Boy for Rhythm". After a slow introduction on voice and piano, the mood shifted to a lively upswing. The interlude featured a rhythmic piano solo, followed by Al's elegantly shaped phrases. In contrast, Johnny's trumpet solo weaved and raced to the top with rapid runs. The trumpet dialogue between Al and Johnny was playful. At times, it sounded just like scatting. Other times, it sounded like a car race.

This interpretation of Duke Ellington's "Mood Indigo" had shades of Nina Simone. It featured solos by Shane Statz on tenor sax, Johnny on trumpet and Chris on piano.

The final song of the evening was a rousing performance of Johnny Cash's "Folsom Prison Blues". One of the most delightful things about music is that you never hear the same performance twice. This was especially true in this case.

The piano intro was extended for the live performance, gathering momentum just as a train does when it pulls out. The sax solo was grittier, exploring the lower range of the instrument. In contrast, Al's solo was lighter and higher, much like birds chirping. Chris' solo featured a  healthy dose of "crunchy" chords and driving rhythms, while Johnny's trumpet solo spun and shot up - higher - and higher.

Jason performed a percussion solo on his bass before Johnny and Jason scatted. Jason's surprise trumpet-like squeal led to various instruments being imitated.

The entire audience rose quickly to give everyone a standing ovation. The ensemble performed one encore, "St. James Infirmary."

Six more songs were performed at the Piano Sessions Vol. 1 CD Release. Four more other songs were performed in the first set: "Dream a Little Dream of Me", "You Don't Know Me", "Going Home" and "Exactly Like You". The second half also featured "I Wonder, I Wonder" and "Simple Song".

Piano Sessions Vol. 1 Concert Review

From the opening line, the balance between the voice and piano and later, the remaining instruments, was nothing short of perfect. The ensemble made full use of the acoustics that the Rozsa Centre offers, delivering a crisp and clear sound. They definitively demonstrated that the album's Global Music Awards for Best Listener Impact and Best Male Vocalist are well deserved.

Technical proficiency, when coupled with artistry, is a winning combination. What more could a performer or listener ask for? Well, perhaps for the lead vocalist to not have strep throat, perhaps.

The live performance offered listeners different type of performance. Feeding off the energy from the audience and the ensemble can push a musician to new heights of artistry. This manifested on Saturday into spontaneous moments of brilliance that lead to new directions for improvisation. Yes, live was slightly different from the album, but just as beautiful in its own right.

About Johnny Summers

Johnny Summers is a Calgary-based multi-instrumentalist who performs jazz, soul, gospel, blues and almost everything in between. He's a singer and songwriter, as well as a trumpet and flugelhorn player. As the director of the Calgary Jazz Orchestra, he serves as composer, arranger and band leader.

Piano Sessions Vol. 1 is currently available on CD Baby and iTunes on March 16, 2013. Click here to read my album review.

Interview with Laura Slattery of Virtual Choir 3.0

When I was with Suite101, I interviewed Laura Slattery of Eric Whitacre's Virtual Choir 3.0 to discuss music, the links between music and medicine and Eric Whitacre.

Laura Slattery of Limerick, Ireland, recorded the Soprano 4 and 5 parts to Eric Whitacre's Virtual Choir 3 project: “Water Night” from the Grammy-winning album, Light & Gold. This huge multi-track project involved 3,746 videos submitted by amateur and professional singers from 73 countries.

Laura sat down with me on April 27, 2012 via Skype to discuss Eric Whitacre's music, the connections between music and medicine, musical obsessions and Virtual Choir.

Laura Slattery on Choral Singing

Laura has sung in choirs since the age of nine. “Actually, I tried to join my school choir when I was nine and I was told I wasn't good enough,” she recalled. “I said, 'Well I'll show you!' and went in and started getting voice lessons.”

Although Laura plays several instruments, including piano, guitar and tin whistle, choral music holds a special place in her heart. “There's nothing quite like choral singing. You can sing on your own, all you like; but there's just nothing like the experience you get with the people you meet.”

On Singing Eric Whitacre's Music for the First Time

“I think the first that I had heard of Eric Whitacre was actually my current choir,” Laura mused. She sings with the Tullamore Academy Chamber Choir, which recently was named National Choir of the Year.

She went on to recall the first time she sang an Eric Whitacre composition. “I kind of got drafted in at the last minute to sing tenor in “This Marriage” and it was kind of like, 'Wow, this is sick!'” Her conductor advised her to listen to more of Whitacre's music. “He said to go listen to “Cloudburst” . I was absolutely blown away,” she murmured.

Virtual Choir 3.0

“I had only heard “Water Night” once in my life,” she said. “When he announced it in December, I was like, 'Oops.' ” With a chuckle, she added, “I think it's fair to say I procrastinated – a lot. An awful, awful lot.”

She recorded countless times for VC3 and admitted that she was plagued with doubts. “There's just something about listening back to yourself. I hate it at the worst of times,” she admitted.

“We came up to the night before the submissions and I had been talking to my housemate about it. He was like, 'Look, just get and do it. Get up in the morning and get and do it. When are you going to get and do something like this again?' ”

Revitalized, Laura Slattery tried again. “I went into the college at 6:00 in the morning – the day of submissions. Had several failed attempts.” Then there were website and server issues. “I decided to go back home and record the S5 line in the car, just sitting outside of my apartment.”

Once she sent in her submission, Laura made a post to Eric Whitacre's Virtual Choir page on Facebook, saying, “Am I out of my mind? I recorded it in the car!” Responses came within seconds. “There were loads of people, 'You did great! We're delighted to have you.' ”

When Eric Whitacre announced that the Virtual Choir submission deadline would be extended, Laura decided to record the Soprano 4 line as well. “If he had gone for another day, I would have recorded another one. It was a labour of love.”

She fell in love with “Water Night”. “It's just such a fabulous piece. It's just so complicated. It's kind of counter-intuitive. How does he come up with these things? It just sounds so perfect but when you separate them out, you're like, 'These things shouldn't work together.' ”

Musical Obsessions

When asked about her favourite music, Laura quipped, “Does it sound cliché if I say any of Eric Whitacre's music? That's my study music now.”

“I've gone through kind of phases of being Handel-obsessed. I've gone through Evanescence. Take everything. Irish folk. I have great love obviously, for Irish music. I will absolutely listen to anything. There's very little that I don't like in music.”

“There's something intrinsically intense about music,” she mused. “It's people putting themselves out there, putting their heart out there on a plate.”

On Eric Whitacre and His Music

“Eric Whitacre is unique,” said Laura, matter-of-factly. “There's not a lot of people who utilize digital media.” She went on to explain. “I can put something up on Facebook and can hear back what he's thinking. You know, get an insight of his thought process.”

“He just captures words so well,” she said of Whitacre's music. “Every word you can see is thought out: 'Exactly how am I going to put those harmonies there? How am I going to get the message across?' “

“There's such feeling in it and a kind of purity and honesty,” she said. “Going back to the heart on a plate analogy, he's someone who literally, I imagine, gives all of himself. It's certainly how it comes across in his music.”

“He's exploded onto the choral scene,” she reported. “Every competition you go to – Ireland's not a big country – there's five or six choirs doing an Eric Whitacre piece.”

The Connections Between Music and Medicine

Ms. Slattery is a second-year medical student at the University of Limerick. She's in the graduate program, specializing in pediatrics oncology.

“Music is kind of like a vocation,” she said after pondering the question. “Medicine obviously has to be. The art of being a good musician, shall we say, is making it sound simple. It requires massive dedication, from the time you're a young child.

“And the ability to communicate emotions and the ability to understand emotion,” she added. “That is massive as a doctor, that too often is missing. You know, focus on the condition, focus on disease and fail to see the person, the emotion, the experience.”

Another link Laura recognized is the connection between creativity and adaptation. “There's obvious creativity in music. In medicine you have to think on your feet – adapt to situations.”

“Interestingly enough, an awful lot of people in my course are musical,” she admitted. “We've had talent nights.” She mentioned also that some medical students sing in choirs, while others teach music part-time.

“It's great to have something to escape to. Something to balance your life with. If you become too one-dimensional, then you lose the human aspect. If anything, I want to be a human doctor.”