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There’s an article in the New York Times today that begins: “Your chair is your enemy.” The article is entitled “Stand While You Read This!” and you should definitely read it if you are a dedicated musician. Because disciplined, dedicated musicians spend a lot of time in the practice room applying butt to chair while they put in the long hours necessary to master and maintain their art. And add to that all the time we spend at computers. Or sitting in front of the TV (not many here for dedicated musicians). It adds up, and it’s not good.
I think it is and was obvious to all of us without reading the article that sitting in a chair for long hours every day is not good for you. But the article bears worse news: you can still suffer health problems and disease from too much inactivity (i.e. the chair) – even if you exercise regularly (!!!!!). Yikes!
That’s a shocker.
So what do we do??!!! If exercise doesn’t counter the effects of a lot of sitting, what’s the answer?
The article names names and goes into scientific detail on how and why all the sitting is bad for you. It also suggests ways to counteract the potential harm of too much sitting:
•Take many short breaks. Stand up. Stretch. Walk down the hall and back.
•Move more whenever you can: take the stairs instead of the elevator or escalator. Walk or bicycle to work instead of drive. Rig your TV to work only when you’re pedaling an exercise bike, or watch TV from a rocking chair. Replace your sit-down desk with a stand-up desk + treadmill. Replace your office chair with a therapy ball. Fidget.
•Practice standing up. And maybe standing up, strolling a bit.
It would also be a good idea to add frequent exercises to your practice that can be done in a restricted space (like a practice room):
•Jump an imaginary rope. You can jump a lot of rope in one minute…
•Push-ups – on the floor or against a desk, piano, or piano bench, etc.
•Squats. All the way down and back up. For a little extra, add a jump when you come up.
•Have a dumbbell or two around to do curls, presses, or any number of arm exercises.
•Jumping jacks. Or just jump.
•Isometrics – popular in bygone decades, not mentioned much anymore, but easy to do: pit one muscle against another (e.g. each arm/hand pushes in the opposite direction. Or legs. Or arms/legs. Etc.). You don’t need space or equipment for this; also good for long plane flights.
The moral is: move it, musicians!
Great posting, Jeff! This is applicable to everyone, but especially practicing musicians.
Besides being healthier, as you say, practicing standing up, and maybe while strolling as well, are good reminders that music making is not all mental. Even sitting, I find gentle changes of position, leaning a bit this way and that, are helpful in keeping the whole body involved in playing, and in keeping needless rigidity at bay. It’s way too easy for the intensity of concentration to pull us away from a healthy body awareness.
Well said, Lyle. It’s too easy to sit for long stretches hardly moving – I certainly have done that. Eons ago, before I stood up for solos, my horn was anchored on my leg and I was practically a statue. Holding the horn free is wonderful – you can move, breathe, gesture, and feel freer to make music. Nowadays I exhort students to practice a lot with their eyes closed to be better in touch with the physical side, body awareness, as you say (vision is the great bully of the senses). I even ask them to “turn down” the audio (listening) in order to focus more intensely on what the physical actions and sensations of breath, aperture, and so on are; what happened – exactly! – when you got it right? What might you change when something else happened? You can’t notate physical awareness, but it needs to be part of everything we do.
“Vision is the great bully of the senses” – what a great line! Made me realize I’ve closed my eyes while playing the guitar and singing (especially long Dylan songs) off and on for 40 years, but can’t remember ever doing so with flute or horn, mainly because of not memorizing things and not thinking to do it when warming up/extemporizing. Besides not “bullying” the proprioceptive feedback on technique, it seems to take you deeper into the music.
The deeper point is that you’ve made me realize I must have two modes of making music, the folk stuff picked up over the years versus the conservatory mode. Need to get the twain to meet. Thanks for the insight.
Meeting those twain… boy, there’s food for thought! Let me cogitate on that for a while and revisit the twaining anon.
I’ve been shortchanging my puppy.
I have a consultancy in a home office, which is especially fortunate given that I’m raising a chocolate lab puppy. I’ve been frustrated that the puppy’s draining schedule and going-bonkers schedule have chopped my workday into one- or two-hour fragments, making it hard for me to focus on programming and writing. I’m one of those dig-in-deep-for-four-hours types, so it’s been frustrating.
However, that puppy also forces my fat ass out of my comfy Aeron chair several times an hour, and she takes me jogging every day or two. She might be reducing my income, but I guess she’s doing it to save my life.
Puppies are demanding, but much more lovable and fun than a kitchen timer, which would be another solution for us all to unglue from the chair and move it move it for our own good.
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