Posture and ergonomics for musicians: how to avoid injuries
The posture isn't to stay still and right: it's that the instrument will suit you. Adjustments by instrument, warming, pauses and when to consult.
A good posture to play is that that that that lets you have free breathing, to move your arms effortless and to keep you balanced throughout practice. The golden rule is that the instrument will suit your body and not your body to the instrument: chair, atril, strap, bench or shoulder suit up until you have to twist, shrink or stretch to play.
If you add a short warming, frequent pauses and care to high-burden signs, you reduce a good share of the risk of discomfort. That guide does not replace a medical appraisal: if you have pain that persists, tipting or loss of force, consult a health care care provider.
To sum up
- The instrument suits you: tightens chair, attril, bench, strap or shoulder before rectifying your body.
- A good posture isn't rigid and balanced and allows you to move and breathe.
- Five minutes of soft mobility on shoulders, arms, dolls and hands prepare the body to play.
- The short and frequent breaks prevent more than a great break at the end.
- The pain that comes back, the tingling, numbness or loss of force are a reason to stop and consult.
Principles that serve any instrument
- That's a stable base. Standing with his weight spread between his feet and his knees unlocked. He sits and leapes his pelvis and his feet flat on his ground.
- Long, non-rigid column. No pounding or firming position. Imagine that the crown rises effortlessly.
- Balanced head above the column, and did not advance to the score or the diapason.
- Loose cells, without climbing up to his ears or going forward.
- Neutral dolls, without extreme breakdowns up, down or sides for a long time.
- Movement. Posture isn't a statue: the body accompanies music. Filling frozen also generates tension.
A useful test: while you play a simple passage, could you have a profound breath, turn your head a little or drop your shoulders while still playing? Otherwise, there's a tension that's unnecessary.
Posture by instrument: key points and common errors
| Instrumento | Key point | Common error |
|---|---|---|
| Piano and keyboard | Banking at a height where forearms are more or less parallel to the ground and at a distance that will let you get to the end of the keyboard. | To sit very low or very close with elbows attached to his body and his dung dolls. |
| Acoustic and classical guitar | Stable guitar without holding with his left hand and with his or her support or support if necessary. | Incline the guitar up to see the diapason and put them onto it. |
| Electrical and low Guitar | He cuts at a similar height sitting and standing with his mast at his fingertips without stretching his arm. | Fold them very low by aesthetics with his left wrist bent to his best. |
| Violin and Violin | A shoulder and a miner to suit your neck, to hold the instrument without tightening your jaw or shoulder. | Lift your left shoulder and bite with your jaw to hold the instrument. |
| Cello and contraband | It pics at a height that leaves the instrument focused and without arms and firm feet. | A very short pica, that forces them to tighten up and sit at the bottom of the chair. |
| Flute | Right head and relaxed arms: the flute goes to his mouth, and his mouth goes to his flute. | To twist his neck and put his right shoulder up. |
| Clarinet, oboe and saxophone | Strap or strap to share the weight and the nozzle goes to his mouth without his head bowing. | Loading all the weight onto his right thumb or stretching his neck to his nozzle. |
| Thrompette and thrombone | Instrument held with arms, without sink his chest and sitting his back off from his back. | Fold to read and lower the bell to the atril. |
| Drums | Bank at a height where thighs come down slightly to their knees and drums and plates at reach. | A very low bench and high or far sauces. |
Each instrument has fine details that are worth checking with your teacher. If you play piano, get deeper into [the right place of your hands]](/blog/posicion-correcta-de-las-manos-en-el-piano).
Adjust your space: chair, atril and light
- A firm and arms-free chair, with a height with your thighs parallel to the ground or come down a little to his knees. The sofa and bed are no good for practice.
- Atril at eye height. If you read the score on his cell phone supported at his table, you'll have to pass his practice by looking down.
- That's good light. so as not to get close to the score by interviewing his eyes.
- Mirror or camera. Seeing you face and face shows you how you don't feel.
- Fancy hands. In the cold mornings of Bogotá, wash your hands with warm water or rub them before they touch help them respond without forcing them.
- Instrument to suit you. Children require tools of their size, such as fractional violins or smaller guitars, and they have to be reviewed as they grow up and we explain them in how to choose your first violin and its size.
Body warming before touching
It's about five minutes to awaken the joints that you're about to wear. It's all soft, without bouncing and without reaching pain:
- Moulds. Slow circle back and then put them up to their ears and hold them up for a second and let them go.
- Fingerface. Fold his head to his side and to his face and turn to look at his shoulder, without forcing.
- Arms. Loose them at the sides of the body, as a pendulum, and cross every arm before his chest.
- Fairy. Slow circle both ways.
- Hands and fingers. Open and close your hands slowly, divide your fingers as a fan and touch every yolk with your thumb.
- Breathing. Three slow breaths, releasing air with relaxed shoulders.
- He's starting to play soft. The first few minutes, something slow and easy, before the picky passage.
If a health care provider indicates specific exercises, follow his or her direction above this general routine.
Stages and habits that prevent overload
The overload barely ever comes from a single day: it accumulate with retreats, tension and little rest. Also distribute your time well, as we explain in how many hours to practice a dayTake care of these habits:
- Micropauses. Between repetitions of a passage, let his hands and let his arms fall for a few seconds.
- That's what I'm talking about. After a repetitive technical exercise, she changes to reading, to a quiet piece or to mental practice.
- Loan up and about. Before a recital or an audition, the temptation is to double the hour's blow and that's the moment of more risk.
- Take care of what you do outside the instrument. Cell hour, computer hour or load a single shoulder heavy case also add up. Use both strap or one with wheels.
- Rest and move. A body that sleeps well and remains active better tolerates practice.
Overload and when to consult
A little muscle tiredness after practice is normal and goes with rest. These other signs ask to stop you:
- Pain that always goes back to the same place, during or after playing.
- Mills that appear more and more soon in practice.
- Hormigueo, numbness or sensation of current in his hands or arms.
- Loss of force, clumsy or fingers that do not respond as before.
- Pain that awakes you at night or that goes on the following day.
If anything appears, to, to rest and tell your teacher about it and to review his or her posture and technique. If it persists or repeated, consult a doctor, who as the case may be referred to physiatrics or physiotherapy. Do not put an online diagnosis and do not automate to continue his or her play and come back to the instrument gradually as instructed by his or her doctor.
How teacher helps you (and how you check)
Many tensions do not feel: they are seen. That's why the outside look is so valuable. Between class and class, record with video a few minutes from and from the face and check his shoulders, neck, dolls and back.
In class, the teacher fixes details that change everything, as about a few cm high at the bench or guitar angle. At [classes at home in Bogotá]](/clases-de-musica-a-domicilio-bogota)Also, tightens the chair, atril and space where you really practice all week. In virtual classes, place the camera aside so that you can see your complete posture. If you are starting [violin]](/clases/violin)[piano]](/clases/piano) Or any other instrument, ask him from the start to review your posture.
Frequently asked questions
Is it better to play guitar sitting or standing up?
Both are valid if the guitar remains at a height and an angle similar. To study they are usually more comfortable sitting and if you are to play standing in presentations, tighten the strap so that the position looks like that of your practice.
Is it normal for me to have a bad back while I play?
A light tiredness after a long time can pass but pain should not be part of practice. Check the height of the chair or bench, atril and how long you spend without pause. If pain goes on, consult a doctor.
Do you care to exercise to play better?
Keep you active helps your body better tolerate your practice hours. For specific strengthening or stretching exercises, ask for guidance from a health care professional, especially if you have already been upset.
Do children need special posture care?
Yes: instruments of its size, chairs and bins at its height and shorter sessions. As they grow quickly, we have to review often the instrument's size and adjustments.