1) A break from playing.
The first thing to do when pain is felt is to stop playing. A long break may be needed, which is often difficult for musicians. Weeks away from our instruments may break our hearts, but it is necessary if we feel something is physically injured. Rest is the start to healing.
First, I took a month-long break from playing. Then, I returned cautiously, with five minute mini-practice sessions every few weeks. This routine lasted about three months.
So, in total, I had about four months of barely any interaction with my instrument.
2) CBD.
During this break, the injuries need to heal before one resumes playing consistently. CBD can help. It has been proven to decrease inflammation and resolve physical soreness, aches, and pains.
I went to my local CBD shop and got some CBD oil and a vaporizer pen. After a few weeks of daily use, I could sense a noticeable difference in my left shoulder blade. It felt like normal again.
3) Returning without a shoulder rest.
Once one feels healthy enough to return, ditching the shoulder rest may be the way to go. It can be extremely freeing. If one learns to rest their instrument on their collarbone, without a shoulder-rest, it can result in more fluid motions.
Personally, I struggled with any sort of shifting when first trying this. It felt like I was going to drop my instrument. So, I started by playing in first position, then eventually built up the coordination to shift. This took tons of slow practice.
I also had to consciously avoid clenching my shoulder when playing this way.
4) Pivoting on the collarbone.
The contact between the instrument and the collarbone is a pivot point, one that can move around. This concept can free up tension.
Like a cup in a cup holder, it is not completely locked in place. There is some wiggle room. Nothing extreme, just a few centimeters to the left and right can keep things loose.
If I use my collar bone to hold the weight, while also being aware that my neck contacts the wood, then I can use my left hand to pivot securely.
5) Pointing the scroll down.
This may be different for everyone, but it is common to see violists’ scrolls pointed at a downward angle. Letting the instrument fall into a comfortable position is key, wherever that may be. The goal is to start playing and think, “Ah, this feels familiar.”
For me, I found that pointing my scroll to the floor improved my posture. My shoulders fell naturally in place, my neck did not clench, and I felt like I had a solid foundation of support for my instrument.
6) Light left fingers
Tension can spread to an area of tension in a different part of the body. For example, if the left fingers are tense, it could translate to a tense left shoulder. Therefore, focusing on light finger pressure, one that uses the minimal amount of pressure to hold down the string, can improve relaxation. Keeping the left hand relaxed is also extremely beneficial for vibrato.
One of the first exercises I did when I returned to playing was a descending one-octave D Major scale. I focused on finger pressure. At first, I tried to place my fingers on the string as lightly as possible, almost sounding like a harmonic. Then, I gradually increased the weight of each finger. I also found it useful to think about the equal transfer of weight from one finger to the next, so the hand remains balanced.
7) Breathing.
Intentional breathing is an extremely important aspect of healthy playing. Whether we know it or not, we are all a bit subconsciously nervous when attempting to shove a box of wood between our collarbone and chin. It is an awkward pose. What happens when we are nervous? We forget to breathe. If one becomes mindful of their breath while they play, it can relax the muscles needed to play.
For me, I find that a conscious breath through my nose works better than through my mouth. When I feel tension, I resort to a deep inhale, followed by an even deeper exhale. This may be the best immediate cure I’ve found. I can feel my shoulders drop and an overall sense of comfortability return when breath is my focus.
8) Left hand plucking.
String players develop calluses on their fingers to help endure the act of pressing down on the string. Playing simple exercises with a left handed pizzicato can help develop these calluses, keeping the hand calibrated to play. This is often called “staying in shape”.
I take a simple melody, such as Mary Had a Little Lamb, and try to pluck it with only my left hand. I pluck the melody on each string. The difficulty lies in trying to pluck the string with the finger above the sounding pitch. So, when playing a 3rd finger D on the A string, I use my 4th finger to pluck. When playing a 2nd finger C sharp, I use my 3rd finger to pluck. This tricky exercise has strengthened my fine-motor skills.
9) Medicine ball stretches.
Stretching is vital. Let’s face it, it is a strange maneuver to master. For violinists and violists particularly, it is necessary to hold an extremely unusual posture, sometimes for hours a day. The unorthodoxy of string playing causes our joints to ache and muscles to tighten . So, a daily stretching routine is needed to counteract these strange movements.
I personally invested in a large medicine ball. I routinely lay my back on the medicine ball.It has been a consistent part of my warm up and warm down routine.
Aside from the medicine ball, one other stretch that has helped is to step on the center of an elastic band while holding onto both ends, thus stretching my shoulders downward.
10) 3-Octave Scales.
Throughout my studies, I have encountered some musicians who believe in scales and others who do not. Scales can be boring, but they can also keep one ready to play in any key at any time. Developing a scale routine can help organize the fingerboard in a way that harmonically makes sense. This alone can relieve stress when reading music.
I developed my scale routine with the intention of covering the entire finger board. If I can produce a good sound on all areas of the fingerboard, then I can most likely produce a good sound in a Mozart Quartet or Brahms Sonata. I noodle around on about five scales per day. When playing them, the focus is on intonation, a good tone, and clean shifts. I have found that learning how to play smooth scales has increased my confidence and coolness when diving into repertoire.
11) Playing with outward energy.
There is a strong connection between the musician and their instrument. Some people go so far to refer to it as an extension of their body. Music is felt deeply within, especially for those who take it seriously. Musicians dive deep within themselves to create art. Artistry is fueled by emotions, stories, and images we imagine. In music, silence is the empty notebook, blank canvas, and movie screen, while the musician is the writer, painter and director.
This may seem like a benefit, but it has its negative effects on comfortability. I found myself distracted with my imagination, not aware of the tension in my body. I started trying to push my energy outwards, rather than inwards, and noticed a heightened sense of body awareness. To do this, I started looking at something in front of me. I started to play towards an object, such as a mirror or music stand, and this helped with general awareness of what my body was doing.
I still rely on internal imagination, but the act of aiming my sound at something in the room has been monumental towards healthy playing.
12) A handkerchief under the instrument.
Finding a comfortable posture is the foundation for any musician. It is often a life-long pursuit, as our bodies change. For string players, the variation between one hold and another is infinite.
I have tried dozens of set-ups, experimenting with chin-rests, shoulder rests, towels, and sponges. The goal has always been to find something that fits the construction of my collarbone, neck, and jaw. I eventually landed on the use of a small handkerchief under the body of my instrument. Like a pillow for my viola. Trusted by Pinchas Zukerman and Augustine Hadelich, this method of support has given me the most amount of ease while playing.
