The limitations of adult beginners

January 4, 2012 at 03:12 AM · Dear violinists,

I was reading a few recent threads of people who are late starters and who ask about their prospects of becoming professionals.

I'm not interested in becoming professional. My plan A works well and music is just a hobby. I'm a very lonely person and I'm used to my own company, and if all I ever do with my violin is to enjoy its company in my kitchen, fine by me. For a brief moment, I even thought playing with other people could be fun, but I've changed my mind. I don't wanna the pressure, nor the feeling I'm a burden to the others.

But I do love playing. I'm curious to know the problems an adult beginner will meet.

The science I've gathered:

right and left brain hemispheres are linked by the corpus callosum (CC). The CC of people who took the study of an instrument at young age are thicker than the ones of people who started late, or people who don't play at all. One could guess it means their coordination is better.

What people on the other threads about late beginners said:

late/adult beginners problems are lack of flexibility, including on finger tip, so, they aren't able to produce good vibrato. And some people talked also about problems to do some double stops, as 10ths, for instance.

My (very limited) experience: what I think will be the insurmountable problem for me, is speed. (I'm not saying I'll master the rest!!!) I'm working on speeding up pieces to play them at tempo and it is very, very difficult to get there. The Bach of suzuki 4 and 5 (1st mov of the double concerto), I can only play at 80-85% of the tempi of my cds. I can play faster, but then it doesn't sound like music at all. My strategy is increasing tempo at slow steps. After I play, say, at 78% OK, I try at 79%, and so on. I talk in percentages, because I play with the other violin/orchestra recorded, which I slow down with software in order to play together.

My question: what is your experience, or things you've heard from other people, relating to the difficulties of adult beginners? Flexibility? Speed?...

All inputs are welcome.


Just for the record: I've asked it to my teacher and all he said was: why do you need to play fast? I say I don't need to, but that even slow pieces have fast passages sometimes (like fast arpeggios, or fast scales into an otherwise slow piece). I've asked for strategies, but he dismissed the subject. Please, don't make this a discussion about my teacher, because I already have a thread on that.

Replies (28)

January 4, 2012 at 03:18 AM · Speed comes with time on the instrument and repetitive playing of scales, arpeggios, and other technique builders.

I can play a few scales now much faster than when I began and am making progress. I too am on some challenging material for me, but was hit from behind by an uninsured, texting driver last week while turning into a driveway. This ersehole never braked before hitting me at about 60-65mph. Totaled my car and damaged my back and neck.

Suffice to say that my progress will be limited for some time to come as my neck and back are messed up, and I have no means to earn a living at the moment.

Just enjoy the time with the violin.

January 4, 2012 at 04:09 AM · It should be doable if you just want to play fast at a reasonable speed. You have to see where the problem is first though... First leave your bow on the table and just play with your left hand. Is it your left hand? Shifting problem? Scale problem? Arpeggio problem? If it is then practice it. But if you can match the recording speed without your right hand, then it's actually your right arm that cause the problem. Your right arm made it too difficult. Leave your left hand for now... Play open string with the bowing required and the string you suppose to play on for a few time, so you will actually feel comfortable diagnostic what your right hand should do... After you feel comfortable with the bowing, then try to both hands together. If you can speed up to the speed you want but sound very nasty and unclear, then that means your left/right arm can do the job but with more training. Play slower with different bowing, such as reverse or comebine the odd/even number of notes together or whatever and with a shorter notes here or there (Like what you suppose to do for Kreuzter etude #2). Play it with metronome at slower speed with all different way for the passage and speed it up gradually. That's how I face the passage/movement that I want to play very very fast. I'm not sure if it works for others but it works for me.

I use this way to speed up Leclair #5 3rd movement to same tempo as Perlman/Zukerman from their video clip. But in performance me and my friend actually play with reasonable speed... Fast but slower than Perlman/Zukerman... But in that way I feel plenty of time to shape sound a little bit so I find it very beneficial to practice faster in fast movement and slower in slow movement. So I think playing a little faster than usual recording is still needed... You don't have to match Heifetz's speed (because I can't even trill at that speed... It's flexibility issue I think, it will tense up my body), but I think most people can do reasonable speed with practice.

January 4, 2012 at 04:33 AM · There are three issues that affect speed:

1. left hand

2. bow arm

3. coordination between #1 and #2.

My issue is #2 - one of my teachers commented that to get to the next level, I need to be able to move the bow faster (This is not necessarily the same as playing faster), so I have been working on Kreuzter #2 with bowing variations (Simon Fischer's Basics p.84-p.85).

BTW, Caroline, playing with others IS FUN! If you can find someone who is at a similar level to play simple duets with, there should be no pressure (no practice needed, just sightread) and you won't be a burden.

January 4, 2012 at 05:45 AM · Yeah, mine is #2 as well... especially when there's crossing string involved...

January 4, 2012 at 06:03 AM · Greetings,

I like adult beginners. I respect the right of the teachers who won`t take them to do that. Sorry for their loss.

Why talk about adult `limitations?`

That is probably the biggest `limitation.`;)

As you have noted , there are qualitative differences between the composition of the brain (unless you are one of the people who have the opposite view) and differences between the way adults and children learn. I am not that interested in the scientific aspect but I have done enough teaching and work in diverse fields to believe it to be true. An interesitng parallel case cropped up just yesterday. Reading a book on solving Igo problems (see my recent blog) and it suggested that young children just look at the shapes and solve things as quickly and intuitively as possible. Slash though to the end of the book checking answers without analysis and then do it again. Afults by contrast are advised to doggedly figure out each problem and only when they are certain of the answer check it and move onto the next one or even redo it. In the same way Bron has his studnets learn the Kreutzer etudes twice. Once when they are young and do them at a relatively crude level and once agin when they are more mature at a polished and detailed level.

Is this lack of ease in intuitively absorbing and mimicking what one is offere d a disadvantage. It really doesn`t have to be. I am not saying that this means anyone can start any age and become a pro as the suggestion seems to be cropping up more and more these days for some inexplicable reason. There are many other facotrs involved in learning as an adult.

Like it or not flexibility and muscualr control are an issue. From an Alexander Technique prespective it goes something like this. AT has established with some rigour that strating from a young age we misuse our bodies in ways that make it progresisvley less efficient in all walks of life. I once asked my AT teacher if he had ever seen anyone in daily life who used their head/neck/back relaitonship well. he said `No. Not one single person.` If we accept this is true (I do but it is not compulsary) then every adult who walks into a violin lesson for the first time is at a significant disatvantage compared with a younger player.

but thta is not surely not bad news is it?

Jusr the opposite if the adult is willing to address these issues as well as violin playing. In short, an adult is serious about violin playing, and serious enough to take lessons in violin and AT simultaneously can make extraordinary progress not only in the violin but in a renewed use of the body in daily life. One can consciously begin to feel somewhat a sa child again.

Then ther eis the question of speed related to this. Well, another interationally renowned cello soloist and AT teacher said to me `Buri, have you ever thought about what plaing fast actually means? It is quite simply reducing the space between notes.` What she meant by that was that as adults we can `consciously` eliminate the garbage and bad habits that occur between actons in order to build up mechanicl efficency. That is an adults strength.

Interestingly, the desciprtions of how superstras in various filed sare tauht sows something similar. Not a focus on speed, but a breaking down of actions into componet parts which are practiced slowly so they can be absorbed and made automatic correctly. If you don`t program the computer correctly then the result will be flawed. Inless it`s Windows in which case the result will be flawed anyway...

The approach advocated by Clayton Haslop correlates exactly with these ideas. that is why he is so good at teaching adults because it i ssomething they reason about and apply , rather than just urging them to play faster which inevitably builds up tension and reinforces the incorrect belief they cannot do it `because they are old.`

And don`t forget to drink omega three flax oil.



January 4, 2012 at 06:08 AM · As an adult, I think playing at speed is a major thing.

I find the biggest problem in speeding things up is keeping track of where I'm heading. I can play a single bar as fast as needed. I can play the next bar. but at some point I start to crash - and this is not about coordination or flexibility, its all in the head. I'm not able to keep up mentally with where it needs to be.

January 4, 2012 at 06:22 AM · If you're like me you know where the dangerous intersections are - ie. you always crash at the same place. Find this place, back up one or two measure and play one or two measures beyond. This usually means starting and ending mid-phrase. Repeat and repeat and repeat some more. Your hands will solve your problem.

January 4, 2012 at 06:24 AM · Hi Caroline, your situation sounds a little similar to mine. When I was younger I was definitely able to pick things up more easily, and indeed, playing faster was somehow easier. A 26 year break for me was not necessarily a good idea, but I'm happy all the same. I'm not particularly sociable, but I'm hoping to join the local town orchestra soon, as I'm sure it would be fun. I know I like playing duets with a friend who is around the same ability as me. Try that first, if you can find someone. It's a blast when you both get it right!

Regarding speed, well, as the others said learning the part slowly at first is the key, and then speeding up bit by bit. With speed come other considerations like playing in the right part of the bow, amount of bow used, and of course finger co-ordination, which I find difficult. I think being older my fingers are definitely thicker and slower to respond than when I was 16. Oh well, I guess we'll just have to keep practicing :)

January 4, 2012 at 06:41 AM · Well~ I'm not sure about other people's difficulty though, but maybe we as adult starter can gather together and figure out some limitations...

I found out my biggest problem is rhythm, memorizing, and sight-reading. For sight-reading maybe it's due to my lack of fundamental technique... But I think it's just I can't count while playing... A while ago I was sight-reading Dvorak piano quintet playing violin 1... it's a mass... I can't count how much rest I need to be... I enter a passage too fast... the triplet is a mass... missed the dotted note... I'm lucky that at least I heard the music before so when violin 1 suppose to lead and play forte I still can hold together my part with others even at high position. My rhythm problem is related to counting as well... The solution for me is to try to sight-read as many piece as I can with friends (I'll tend to ignore when playing alone), but never-the-less it is still a solution, unlike memorization...

The worse is memorizing the piece... How in the world can anybody memorize the whole Bach S&P!???? I can't even memorize the first sonata fugue!

January 4, 2012 at 07:03 AM · I have no trouble with memorization (so far), although I concede that my memory is much much worse than in my youth. I wonder if it has anything to do with all the rote learning I was imposed upon as a kid...

The following is what I wrote about memorization in an old thread. I'm not sure if it's helpful to anyone.

I noticed that there are three stages when it comes to memorizing music for me:

1) Remembering the music - this happens naturally - after hearing a melody enough times, it automatically plays in my head. This can be a curse, as I would remember some dreadful etudes and cannot get them out of my head.

2) Knowing where to place my fingers - this is more difficult than #1, but I probably have some advantage than many, as I know solfège - any tonal music I hear is automatically translated into do-rei-mi in movable-do before it is stored in my head, therefore I know pitch relations between notes. However, I have to memorize the key(s) of the pieces I play (or where to place the finger(s) for the first note(s) of a new key). It's harder when a piece modulates a lot. Also, somehow placing fingers for some keys are harder than others, and I'm still trying to figure out why. Other than that, I'm probably like everyone else - relying on muscle memory, building hand frame and finger relations. At this stage, the things that need special attention are fingering and shifting.

3) Memorizing bowing, articulation, phrasing, dynamics and other music expressions - this is the hardest part for me, and requires real memorization work. Singing with all the music expressions in place helps.

In addition, sometimes I listen to/play in my head the pieces I'm practicing during my commute, and visualize the bowing and fingering, which helps reinforce my memory.

Sometimes, though, my memory would falter, and I would start playing a wrong note, wrong rhythm, using wrong bowing or fingering, and since once I remember a piece, I no longer look at the music, I would not realize it until my teacher corrects me. Since we don't always have time to go though all the pieces in one lesson, I might be practicing the wrong thing for weeks, which makes it harder to correct later. This is one drawback about memorization.

January 4, 2012 at 11:28 AM · not meaning to derail but ...Buri, I'm puzzled by your statement :"One can consciously begin to feel somewhat a sa child again."

in what way? can you kindly explain.

also, if i may add...not all children are the same. i was a quite inhibited child - at least starting at some point early pre-teen due to whatever. and it translated physiaclly and so on. its difficult to define at what point a child stops being virtually a "clean slate". there is also the case of kids with problems that compounds the issue.

personally, i have two or three main issues when it comes to violin...none of which are inherent to the instrument themselves - i think anything inherent to the violin, unless positing a serious physiological challenge to a physically disadvantaged adult student , can be learned in due course with a good teacher and i;d really like to try the AT thing Buri recommends.

anyway, one of my issues is fear of discontinuity in the future, that i would at some point have to stop learning violin because my lifestyle might not support the ability to continue (largely, financial).

my other worry is that I would be condemned to playing any piece in a non-lovely unsatisfactory tentative manner..basically like a bad copy-machine - i would not be able to bring something to the piece. that begs the question - why am i learning this very difficult instrument?

lastly, exactly in keeping with the caroline's post - the lonliness and montasticism of it. had i been a social creature, i would not mind that...but also being a rather seperate person, these couple of huors spent practicing the violin underline the lonely pursuit. unlike caroline, however...i don't necessarily find solace in this - i haven't come to terms with a perception of myself that way.

post-new years wish: a more marginal point that is more contigent is that i would like more rigour in my lessons and studies. i would like to do more scales (we're not doing scales) and more technical break-downs as well as working on music from a general musically conscious way - understanding music theory and so on...perhaps in time. oh, and find other adult musician student to play violin with as well as on par -or better piano players to duet with.

January 4, 2012 at 12:11 PM · Caroline --

If you still have ANY unresolved leanings toward finding someone else to play with, I wish you could find an equivalent to the orchestra I've found in north-central Indiana. It's called the New Horizons Orchestra, and apparently it's not just a local phenomenon -- I've learned that there are "branches" of it in Grand Rapids, Michigan, and also as far north as Sault Ste. Marie, Michigan. I haven't tried "Googling" other locations yet, but I'd be surprised if there aren't some. The orchestra's motto is, "Your best is good enough!", and it's geared toward adult beginners and string players who played years ago and are now returning to their instruments. I think the average age in my local group is probably mid-60's -- our oldest member is 89. As a 62-year-old beginner with only a year and a half of violin lessons, I've found New Horizons to be an excellent fit. I don't think any of us feel that we're holding anyone else back. The material we've tackled is challenging, but not overwhelming, and our conductor (a 30-something teacher in a local school system, who also teaches cello privately), is very supportive and enthusiastic. I've never really been a "joiner", but I'm extremely thankful that I found this group. It's both recreational and educational.

January 4, 2012 at 12:19 PM · Just out of curiousity: are there any adult beginners who are doing formal Suzuki? I wondered if this approach is contrary to the differences in learning abilities/strategies that Buri described above?

I'm a returner and bought the Suzuki books - but more as a nice compilation of doable and interesting pieces than as a teaching method.

January 4, 2012 at 12:44 PM · elise, my experience with suzuki with past teachers was similar to yours in that my teachers didn't use suzuki methodology but found the selection of pieces convenient for the level.

January 4, 2012 at 01:18 PM · 'I don't wanna the pressure, nor the feeling I'm a burden to the others'

Caroline, I can identify clearly with this statement. The part about not wanting the pressure is the main reason why I don't at present do chamber music. Having started playing again 14 months ago after a very long absence, I'm concentrating on recovering and developing my technique. Another reason for not currently doing chamber music is that I can't spare the time for that as well as practice. At the moment I do orchestra (back of 2nd violins), some works which I learnt years ago, such as Beethoven Romance op. 50, and the easier movements of unaccompanied Bach as well as scales and studies. But don't feel abashed at not doing quartets; I can't at present stand the wear and tear on the nerves either.

January 4, 2012 at 01:27 PM · Evelyn:

I'm so sorry you're going through this ordeal! I hope you improve as fast as one possibly can.


Oh, my, so many wonderful replies! Thank you, Buri and all the others. So many things to digest. When I get back at home I'll read through all of it again. I'm at work, now.

About Suzuki: I don't do the method, but I've started alone and all I knew was Suzuki (first g o o g l e search came back with it). I use the music in the books, which I love. I love book 4, I love book 5. I'm not busy with 6, yet. My teacher uses a few of them (pieces), but he mainly gives me new material (more modern).

January 4, 2012 at 02:19 PM · Joyce, thx for the info I'll look into it...

January 4, 2012 at 04:15 PM · As someone who returned to the violin after a 25+ year hiatus, I also have struggled with speed. There are several things I have learned:

1. If you can't play it slow, you can't play it fast.

2. If you consistently push the tempo a little beyond what's comfortable, you can make steady progress.

3. When practicing alone, you tend to fall back on the tempo that is comfortable for you. Use a metronome and constantly increase the tempo. Don't fall back to slower tempos, unless you have a major train wreck. Even then, get back up to your previous tempo before you end the practice session. And play it more times at your ending speed, than you played it at the fallback tempo.

4. Ear worms: when you hear that music in your head, consciously crank up its speed to the fastest that you can possibly think. That way, you think of fast as the normal way to play, instead of your leisurely, plodding tempo that you are used to. If it's too fast, that's OK. It's easier to dial it back, than to crank it up beyond what you can manage.

5. If you use the method of taking one measure or phrase at a time, DO NOT practice front-to-back. Start with the last part of the phrase and work it up to speed. Then back up a little more.

This way, as you add more bits and finally get the entire section, you are working into your comfort zone, the further you go. Plus, your up-to-speed playing on the last parts give an ingrained reference for what goes before.

Plus, if you work front-to-back, you are training yourself to stop at the end of the phrase. Not good.

6. Sometimes, it just works best to make a quantum leap in tempo. I'm not sure how it works, but some fast parts just fall to your fingers when you jump right to the target tempo. Maybe it's just me.

7. Take slow pieces that you know really well and play them faster and faster. I'm not a neurologist, but I think this gets the cobwebs out of your reading-playing cognition. Call it what you will: the more you play stuff you already know fast, the easier it will be to come up to speed on new pieces.

January 4, 2012 at 05:09 PM · My problem is just the opposite. I can’t slow down enough. Now I am not attempting to play the Italian Baroque of my youth on flutes and recorders, but most of my etude work needs to slow down. Accuracy is my problem and the bow.

My teacher says my left hand is my gift, but I know a bit about forgetting how to play instruments. Eric Clapton talked about preparing for the Crossroads tour. Some of the solos he did as a kid are really hard for an older gentleman. But I don’t think many guitarists have the rigor that a concert violinist has to keep in shape.

When I was trying to build speed one type of exercise made a big difference in my abilities. And this is the same exercise I use to play slow, a metronome.

To properly use a metronome you must be able to play the piece accurately slowly at first. Set the metronome at a speed where you can play the piece comfortable. As you play the piece repeatedly each time set the metronome a little faster.

If you adjust the metronome slowly (faster) enough, you fool the fingers.

You do need to be able to play an exercise or passage over and over without boredom. Boredom equates to errors. You don’t want to practice errors, so you must pay attention.

When my teacher asked if I wanted to learn songs other than fiddle tunes I told her I really did not have time to do much more than the etudes. She then said that we won’t learn songs we will learn to play the violin well. She has also said that she thinks I like boring. Not really true but I do get lost in listening to the subtle nature of the violin.

BTW I have been playing violin for less than a year (March) and I am now 58 (August).

Pat T.

January 4, 2012 at 05:32 PM · It seems unproductive for an amateur to look for a priori reasons why they might be limited. We're ALL limited to some degree, physically, intellectually, or emotionally. Just enjoy it.

January 4, 2012 at 05:41 PM · Caroline, I know several people who started from scratch as adults, not coming back to it after a 30-year hiatus, but starting cold. I would say that you are absolutely right that speed or the flashy virtuosity is what is hardest to develop. Fortunately, there's a whole lot else to playing violin- intonation, rhythm, a beautiful tone- and this is all attainable by an adult.

Evelyn, if you were hit at 60+ mph and aren't dead, buy another car just like the one you were hit in- it protected you very well! I was hit under similar circumstances a few years ago at MUCH slower speed and took a beating. Besides the neck and back stuff, how are your wrists? Mine were pretty jammed, which was a huge impediment to playing violin until they were better.

Elise, absolutely orthodox Suzuki would be almost impossible for an adult unless they had a parent (!) or significant other willing to go along for the ride. A lot of Suzuki teachers do use a modified approach with adults: lots of listening, learning by ear before introducing note reading, working through the Suzuki literature.

January 4, 2012 at 05:53 PM · Caroline, I kind of agree with your teacher. If you are only playing for yourself, and don't plan to join an orchestra/ensemble, why does it matter whether you can play fast? If there are fast passages you cannot handle, just play the entire piece slower to a speed you can (with a metronome). Of course, you can speed up afterward to challenge yourself, but why is it important to play at the speed of recording (The speed is just an arbitrary decision made by the performer)? There are so many techniques to worry about at our stage of learning, focusing on speed seems like a misplaced priority.

The biggest challenges for me are all flexibility/stretching related, compounded by my tiny hands and super short pinkies (so perhaps other adult beginners don't find flexibility to be a major limitation): playing 2-3 whole steps (much better now), chords with 4th finger reaching wider than high 4, 3rds, fingered octaves, vibrato (much better now but a long way to go), etc. Then there are posture issues - extremely contorted shoulder, elbow and wrist trying to reach notes (No doubt bad for my joints), finding comfortable setup, needing to switch chinrest often... The list goes on.

Also, it's probably safe to say that adult beginners play with more tension than kids in general.

OK, I don't want this thread to become depressing, so let's look at the bright side: 1) I'm still playing despite all the difficulties. 2) Three outstanding musician-teachers are happy to work with me (hopefully not out of pity). 3) I'm progressing quite well (One thing they can all agree on). Let's celebrate our achievements for picking up the hardest instrument known to man, and enjoy the journey. If you feel alone or not understood, come join us at the Adult Starters - Violin/Fiddle facebook - there are many just like you!

January 4, 2012 at 07:19 PM · Greetings,


The choice of the word `conscious,` is central tot he issue and AT. It is a word FM Alexader used as the foundation of his work. The `consciouscontrol of the primary mechanism.` What this means is thta as adults who have -virtually all= sytematically misused our bodies from a young age can go a long way to restoring things by making conscious choices about how we use our bodies. The AT lessons are times when the istructor uses the hand not word to remind our entitiy of what the conditon of not misusing the body is. At such time sone can experience miracles in temr sof playing that produces gasps from onlookers because the contrast is so stark.

As a child the process of misuse has barely began. So a baby has extraordinarily flexible and siubtle limbs. The use of primary control is very efficient (the relationship between head, neck and back.` The way a child uses the eyes to diretc toral ody movement and so on. We all have this!

As we get olde rand are forced into sititng in chairs oo soon (school) , copy our physically distorte parents and gramndma exhorts us to have good posture (a sure means of ensuring wors eposture afte 2 minutes) all this disappears and the process of playing the violin become sas a result of ths much harder than it should be. As indeed does life.

If you wnat to know more about AT then I recommed you check out some websites.



January 5, 2012 at 03:58 AM · greetings,

yep, a good teacher and three hours a day divided into the smallest sensible units you can. Then you will understand why professional musicians are so grumpy and immature...



January 5, 2012 at 11:06 AM · What a great thread.

One of the changes I've noticed between the way I now play as compared to fifty years ago, is that I now unavoidably think about "where" the target note is, rather than "what" the target note is. I'm processing data differently.

It's become far more physical and anticipatory, rather than instinctive and bold. For example, when reaching for the B natural in measure 26 of the last movement of the Bruch, I use to simply land on it because "it was there" to be nailed; now, for a split second I will ask myself: "where is it again?". Similarly, with the B natural in measure 8 of the Walton Viola Concerto, I use to simply hit it ~ and now I think about it as a step above the harmonic A or a seventh above the C natural. Again, right after marking 21 in the first movement of the Prokofieff Symphonie Concertante, I use to simply nail the B natural because it was there; now I tap it in anticipation of actually sounding the note. Some of it, I think, is because I'm not as confident as I was as a child; I'm now drawn to analytics, rather than simply "doing it". Perhaps it's just B naturals that have become so hard to find?

January 5, 2012 at 04:03 PM · Buri

I dunno about 3 hours... maybe for professional it is but certainly not for the music student in the university I attend to. I'm not music faculty student, but it seems to me I'm the one using practice room more often than music students LOL

January 5, 2012 at 11:08 PM · I am 53 and have taken lessons for a little more than 2 years. I started off with basic books and easy classical, then went into some Irish and fiddle. My teacher started me in Suzuki book 2 last spring, and I'm now working in 4. I am very interested in hearing about advice and exercises for carpal tunnel and similar left hand problems, and also I could use some sources for vibrato help. Flexibility and left hand endurance are absolutely my biggest issues. Can anyone tell me more about AT and how it is used to help violinists?

January 6, 2012 at 03:28 AM · Greetings,

I have written extensivley on this topic on this site. I think some of the essyas may be in `Buri`s Studio` or whatever it is called which contians my collective output. if you search for barbara Conable, Body Mapping, and Alexander Technique on Goo gle you should come up with an apprprate website.

Incidentally, awesome content aside, Simon Fischer`s `Pracitce` is -very- heavily loaded with direct and oblique references to AT. The maestro was lucky enough to study with one of the last great AT teachers directly linked to FM Alexander. Unfortunately said AT teacher passed away recently. Nis name is noted in the front of `Practice.`



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