The Importance of Good Posture for Musicians

This post is aimed at musicians with the important goal of increasing and/or improving both sound quality (tone) and sound quantity (volume). In order to achieve this, I will demonstrate how good posture has a direct impact on the hard to obtain "good tone production" during practice at home and live performance.

The image above shows a front and side view of the spinal column where we can see a vertical series of approximately thirty three small bones (vertebrae), which are separated by a vertical disc. It is divided into five different areas: cervical, thoracic, lumbar, sacrum and the tailbone. Our attention will focus on the first three upper parts. 

The anatomy of the spine shows the natural S-shaped curve (see side view). This curve that starts from top to bottom offsets the weight of gravity from the upper body. The spine is not designed to be straight nor C-shaped since it has to withstand weight from the rest of the body. This curve in the vertebral column allows our bodies to function properly helping our posture, balance, stability and flexibility while creating support for the arms, neck and head when in a sitting position during practice and performance.

Bad posture, whether sitting or standing, implies an “overuse' of the muscles when playing an instrument and does not help us support our bodies properly. This can have many negative short and long term effects such as aches/pain, and restricted movement of the arms which can result in physical fatigue and/or injuries.

KITHAROLOGUS: THE PATH TO VIRTUOSITY a technical workout manual for all guitarist

Kitharologus, published in 2009 by R. Iznaola, is in my opinion one of the most
thorough and complete technical manuals around today. It should be considered as
a continuation of the traditional "School of the Spanish Guitar" that has its roots in
the Renaissance thanks to the Spanish vihuelists (L. de Milán, L. de Narváez, A.
Mudurra, E. de Valderrábano, M. de Fuenllana, etc.). This work is continued by F.
Sor (1778-1839), F. Tárrega (1852-1909), Regino Sainz de la Maza (1896-1981)
to whom this book is dedicated, and E. Pujol. Iznaola and Domingo Carbajal are
contemporaries who both studied with Regino at The Real Conservatory of Music in
Madrid, Spain.

Important issues are addressed in the book such as time-management of practice
routines, recommended practice plans and the presentation of a "complete training
regimen that can be used as a regular routine for technical maintenance."
There are nine sequential levels of proficiency, from preparatory to advanced with
specific metronome indications for both right and left-hand training.

Exercise 38, Arpeggio Technique (cont.) from Level III found on page 38, will be
under scrutiny in this post. According to Iznaola, in reference to this right hand
exercise, "Indeed, ... this presents a peculiar approach to right-hand training in which
positional framing and shifting and stroke type use, are combined in what may seem
to some as highly unusual ways." This suggests, we as serious musicians, should
endeavor to do exercises in "different" ways in order to improve our general playing
ability and technique.

Professional Studio Recording

Finally, my first professional studio recording of the following six
tracks:

1. Hommage- M. de Falla
2. Sonatina "Allegretto" - F. M. Torroba
3. Conde Carlos - L. de Narváez
4. The Entertainer - S. Joplin
5. Venezuelan Waltz No. 1 - A. Lauro
6. Choro J.T. Guimareas

They were recorded at Soundwire Studios located at
Soundwire Studios, Suite 8D School St Plaza, Fairfax, CA 94930
and was recorded and mixed on Feb. 6, 2020 in only three hours.
You will notice a few mistakes that were mostly due to a lack of
recording and postproduction time.

You can listen to these tracks @ SoundCloud.com