That's a good idea...

We can learn a lot from students.

A student and I were discussing the problems in playing violin, and I was going through my usual rants- the instrument is a heavy weight placed on top of the body, cantilevered asymmetrically off to one side, the head is more or less locked into place, the arms are raised up to an unnatural height, we can't even see our hands, etc., and was comparing these to playing cello or bass- their instrument is supported by the floor, the head is free to move, the arms are not held so high, they have more visual contact with their hands, etc.

But, she said, I really enjoy playing violin because we're supposed to sing on our instruments, and my violin attaches right next to my vocal chords.

I stopped short. What a novel idea, and what a fun way to view your interaction with your instrument.

Of course, all music originates with singing and dancing, or breathing and motion. We should emulate great singers and dancers, and in my studio we often listen to and watch great exponents of both arts. But I think that, in all of our obsession to handle the instrument correctly, we can lose sight of what our mission actually is- to bring music out from within ourselves. And what better way to do this than to feel as if we are singing (and dancing) while playing.

And what better way to do that than to have the instrument right next to our vocal chords, so that the sound is emanating from right next to where our voices naturally arise?

Now, I know wind and brass players use their vocal chords and actual breath to create their art- and I am appropriately jealous. But we have advantages, too.

We can easily slide from pitch to pitch, just as singers do. We can easily growl, scream, whisper, and do all manner of vocal effects, just as singers do. And (and this is a big one we often ignore) we can inhale and exhale via up bows and down bows, just as singers do- matching the breath not just with notes, but also in the visceral experience of breathing as expressed in our bowing.

So I gave a quick thank you to my student for having enlightened me as to the positives found in our predicaments. And next time, I'll think not just of all the difficulties that we face in coaxing sound from our instruments, but also of how those very difficulties can enclose within them some of our greatest playing treasures.