MUSCLE TENSION
Muscular activities are categorized in the medical field as either static or dynamic. Static postures include sitting or holding up an outstretched arm, as we would when we hold the bow, especially at the tip, or in a violinist’s left arm, while he holds his instrument. And for cellists, it’s in the left arm muscles, especially when playing in higher positions, that require lifting the arm above the shoulder level, where players complain of fatigue. This is because in a static position, muscles become compressed or contracted and blood, responsible for oxygen replenishment and waste removal, does not readily flow through them. Bodies cannot continue a static or held muscular effort for long before fatigue and, eventually, pain set in.

Meanwhile, dynamic efforts, such as walking, are easy to sustain for long periods of time because fresh oxygenated blood can flow freely to the muscles.

Held positions occur in almost all activities. Unfortunately, only when lying down is the body totally relaxed.

It is the “static” or held component of a position that is the most important to analyze because it is the more strenuous type of work for our muscles. Prolonged and excessive static work over time can weaken joints, ligaments, tendons, and discs. Bodies that hold instruments in awkward positions on a daily basis must be vigilant.

Some string players, especially violinists and violists, who use a chin rest tilt or rotate their heads and, over time, can cause muscles to become imbalanced. The muscles on one side of the neck become shorter and stronger than on the other side, leading to joint dysfunction and nerve compression.

To avoid this type of injury, keep the head erect, chin in, and shoulders down. Violinists and violists should refit chin and shoulder rests to reduce “holding” tension. There are many different shapes, sizes, and heights of shoulder pads and chin rests available. Experiment and, if necessary, have one custom-fit in order to completely fill the space between your head and your shoulder. Also, maintain as neutral a head and neck position as possible: one that minimizes the need to tilt or turn your head.

Cellists should avoid thrusting the head down and forward when getting into the higher positions or when performing a long shift. Instead, the neck of your cello should be above your left shoulder, not on it, and away from your face. This allows your neck and left shoulder to feel freer. Avoiding tension in that area allows you to keep your head more erect and it promotes more efficient left-hand playing in the lower positions.

Angle your cello slightly across your body, that way your head and neck can feel free.

Rigidity is the enemy. Remember to keep moving to release tension. Sometimes we are susceptible to neck tension and stiffness despite our best efforts. Always warm up to make your neck more limber. If you are injury free, try the following frequently and gently before practice, during practice, and before performance. To release tension, try nodding, looking side to side, tilting your head (left ear to left shoulder, right ear to right shoulder), shrugging shoulders, and doing shoulder circles frequently.

Be vigilant about your music stand placement. Align it in such a way that the stand allows you to keep your head level and looking directly forward. To see the conductor or the music, vary the position of your chair and your whole body, rather than just turning your head.