the posture

Visualize your roots and imagine them plunging into the ground, from the trunk of this virtual tree, represented by your air column. Here you are, straightened up (during your natural inhaling, your air column gets aligned with your heels, making your pelvis slightly tilt to its equilibrium position), then let the central relaxation slide down to the ground, ending with your air column starting to vibrate thanks to your abdomen transverse muscle : Alfred Tomatis highlights this body preparation in The Ear And The Voice.Transverse_EN

You feel like sitting on the sound source, in your Hara which drives your posture (as Marie-Christine Mathieu shows it), and at this time only, your instrument comes into play, amplifying the vibrating sound. Then, as you are stalled on the belt-shaped transverse abdominus muscle surrounding this center point, you end up forgetting all about the upper part of your body (above the diaphragm) ; in his Art Of Piano PlayingGeorge Kochevitsky shows how the arms should be forgotten to free the player technique.

Your actual trunk becomes insensitive (without any move of your shoulders or of your thorax), and although you feel downward-packed, you get aware of your complementary zones, contributing to the sound production :
– your head, merged with the embouchure which is ideally visualized at the lowest level, down to your heels,
– your upper limbs, ending and merging with the instrument itself, as in Dominique Hoppenot‘s Inner Violin / Le violon intérieur,
– your abdomen, like sucked up by the sound source,
– your lower limbs, becoming your actual roots, spreading the sound through the ground and space.

Focus your mind on your back muscles work, while your air flows ; you will get your balance and keep your verticality, thanks to the action of these muscles.

Robert Pichaureau
(translated by Guy Robert)

Your head and your body merge together.
Your feet push the ground, following your inhaling.

Robert Pichaureau, Favorite Expressions
(translated by Guy Robert)

The problems affecting most saxophonists are often self-inflicted. By that, I mean unnecessary bodily tensions accumulate over time and become habitualized. This results in the player’s inability to relax enough to find a physically comfortable and aesthetically pleasing tone.

David Liebman,
Developing a Personal Saxophone Sound

The balance of the standing body builds up from the pelvis, not from the lower limbs.

Marie-Christine MathieuGestes et postures du musicien
(translated by Guy Robert)

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