Use affects functioning

The New Approach philosophy demonstrates profound congruence with the Alexander principle that “use affects functioning” (Barlow, 1973: 91). The way the body is used in playing the instrument will determine whether it is easy, or in fact, impossible: when faulty movements are used, playing the violin becomes a struggle, and no amount of practise will help unless the basics are improved (cf Havas, 1973: 136). All aspects of successful violin technique depend on a balanced use of the body, and Havas takes great care to establish the fundamental balances right from the beginning (Havas, 1964: 23).

Havas, 1964: 9:

…in order to understand this Approach fully one must realize the enormous difference that lies between the ‘elementary’ and the ‘fundamental’; and it is needless to say that nothing could be more fundamental than establishing an effortless balance of the violin- and bow-holds….Often have I traced the cause of difficulty of many (an advanced) violinist…to a conscious or subconscious anxiety about the violin- or bow-hold.

1 _{See 4.4.4.} U D-w I; U-m U-i MW PC-i SA U KE U-m MW PB U

141 Such anxiety invariably causes inappropriate tension that interferes with a balanced use of the body, and the natural reflexes that make movement efficient and easy. For instance, tension in the fingers of the bow hand, especially the thumb and index finger, quickly spreads to the wrist, elbow and shoulder, interfering in the operation of the arm “as one magnificently integrated system of levers” (Hellebrandt, 1970a: 429). Motor learning difficulties are mostly due to such self-imposed constraints (Hellebrandt, 1969: 365), and the aim of the New Approach is to identify and eliminate these interferences. By disassociating the thumb and fingers of both the right and left hands, opposition of the thumb and fingers are precluded and any tendency to reflexive grasping eliminated (see 4.5.2).

Hellebrandt (1969: 277) concludes that Havas’s teaching devices “serve as key cues capable of unlocking the neuromuscular machinery of the living body in ways which greatly simplify the fundamentals of violin playing”, and are designed to put the body into an optimal condition for learning the more refined playing skills (Hellebrandt, 1969: 363). In other words, by improving use, functioning is also improved: learning the violin becomes easy once a pupil has been shown how “to release that admirable repertoire of natural movements built into the neuromuscular apparatus of every normal human being” (Hellebrandt, 1969: 363), i.e. movements based on the body’s natural reflex systems.

It is clear that this is facilitated in the first instance through inhibiting interference with the primary control, as the New Approach eliminates the concept of a violin hold and the associated tensions in the neck and shoulders, and this will be discussed in more detail 5.2.1.2. Other causes for misuse, as cited by both the Alexander Technique and the New Approach, include: end-gaining, harmful habits, excessive muscular effort and misconceptions, or faulty preconceived ideas. Faulty kinaesthesia and lack of sensory awareness is another cause for misuse recognized by both disciplines, and will be discussed in 5.2.1.3.

Both methods hold that attempting to improve functioning directly (i.e. end-gaining) is counterproductive1. Havas (1961: 1) believes that any amount of practising while

1 _{See 3.3.2, and table 5.2.}

U-m R U-m U-m I R KE U-i R I; PC-m I PC-m EG SA-u SA-l EG

142 there is “physical strain in the mechanics of violin playing” is self-defeating, and cannot bring about the improvement longed for. The New Approach does not teach repetitive, mechanical exercises that would only serve to reinforce bad habitual patterns, but rather seeks to eliminate the tensions and blockages that interfere with a balanced, co-ordinated use of the body.

Havas, 1973: 127:

It cannot be underlined enough that if practising is based on the principles of co-ordination and the interplay of balances, one hour can achieve better results than six hours of mechanical practising could ever do.

The same principle is found in the Alexander Technique: “If a bad manner of use exists….that same bad manner of use will be employed to perform these specific exercises and these latter cannot therefore bring about any improvement in the psycho-physical organism” (Griffith, as quoted in Jones, 1976: 85). Alexander also proposed that instead of attempting to solve a problem in a localised, specific area of the body, attention should be paid to one’s general muscular co-ordination (Barlow, 1973: 96). Likewise, instead of focusing on part-function1, the New Approach aims to improve co-ordination through a natural, whole-body balance, where “each point of balance is interlocked and interdependent of another” (Havas, 1964: 76).

In the discussion on the Alexander Technique, excessive muscular effort and inappropriate tension was cited as a prime cause of misuse2. Similarly, Havas believes that problems in violin playing are mostly due to the mistaken idea that some kind of superimposed pressure or force is necessary in the playing movements (Havas, 1964: 2). Attempting to realize the desired musical result through conscious physical effort merely results in unnecessary muscular tension, which contributes to stage fright (Havas, 1973: 82). Musical communication can only take place through transmitting one’s musical imagination and physical energy through an inside-outward, organic rhythmic pulse, which in turn depends on the flexibility of all the joints, including shoulder sockets, elbows, wrist and knees (Havas, 1973: 14). Any rigidity, such as

1 _{See 4.3.1.} 2 _{See 3.3.2.} U-m EG I; U-m U U-m EG MW EG MW; PB U-m U-m EG U-m MW U-i U-m

143 stiffness in the fingers, wrist or elbow, will block the flow of these energy impulses, and result in malfunction, such as a trembling bowing arm (Havas, 1973: 29).

While the New Approach aims to eliminate unnecessary tension in the playing movements, Havas (1973: 15) points out that freedom of movement is the ultimate aim, and not relaxation, or flaccidity:

It is important not to confuse the concept of relaxation with movement. The word ‘relax’ is often used but not often enough understood….As violin playing consists mostly of purposeful, vigorous and strong actions, the desire to relax while realizing these actions can create serious conflict in one’s nervous system, because of trying to combine two actions which cannot be combined – such as being vigorous and enervated at the same time. It is essential that the significance of the natural, organic movements, with their inherent powers, are understood correctly and applied systematically. (Havas, 1973: 15.)

Havas’s view is entirely congruent with the Alexander Technique in this matter. De Alcantara (1997: 16) indicates that good use of the self requires the right kind of tension, which is “a prerequisite of dynamic, energetic, vital human endeavour” (1997: 15). Neither the Alexander Technique nor the New Approach are concerned with relaxation as such, but with eliminating (or inhibiting) faulty, mal-distributed tension patterns that cause interference with optimal mental and physical functioning. Alexander (as cited in Barlow, 1973: 96) suggested that the basic cause of misuse is psychophysical, rooted in faulty preconceived ideas and misconceptions. A faulty idea of an activity, or misconceptions as to how muscles and limbs work1, can lead to misuse of the body and inefficient functioning. Havas also examines the psychophysical causes of misuse, in order “to eliminate both physical and mental obstacles” (1964: Introduction). Through the New Approach exercises, concepts and beliefs around the handling of the instrument and other aspects of technique are explored. While these misconceptions are common to many players (cf Kenneson, 1974: 11), each person’s pattern may vary. In working through the exercises with a teacher’s guidance, a pupil’s specific tendencies are brought to light, and countered through the use of the New Approach principles (cf Havas, 1961: 57).

1 _{See 3.4.2.} U-m I CF U-m R U I U-m U-m U-m I; U-m GM D-I

144 The New Approach identifies visual misconception1 as a major cause of misuse in playing the violin. The optical illusion that the fingerboard is excessively long or the neck very thick causes anxiety, creating tension and discomfort in the left hand and affecting its function. Misleading visual information can cause one to believe that the hands or fingertips lead the playing movements, as they are directly in the line of vision. This misconception results in unnatural movements that are contrary to the physiological principles underlying the body’s functioning, and causes tension and rigidity. The New Approach exercises are designed in such a way that one is made aware of these unconscious beliefs and resulting tensions, in order to eliminate them. Similar fallacies are recognized in applications of the Alexander Technique: De Alcantara (1996: 25) identifies in one of his pupils an “end-gaining idea of controlling visually something that should be controlled kinaesthetically (that is, by muscular feel)”, which consequently triggers a pattern of total misuse of the self, negatively affecting functioning.

Sometimes these misconceptions become accepted in conventional wisdom, and are even taught in orthodox violin methods. One such example is the idea of a vertical left-hand finger action, which derives from the fingertips appearing to do the work, even though the actual source of the movement is in the base knuckles. Havas believes that the freedom of the thumb will remain elusive as long as there is vertical pressure from the fingers on the fingerboard, a danger inherent in the very concept of a vertical finger action (Havas, 1973: 43). In seeking to identify the actual (and often

invisible) source of each movement2, Havas eliminates these misconceptions and

teaches a very clearly reasoned means whereby use can be improved.

It is clear that both the Alexander Technique and the New Approach recognize that human beings function as a psychophysical whole, and seek to address the mental as well as physical aspects in order to solve problems, and improve functioning3. Barlow (1973: 125) points out that it is not easy to separate the physical and psychological reasons that cause muscular dystonia, as the way we construe our surroundings and experiences “is a psycho-physical act, in which Mind cannot be separated from

1 _{See 4.4.2.}

2 _{I.e. the fundamental balances; see 4.4.4.} 3 _{See 3.3.2 and 4.3.2.} U-m SA-u U-m EG U-m I EG U-m EG U-m MW I MW; U-i U-i U-m

145 Muscle for long.” Havas (1968: 32) also finds “the interplay of the physical and psychological reactions a never-endingly fascinating study”, and points out that the continuous co-ordination of natural, organic movements is able to release and control both aspects. Negative mental attitudes often arise as a result of physical distortions, and releasing physical blockages therefore has a positive influence on mental anxiety (Havas, 1973: 127). The following statement by Barlow, as a proponent of the Alexander Technique, confirms her view:

Barlow, 1973: 125:

The body is not simply system of mechanical levers, to be adjusted into different positions like a mechanical crane. It is a subtle organ of expression, in which emotional states modify and are modified by muscular tension states. Muscular tension states frequently occur in situations where there is emotional strain (Barlow, 1973: 125). In order to obtain a free and balanced use of the psychophysical organism, therefore, it is essential that emotional and mental anxiety be addressed together with their physical manifestations. This is precisely what the New Approach aims to do (cf Havas, 1973: 16).

While certain individual master teachers may pay attention to more than just the physical aspects of violin technique, most structured violin methods do not. Perkins found that, in comparison with the Rolland and Suzuki methods, only the New Approach “consistently addresses the needs of the whole individual” (Perkins, 1995: 202) in also dealing with the mental, emotional and spiritual aspects of violin playing, and their impact on personal musical expression and growth.

In Stage fright (1973), Havas made an in-depth study of the causes of anxiety. In each case, the causes for the physical, mental or social anxiety are examined, followed by their relative cures in the form of specific exercises and advice. In examining and exposing these various causes of misuse, they can be inhibited and eliminated, and replaced by a reasoned out means whereby a better psychophysical functioning can be obtained. U-i U-m U-i U-m D-I T-g U-m D-I MW; U-i

146 From the above debate, it can be seen that the New Approach answers to all the indicators for the Alexander principle that use affects functioning, as discussed in 3.3.2, and summarised in table 3.1. Use is not improved through attempting to control functioning directly, but by identifying and eliminating the specific causes for misuse, which are described in similar terms in both methods, and relate to our functioning as a psychophysical whole.

Use is improved in the New Approach through:

1. eliminating interference with the primary control, by doing away with the concept