There are so many ways to talk and write about musician’s physical wellbeing. I am a deep believer that there is never just one way to address this topic, however I’ve noticed that most musicians whom I come across sight issues that relate to “fingers, hands and wrists”.

One possible way to address these issues is through bringing awareness to the coordination of larger muscles and joint structures that are farthest away from the “fingers, hands and wrists”. This is because the neural structures and mechanical supports that pass through “fingers, hands and writs” start from further up the chain.

When I work with students on strengthening this general awareness, the most interesting thing I find is that they start to become their own problem solvers in a very short span of time.

The approach I use is like a language or vernacular and the most important part of learning it is how you decide to apply it; your context. In this way it is similar to how blues recordings came to be. For example we know from the recordings starting from late 1920’s that the same melody has had many interpretations. It’s interesting how Charlie Patton’s, Muddy Waters’ or Robert Johnson’s version of the same melody has a different quality and of course the use of differing subject matters adds to this personalisation; it’s a perfect example of applying a language to ones own context.

There is no real way of knowing where the source of a single set of lyrics/chordal licks/melody combinations stem from. And similar pains or discomforts may have different causes and solutions for different people.

But specifically speaking, when it comes to reasons why musics experience “fingers, hands and writs” discomforts, we can look at how the limbs (yes, arms and legs) support the torso which can lead to some clues around how “fingers, hands and writs” can gain a more constructive and efficient fluency.

Just with any learning, your inquiry and curiosity leads the way.