For musicians and singers
As musicians and singers, we are dealing with complex requirements. Even if we have practiced well, we may not be able to fully utilize our potential in moments of stress. There are patterns of tension that we don't even know, but that greatly affect the lightness and accuracy of our playing or singing. We have stage fright or are not always free to interact with others or have the feeling that we cannot yet express ourselves as musically or vocally as we would like. The Alexander Technique helps musicians and singers worldwide to develop and fully exploit their potential.
How does the Alexander Technique help me?
The Alexander Technique helps you with:
Before or while making music, it may be that we are concerned with thoughts that are not immediately important for singing or playing or that are disturbing: "Am I good enough? What if I get out? How does it sound like what I do? crap, I just lost my game "etc. With the Alexander Technique you learn to be and stay in the moment, so that thoughts outside of the situation can no longer lead their own lives. You will learn to prevent and calm the effects of stage fright such as tremors or inaccurate play or a brittle voice. In the long term, you are literally connected to the music, the body, the breath and your actions and can control it better.
Postures and movements are often unfavorable without us noticing it at first. This is how we work with a certain amount of (accustomed) overvoltage or with unfavorable postures without feeling wrong. We only look for alternatives when the tension leads to pain or intensifies with stress. With the Alexander Technique you discover these unconscious overvoltages, omit them and learn a completely new interaction between attention and body tension, so that you control your movements better. You set off to relieve your everyday movements and transfer the new body awareness to your music. By accessing a new feeling of lightness and support, you learn to get into your physical center or prevent you from putting too much strain on yourself. When practicing, you can consciously include your body and breath in this new way.
What happens when you feel stressed? Does your breath stay away? Does the sound go wrong or doesn't it come out? Do you tense up and get palpitations? Are there excessive movements prone to errors? Or are you tying yourself down to get control over what you're doing? Everyone has their own way of reacting to stressful situations. And I'm not just talking about stage fright here. In a situation like this, we react with our whole being - the thoughts, the feelings and the body at the same time. The space between stimulus and reaction is then very small and we tense without being able to understand it. With the Alexander Technique you do not learn to react immediately and automatically, but to give yourself space in short breaks. Then the body can relax again and you act more clearly. For making music, this means letting go of a moment in small breaks, reconnecting with your body, breath and your surroundings - so that there is freedom and you clearly implement your musical intentions.
Interaction with others:
When we play music with others, we are involved in the sound process and have to react awake and flexibly to the events around us. On the other hand, we are busy shaping our own part according to our desired sound. So there are questions like: "How can I rest in my own midst, follow the musical pulse and at the same time be open to developments in tempo and dynamics? How can I keep visual contact with my fellow musicians if I read notes at the same time? You learn exactly this simultaneity - present in the body, with the surroundings and ready to move - with the Alexander Technique. The body thus becomes the source for joy of movement and supports you. You can implement and enjoy musical thoughts with less effort.
Sound issues and musical expression / smoothness and tonal certainty:
It's amazing how much body tension affects our playing accuracy and sound. As soon as it becomes difficult, it may be that we make a special effort to "hit the tone" or "sing especially beautifully to play". Unconscious disturbing movement patterns and also such thoughts lead to the fact that more muscle tension is used than necessary. So we have to overcome more muscular resistance that can degrade accuracy and health.
At the same time, our body is also a sound body that, when free and upright breathing and flexible, is best able to carry the sound further. We humans are very sensitive - and musical enjoyment is best when we can breathe freely. If the musician does not succeed, the listener cannot relax and enjoy. Learn with me to feel comfortable while making music and singing and to better control your activities.
Private lessons and offers for orchestras, choirs and institutions
Space for you: In one-to-one lessons, I'm only there for you and your concerns. We go into your situation and find learning steps tailored to you.
Duration and location: The individual lesson lasts 45 minutes and takes place in my studio at Marienburger Str. 9 in Berlin Prenzlauer Berg. A grand piano is available. There are special conditions for students.
Regularity: You primarily benefit from work if you come regularly about 1-2 times a week. Stay tuned to get confidence in the new way of being with your body. The feeling of well-being and the lightness that you experience will motivate you.
You can make an initial appointment at: 030 440 41159 or by email to: alexandertechnik [ät] meikestrohbach [pkt] de
Introductory course for private individuals and small private groups
In a course you get a good view of the Alexander Technique. It prepares you for individual lessons.
"Making music or singing more relaxed with the Alexander Technique"
3 hours - group introduction
please inquire about the next appointment
in Berlin Prenzlauer Berg
Clear voice - Alexander Technique for lecturers and singers: 2-day course 21./22. November 2020 in Berlin Pankow, Respecting Covid we will not sing, but singers profit equally from learning how to connect voice and body in a complete new way
Musical education courses
The Alexander Technique is valued worldwide in the context of musician's health at universities, conservatories and in the further training of choir and orchestra members.
I offer practical introductions and courses for groups. Depending on the group size and duration, individual lessons can also be integrated.
Introduction to Alexander Technique
Prevent tension and stress
Making music easier with an instrument
Perform confidently, reduce stage fright
- Standing in balance and making music / singing
Sitting and making music / singing in balance
I would be happy to create an individually tailored concept for a 2-day workshop, a theme week or for master classes and festivals. I can offer regular cooperation in Berlin and Northern Germany. I teach in German, English and French. Feel free to contact me at: 030 440 41159 or by email to: alexandertechnik [ät] meikestrohbach [pkt]de
My name is Meike Strohbach. Since 2006 I have been teaching the Alexander Technique in individual and group
lessons with growing joy. In my studio in Berlin Prenzlauer Berg, we work in a quiet atmosphere on a weekly basis
in private one-to-one lessons. An Ibach grand piano is available.
I have been playing the piano since I was 5 years old. The interest in being able to play the piano better led me to the Alexander Technique. I took lessons with Elisabeth Molle and was surprised when it was not initially about playing the piano, but about being guided in the movement and perceiving my body anew. Nevertheless, I always felt light and full of energy when I left the Alexander hours. After 2 years of regular individual work, my curiosity was aroused to learn more. So it happened that I looked at training institutes and the training started. 3 years of training with 1600 hours, now 15 years of teaching, still make me happy and inspired to continue researching how movement and attention can easily be combined. I regularly exchange ideas in Alexander Technique and continue my international education with connections all over the world, especially to London and Paris. It so happens that I fall back on a broad background of experience. I am actively concerned with improving my voice expression in my seminars or at choir concerts. Then there is the refinement of my piano playing in the ensemble. In order to easily implement musical ideas, I am consciously connected to my body and present outside. For me, breath plays a central role as a supporting element and rhythm generator for musical security combined with joints that are ready to move and a body that is well supported by the skeleton. I had the most wonderful experience when I once played for a dancer and she became more and more attracted to my music. My attention was both outside and inside, so I was surprised by my tones, but at the same time knew that the tone could be like this and nothing else. In my teaching work, I am always happy when people rediscover themselves, be it in individual lessons or in seminars. Words often cannot describe what happens. It is like access to a new language or a new consciousness. Then physical balance and inner calm and alertness intertwine. Do you want to experience that too? Then give it a try.