WARM UP!

Dec 30 2006
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Janet Horvath
Janet Horvath

Janet Horvath, associate principal cello of the Minnesota Orchestra for more than two decades, is a soloist, chamber musician, writer and advocate for injury prevention. A trail-blazer in speaking and writing openly about the physical stresses experienced by musicians, she has contributed importantly to the awareness of musicians’ work-related ailments and their prevention. She is in demand all over the nation for her seminars, “Playing (less) Hurt.” Through her efforts, which have included precedent-setting presentations before professional symphony orchestras, Ms. Horvath has contributed significantly to improvements in working conditions for all orchestra musicians. The Injury Prevention Guide for Musicians, which benefits from her decades of lecturing, teaching, and research in the field of performing arts medicine, applies not only to symphony orchestra instrumentalists, but also to professional, amateur, and student musicians in all disciplines.

In 1992 Ms. Horvath received the American String Teachers Association Service Award in recognition of her outstanding efforts on behalf of musicians’ health; in 2001 she was selected to deliver the Richard J. Lederman keynote lecture at the Performing Arts Medicine Association’s nineteenth Annual Symposium on Medical Problems of Musicians and Dancers in Aspen.

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Warmed muscles are more efficient, strong, and resilient. Muscle speed and efficiency are enhanced by a rise in the temperature in the muscle. Muscles that are overused, fatigued, and under-conditioned are more tense and require more work for a demanding task. An athlete wouldn’t think of starting in without a warm up!

It is important to start by gently and smoothly using your muscles for a few minutes to increase blood flow without stressing them. Cold muscles are inelastic!

First, warm up away from the instrument. Any aerobic activity like a brisk 5-minute walk, stair-climbing, or jumping jacks followed by some upper extremity stretching will do the trick. These could include shoulder shrugs and rolls, reaching towards the ceiling, stretching your arms back behind you, clasping your hands and lifting your arms behind you, and some hand and arm circles— all good for warming up.

At the instrument, start slowly and easily in the medium range of your instrument and at a medium tempo and dynamic. Avoid starting with chop-busting exercises, double stops, large chords, any reaches, and other pyrotechnics. How you start playing is more important than what you play. Working a muscle too quickly can cause the muscle to contract. Start gently and gradually increase the speed and intensity in each session. Take more time to warm up when it’s cold outside, when you are more fatigued, and especially after injury. Remember to keep breathing and to focus on the release of any awkward or strenuous positions.

From Janet Horvath’s Playing (less) Hurt; An Injury Prevention Guide for Musicians

www.playinglesshurt.com

© 2002 and 2006, Janet Horvath

About the author

Janet Horvath
Janet Horvath

Janet Horvath, associate principal cello of the Minnesota Orchestra for more than two decades, is a soloist, chamber musician, writer and advocate for injury prevention. A trail-blazer in speaking and writing openly about the physical stresses experienced by musicians, she has contributed importantly to the awareness of musicians’ work-related ailments and their prevention. She is in demand all over the nation for her seminars, “Playing (less) Hurt.” Through her efforts, which have included precedent-setting presentations before professional symphony orchestras, Ms. Horvath has contributed significantly to improvements in working conditions for all orchestra musicians. The Injury Prevention Guide for Musicians, which benefits from her decades of lecturing, teaching, and research in the field of performing arts medicine, applies not only to symphony orchestra instrumentalists, but also to professional, amateur, and student musicians in all disciplines.

In 1992 Ms. Horvath received the American String Teachers Association Service Award in recognition of her outstanding efforts on behalf of musicians’ health; in 2001 she was selected to deliver the Richard J. Lederman keynote lecture at the Performing Arts Medicine Association’s nineteenth Annual Symposium on Medical Problems of Musicians and Dancers in Aspen.

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