As a musician/artist and a physical therapist, I have discovered that the capacity to play music or create art in an efficient, relaxed and expressive way is affected by the integration of small movement potentials. The deepest of these are in the central core of the body. The most central and structurally dense of these occurs in the bones and the neurology it protects. Bones have both a structural component and an electrical/energetic one. The forces that run through our bones affect our postural integrity and sense of self. These forces likewise communicate/travel from one bone to another at the joint interfaces and through the supportive ligaments becoming part of the vast interconnected web that we experience as our body.
In a simple way, how we touch and play our instrument, our manual dexterity, is affected by structures and their integrated motions which lie function further ‘up the chain, ie. closer to the core. This is first seen in the shoulder blade: the movement at the shoulder blade (scapula) is the structural base of support for controlled movement at the fingers. These muscles are influenced by what they are attached to, ribs and spine. The movement available where ribs attach to the spine changes the neuromuscular environment of the shoulder blade. It affects motion/ glide on the rib cage. If there is restriction of this glide, there is extra work (compensation) required at the elbow, wrist and fingers. We have to work more to get the same thing accomplished. If this scapular glide is free, our playing eases.