Listening with Awareness: An Alexander Technique Perspective
When I coach a singer, it’s easy to get caught up in a flurry of tasks. I'm often playing an opera score, singing cues, and listening closely so I can offer feedback about musical ideas and diction. With so much happening at once, it can feel as though there’s little room for anything else.
But recently I’ve started to pay more attention to my own use while coaching. In Alexander Technique, use refers to the way we coordinate ourselves in movement—having “good use” means we’re not interfering with how our body naturally moves.
So even while focusing on all the musical details of a coaching, I’ve begun to think about things like the space behind me or the connection from my sit bones to my head—things that might seem unrelated to the task of coaching.
What I noticed
Something unexpected happened when I did that: my coaching improved.
Because my own coordination was better, I felt a sense of openness that extended into my listening. Instead of hyper-focusing, I could hear things as a whole. Releasing unnecessary muscular tension seemed to create an overall sense of freedom, and a deeper level of listening became possible.
After one such session, a singer turned to me and said: “You’re a really good coach.” It wasn’t what I expected to hear at that moment—but it showed me what a difference this shift had made.
Why it matters
Most of us know we need to take care of ourselves in order to serve others—but in our musical work, we don’t always apply the same principle. It can feel counterintuitive to give some attention to ourselves, especially when we assume the best way to help someone is to focus entirely on them.
Yet bringing awareness to our own coordination supports deeper listening and fosters a more natural connection with collaborators. And even in solo performance, this kind of awareness can enrich our listening, musicality, and interpretation.
Trying it yourself
If you’re curious about trying this, you might start by noticing your own physical coordination while practicing alone. For instance, what happens if you think of the connection from your sit bones to your head while playing a piece that isn’t too difficult? Once that feels familiar, you might bring the same awareness into a rehearsal or collaboration.
Where to go next
If you’d like to explore more ideas like this, you can start by downloading this free PDF for piano teachers. It offers simple Alexander Technique principles you can apply in your playing and teaching right away. And if you decide you’d like to go further, I can help point you in the right direction.
Who knows—it might be the beginning of a practice that transforms not only your music, but your teaching and collaborations as well.