The Mind Over Finger Podcast - 184 Dr. Hannah Murray: Move Better to Play Better

Episode Date: December 8, 2023

Conversation with Dr. Hannah Murray of corpSonore, including topics such as: Why understanding anatomy is crucial for musicians to play with proper technique and avoid injuries. The importance of distributing tension and integrity evenly throughout the body for better music-making. The importance of patience in the practice room, as it allows for deeper exploration and understanding of the body and movement. Our views on the need for a more holistic approach to music education And so much more!   Book your free consultation with Renée HERE Download the transcript from this episode HERE     MORE ABOUT HANNAH & CORPSONORE Website: www.activeviolinist.com   CorpSonore: https://www.corpsonore.com/    YouTube channel:  https://www.youtube.com/@corpsonoresoundbodywellnes8085/videos Facebook: https://www.facebook.com/CorpSonore Hannah's Instagram: https://www.instagram.com/activeviolinist/ CorpSonore's Instagram: https://www.instagram.com/corpsonore/   LinkedIn: https://www.linkedin.com/company/corpsonore-sound-body-wellness/   As a gift to you, Hannah has created a code for 1 free class on the corpSonore platform. You can use code MOF10 at checkout to attend any live class or use it for any class in the on-demand library.   The Pain Free Performer The Pain-Free Performer is a 3-month program beginning January 8th. This experience is designed for musicians looking for solutions to playing-related pain and discomfort who feel like they have untapped potential inside of them. If you've struggled with the same aches and pains for years and can't quite find a long-term fix, your nerves get the best of you in high-stress environments, or your students constantly ask you questions you feel you can't answer, this course is for you. CorpSonore has carefully crafted this offering to support your music-making and enhance your artistry using a 3-dimensional approach that includes nutrition, movement, mindfulness, anatomy, private study, group classes, guest masterclasses, and ongoing support. It's time to take care of musicians and create long-lasting careers from the inside out. To learn more, visit: https://www.corpsonore.com/painfreeperformer.  To check in, say hi, and find out if this is the right program for you, book a free consultation at https://www.corpsonore.com/oneonone-sessions And to drop me a note the old-fashioned way, you can email me at [e-mail].   Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme:  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.

You're listening to The Mind Over Finger Podcast, episode number 184. Welcome to The Mind Over Finger Podcast, where we dive into the world of mindful music making, peak performance, and crafting a purpose-driven life and career. I'm your host, violinist, certified performance and life coach for musicians, and your guide to unlocking your full potential, Dr. René-Paul Gaultier. Hi, everyone. Today on the Mind Over Finger podcast, we hang out with Dr. Hannah Murray. Dr. Murray is a classically trained violinist and musician's health specialist based in Los Angeles, California. She's the co-founder of Corsonor, a platform for musicians' health and wellness, where she hosts a podcast,

curates a newsletter and leads movement classes for musicians hannah is a tamani teacher and certified yoga instructor who specializes in working with musicians of all ages and abilities to find ease reduce discomfort and optimize movements for more effortless performances who doesn't love that she's an active and sought-after educator who regularly gives lectures workshops, and masterclasses on health and wellness topics, posture, tamani, violin pedagogy, and yoga for musicians. As a performer, she's toured internationally with various bands and composers, recording for major artists and projects, and performing as a principal player in orchestras nationwide. I've had guests come on the show and present other modalities before.

Lori Schiff talked about the Alexander Technique in episode 80. Jenny Clift guided us in the Emotional Freedom Technique in episode 83. Kimberly Henkins led us through breathwork in episode 87. Frank Diaz discussed meditation in episode 90. Yuri Vardy brought the Felon Christ Method in episode 96. And Jennifer Johnson covered body mapping in episode 152. And today, Hannah introduces us to another amazing modality conceived to help musicians. Timani. And that is spelled T-I-M-A-N-I.

And what is Timani? With Timani, you learn to move better so you can play better. It focuses on the physiological aspects of playing to help musicians make the best use of their body while practicing and performing. The exercises and anatomical knowledge you learn with Tamani are designed to help with understanding and overcoming challenges related to pain, injury, technical issues, sound production, or even just to enhance your playing. In our conversation, Hannah and I touched on several topics, including why understanding anatomy is crucial for musicians so they can play with proper technique and avoid injuries. the importance of distributing tension and integrity evenly throughout the body for better music making the importance of patience in the practice room as it allows for deeper exploration and understanding of the body and movement our views on the need for a more holistic approach

to music education and so much more hannah is absolutely amazing i was very inspired by our conversation. And I know that you're going to walk away with tons of insight and no need to take notes. Click the link in the show notes to grab the summary and transcript of this episode. All right, let's go to the show. Hannah Murray, thank you so much for being on the show. My pleasure. I'm so excited to be here. I'm very excited to have you. As I told you right before we started, I love your work and everything that you've done.

You have a very unique journey, and I would love for the listeners to get to hear it in your own words. So please tell us about you and how this artistic path of yours has unfolded. Well, once upon a time. No, I'm just kidding. um so I would say that my training as a violinist was fairly standard for a long time um you know I went to um serious music festivals all the way through high school I've studied privately very seriously before and after that I went to um college for too many years probably to study

the violin and I always um I just always felt like I was like I couldn't quite I couldn't quite figure out like why I would have a good day one day and a not good day the other or like some performances would go really well and then some would were like a dumpster fire and then you're like okay maybe it's my breakfast maybe it's my this and you try really hard to do what a teacher tells you to do over here um or you try this kind of hack for getting on stage and performance anxiety over here and you just are kind of left with a trail of like half solutions i guess sometimes and i felt like i would watch my favorite violin players especially as an adult um i've watched my favorite violin players on youtube and you're like what is going on

with their playing like something is working so well and yes they're so talented but like what am I really seeing here and how can I capture a little bit of that for myself and how can I help my students with that um and it sent me on a journey to really start evaluating the the human body and how the human body really plays into our music making so you know I started with yoga which i still love um sometimes i feel like people think oh she just doesn't like it anymore because she talks about all this other stuff now but i still love yoga i still teach yoga i still practice yoga and it was kind of the opening or the introduction to how to feel really good in my body and take practices and principles and apply them elsewhere and then i reached a point and you

know I got totally obsessed with you who do Menuhin and BKS Iyengar and I probably know more weird facts about those two than anybody else in the world at least any other violin player um and then I kind of got to a place where I jokingly say like I just didn't know the yoga pose to make my trills faster, or I didn't know the yoga pose for improving my upper staccato. And I just felt like yoga opened my eyes in so many ways. But I it was like the very beginning of the journey. And so from there, I started on a path to kind of find more answers and more solutions and more things to ponder within the body beyond the physical practice of asana and yoga. Et voila, here I am.

And you pursued a practice called Temani, right? Can you tell us a little bit about that? That sounds fascinating. Yeah, so Temani was what I had been looking for through the study of anatomy because it is anatomy specifically for musicians. So it's really about how to take advantage of the structures in our body to make more effective efficient and beautiful music and I

always say it's like like it taught me how to get the roadblocks out of my way to fully express myself instead of fighting you know my mind or my body or my nerves it was like it cleared the path so that everything started to work together and um and it also taught me a lot of compassion for myself. Because I think that through music training, some of our pedagogical instruction and education isn't necessarily grounded in anatomical information. And it gave me a lot of peace that I had tried so hard to do something that didn't work, and my body tried so hard to do it. But when I could kind of match up what my body should be doing with making music, it was like, wow, I can do this, you know? Right. I love how relatable your story is because I can imagine

so many musicians out there, not just violinists, having felt this way while they were studying and actually probably still feeling this way now. We're all looking for these answers. And I love that this curiosity pushed you to explore so much and what you're talking about getting roadblocks out of the way I think that's what everybody is looking for so can you tell us a little bit more about why is it important for musicians to study and understand anatomy yeah so when when I was younger I used to think that studying things like anatomy was a distraction from studying music like I just want to know how to play Mozart why are you telling me I have to go learn about the bones in the hand or whatever but the the way our body works is not to sound so cliche is kind of an

amazing symphony and every joint and every muscle and every every structure has its place in everything running well and moving well together and when we as musicians a violin is such an easy example when you put a violin on your shoulder and you play we never at least I should say we never I never had the opportunity to consider what was happening underneath the skin and that there's 25 muscles in the shoulder and not all of them are holding muscles not all of them are like hold the violin underneath your chin in a really uncomfortable way muscles some of them are like go climb a tree muscle muscles they're meant for big movements and they're meant for big you know ranges of motion and but I'm trying to use them in a way that they're not really

ideally set up for so understanding how to really take advantage of the structures that are there the support structures versus the movement structures was really life-changing because then I wasn't trying to support and move with the same structures. And this happens all over the body, the hands, the fingers, the forearms, the shoulders, the chest. I mean, you can really differentiate how you use different movement patterns when you start to understand how they how they occur and how they function. I can definitely relate to this. I was practicing some string crossing earlier and really paying attention to how my upper arm can help with this and too much versus not enough and all of that. That's very interesting what you're saying about

support versus movement. That's something I had never quite considered before. What is Tamani? tell us a little bit about tamani yeah so tamani is a method um of training the body for specifically for musicians it was founded about 15 years ago i think in norway and i'm one of two teachers in the united states um and it was founded by a pianist who was she she adamantly kind of says like you know I wasn't looking I wasn't like a health geek I wasn't looking to be like the wellness guru or anything I just wanted to play piano better and it's kind of it sent her on a big journey to unlock and uncover this relationship of our body can make to music making in a way that's not putting the way it feels for me on you and your experience like you should feel it like

this because I've had teachers do that you should feel it like this and you're like I'm trying to feel like this that is not what I feel or you're a really large strong man and I am a woman with much smaller shoulders it's not going to feel the same so it gives you the the the vocabulary to explain and articulate really what's going on when you make music or how to change things and it works with a couple different um concepts we talk a lot about tensegrity so the idea of tension and integrity being evenly distributed throughout the body we talk about differentiation which is choosing which muscle um initiates i guess uh a movement or a pattern of movements um and we talk about proprioception, which is your kind of inner GPS of where your body is in space

and how these can work together to optimize movement. I love that. Is that done in one-on-one setting or group classes? How does that function? So I work one-on-one with musicians, mostly professionals, who have kind of hit a road, excuse me, a roadblock or a wall, or have kind of a reoccurring pain or frustration that they're constantly running into. But I also work with, I also build it into my private lessons with my private students so that they're getting a little bit of this strengthening and appropriate, kind of appropriate stability building in their own lessons. And then in the movement classes I teach, it is totally informed how I teach a yoga class.

So when I'm teaching movement classes for musicians, which I do, I use this as a lens so that we can really take the idea of shoulder stability to another level. so that we're not just doing planks without knowing how to hold it, or we're not just strengthening our core without understanding an underlying reason as to why this would be important or which part of our core really needs the support. That's really interesting. What does that look like in action? So you talked that I'm right. I want all my roadblocks to get out of the way today in this call. Well, get your instrument. Let's do it. Yeah. Can you give me an example of what that might look like? I don't have a specific process in mind, but it's so interesting for me how that relates with mindfulness or everything related to mind over finger, which is how we think about movements before we execute them. and also how what you said in terms of how it will feel different for everyone so we're not

just following someone's way of doing things but finding our way through it yes so a typical private session happens with this vague um or general outline where we would talk about what it is that you want to work on maybe I don't know you have chronic left shoulder tension which is very common for violin players or I get a lot of really sore deltoid muscles in the bow arm so there's a lot of tension happening on the top of the shoulder and we would talk about it and what how it feels in your body and what you do and maybe your practices and etc etc and then I would film you playing. So you, we would have kind of that baseline of what norm quote unquote normal is for you. Um, and afterwards we would watch that video on silent. So you can't get distracted

by your beautiful tone. And we would evaluate your movement. Like, what do you see when you see yourself playing versus what do I see? And then we talk about maybe one or two areas that are not helping you so maybe maybe if it's a shoulder issue instead of going straight to the shoulder we look at how the hips are aligned and then we do some exercises that really get into the alignment below the shoulders and then we play again and see how that impacts the the whole experience for you um maybe we get into a real maybe you're a person who's like i just i need more hand strength or my forearms really hurt um we have a whole array of exercises from like the very muscular type like we're building strength to the much more relaxing and therapeutic approach

so if you're a person that is like in the midst of experiencing a lot of pain we don't necessarily want to have this like oh like push it hard experience where you're having pain so we have other approaches that are a little bit more gentle and softer and all of these exercises it's exactly what you're talking about like it's a it's about mindfulness it's about experiencing a different connection with yourself and your human experience which like so woo woo that i can just i just love it so much about how it feels in your body and how mindful i can be and how I can then relate this new experience or this new sensation to the practice of playing music. And I think that can be really magical and powerful. And sometimes it can be really

confusing because we sometimes are giving so much input, new input to the system that it can kind of not feel really like anything. It can feel like I remember the first time I did tamani exercises for my hands and i felt like i didn't know where like i felt like i was playing violin for the first time ever everything was kind of in a different place and like like what is happening um and so it doesn't always feel like this like um magical transition or like um transformation there we go that's the word um but it can add as roadblocks along the way or or building blocks along the way to kind of give you more power or or just to

to yeah move the dial i guess on what what feels normal or what's serving you so that they can kind of align a little bit more cohesively. And as I hear you speak, it reminds me of the importance of patience. I mean, I did the whole episode on patience because I feel like it's a superpower. I was just kind of joking where I said solve all my roadblocks, but I think that's a huge problem for so many of us where as we're trying to find solutions for our problems, if we don't find the thing that works right away, we neglect the exploration portion and we just go to the next possible solution. And there is at times, I think, an impatience to get to a solution that actually robs us of the solution because we're not exploring with curiosity. We're

not taking the time to really figure out the solutions for ourselves so this approach feels like it slows things down and you know brings this mindfulness and so that for me i feel that any reminder to bring about more patience in any process in the practice room is is an advice that is a reminder that i receive yes and i and you know we we have to we're rebuilding neural pathways basically and the habits that we have you know for hours every single day we've made a habit in this direction and now we're moving the road i don't know two inches over to this side it takes patience to to make that set as the new normal in your system and, and just living with that reality, but also knowing just because it takes patience doesn't

mean you're not reaping rewards along the way that even like, you don't have to wait until it's fully set and perfect and new or, and you're a totally different hand set up for some of the good to really shine through some of the positive changes to happen. I know one of the questions that the listeners are going to ask me for sure is because we've spoken on the podcast about we had Alexander Technique, Feldenkrais, body mapping. How does Tamani differentiate?

And I do find for myself that all of these modalities also meet somewhere for sure. Definitely. Yeah, I think that we would all have a really fun party. The Alexander Techniques and the body mappers and the Feldenkrais practitioners um and yoga and the yoga exactly it would be a it would be a fun time um and i love this question

and i think that it is really helpful because i think everybody starts at their own starting point for me i couldn't i and it might have just been the teachers and practitioners that i was working with alexander technique never quite resonated for me and i tried many times and it just wasn't it just wasn't my entry into this world um yoga and that mindfulness practice was an entry into this world and the concepts of alignment and stability and this flow and all of these you know i think every at the end of the day everybody's looking for the same thing or everybody has a way of capturing or working towards the same goal but everybody needs maybe a different path to get there and everybody's path evolves and changes and develops like there's

definitely been times in my life just thinking about how I practice yoga where I need something really structured and really rigid and and then sometimes I need something a lot more flowing and And sometimes I need something more restorative. And, you know, there's an intuition to my journey through that movement modality that is totally valid. And it's the same with Feldenkrais and Alexander and Tamani. You have to find the modality that meets you where you are at that point. And I think then everybody can move forward and keep exploring new solutions. I love that one of the things about you as well as you're a very active performer so you have the chance to apply this in process every day and you're also a very active teacher you've mentioned earlier certain things about you know how we learn your experience with your own teacher what do you think music education should look like today oh my gosh this is one of my favorite things to just ponder when I have spare time I just think

it's one of the most fascinating questions to explore as an educator and somebody who's been educated um because there I think that our training system doesn't quite keep up right now with the demands of uh contemporary life in music I think there are a lot of things that a lot of us get kind of we get done with our degrees and then we're out in the real world and then we have to figure a lot of things out yeah and and a lot of that has to do with how we take care of ourselves and making sure we have practices beyond just practicing our instrument that evolve our musicianship and you're so good at talking about all of those benefits of you know the other things you can be doing besides your countless hours in the practice room

and so there's a holistic quality to music education that I think is missing that needs to be taken seriously for the longevity of the students, as well as the longevity of this art form that we all enjoy. And another component is, there was no point. True confessions. In my undergrad, there was something really stifling about just being a classical musician. And I was like, I can't, I just have to be free. And so I joined rock bands, and I went on tour, and I did all of this non-classical playing because I felt like my voice wasn't nurtured completely in a traditional training ground and as a teacher it became really important to me to help my students cultivate their own voices much to their chagrin they get very annoyed and I'm like what

do you think that phrase should look like and how should we blah blah blah what's going on in this part of the piece and they're like just tell me am I supposed to crescendo or diminuendo like what is it um but I think it's a lesson that we have to start helping our students explore and uncover um and so if I was to redo music education there'd be a lot of things I would add I don't know what I would get rid of because I do really love music music history and music theory and like those classes are also really fun and worthwhile but I would add a lot of support around the musicians um and I was actually just on a residency at Oberlin where the students were really really asking for prevention what can we do for injury prevention you know like this is

something we should build into curriculum um the notion of how to care for yourself if you ask any college student how much how much sleep did you get last night most of them proudly tell you six hours and it was a great night you know and you're like oh you're a poor brain health you know and so there's just these little or like how to set goals for yourself that are really manageable and aren't just like sound like Hillary Hahn at my jury in December you know there's so many of these caring tactics that actually will propel them forward that we just don't have access to until we really are forced to find them ourselves. Yeah, that's a conversation that I'm definitely passionate about. And I see, I see it growing. And I think it's so great. I feel like

the younger generations, actually, they have, they have a little bit better than me. There's so much more resource be and you know everyone's journey is so different it's funny how I included in my question a word that I'm trying to stay away from a lot more and more with I ask you what music education should look like and the word should is something that as soon as I said it this alarm bell went in my head is a word I'm trying to stay away from more and more as time goes, because I feel that that's the word that gets us all in trouble is when we think we know what we, you know, we should do and what everybody else should. And yeah, I think that an education system that gives more room to exploration and all of that support. I love how it goes back to

what you were talking about earlier about, you know, knowing your anatomy and your support versus movement where yes all right it's all the same education system puts a lot of emphasis on on the movement and the support is lacking at times i do see it improving i love seeing the inclusion of more improvisation um of more you know the movement approach um all of this is so important but yeah i completely agree i completely agree with you i thought we'd be on the same page about that. There's one more question I want to ask you before we jump into the rapid fire question. You are, I don't know if you're the CEO, what your exact title is, but you're in charge of a wonderful organization called Corsonori. And I'd love to hear about how that came about the birth

and the evolution of, of, of this organization. Yeah, I, well, I love this organization. I love talking about it so let me go let me go for it um so Corsonore is we can't figure out if we're celebrating our fifth or sixth birthday but it's been in the works for at least eight years and it it is the collaboration between myself and my business partner Madeline Stewart who is a vocalist because of the support that we that was lacking in the music world and taking care of the musicians beyond the music and when I was doing my dissertation I wrote my dissertation about using Iyengar yoga to enhance violin playing and in order to do so I had to do a bunch of research on musicians injuries and all of the data and what screws us up all the time and I was like

oh my gosh people are studying us there's papers written this is amazing how are how is this not part of our teaching like it exists but it's so hard to get our hands on it and it's so hard to understand and it takes like a whole different skill set to understand how to read a research article yes and and then I was like my professional colleagues are not going to spend the time to decipher this information, nor should they. They have a different job, but they deserve to have the resources that will take care of them. So at the beginning, it was really a platform meant to bring voices in research to the musicians. It was there and it still is there to bridge the gap between research and practice. So we publish articles on all sorts of things. I mean, we've had

everything from human design all the way to musicians injury prevalence we've had everything from statistics in mindfulness all the way to like recipes that you can make easily in a holiday the holiday gig season we also host a podcast where we talk with many of the time actually most of the time we talk with musicians who are also offering additional services. So I'm just thinking quickly, like we've had a very successful opera singer who is also a nutritionist and he works a lot with musicians, especially vocalists for how things affect their larynx and vocal track,

which until that episode, I had never thought about that. Right. Yes. It's like the whole thing we've talked with cellists who, invite their audience to meditate as a collective before a performance. And it's been really eye-opening to hear these voices come forward and really express what took them on their path and how they provide answers and resources to the music community. We now also offer movement classes for musicians. So if you know that you should be working out and need a good excuse to do it in a way that takes care of you and your, you know, music making anatomy, then we

offer those as well, as well as programs specifically for musicians looking to optimize or change their perspective exactly on what it is and how it is they do it. I love that. You use the expression bridging the gap between research and practice. And I feel like you are really bridging the gap between, you know, what's lacking for many musicians and what they need. That's fantastic. Thank you. How about a round of rapid fire question?

And as you and I established, it's never very rapid. So feel free to take your time. So as I said, you're still a very active performer and you have all of this knowledge, uh this i by now probably embody knowledge and all of these modalities must bring so much and contribute so much to your playing and performance what makes practicing enjoyable for you i love the way making music feels in my body i love the feeling of the resonance of my instrument in my just in my system it's like music therapy for me I agree with you on this sometimes I just

like how the violin feels in my fingers you know just like pulling it or like an open g-string just like resonating through you and you're like oh I can't stop you know yes how about a favorite practice tool oh favorite practice tool um like a device practice tool any i can edit this out anything like some people were talking about um sure metronome or mirror uh at some point someone talked about having a notebook that take notes so that they wouldn't be distracted by their thoughts? I don't know, anything. Oh, gosh, this one, this one's hard for me. I would probably say, like, this is so weird, but like a really good smelling candle while you're practicing something to set the mood or

the tone in your environment. Yes, it's very helpful when people underestimate the importance of setting your space yes definitely we talked about music education what about skills that young musicians studying today i won't say should but perhaps could acquire in addition to learn to play their instruments yeah i think um some entrepreneurial skill will go a long way um there's a lot of musicians right now who i really admire yourself included who are carving their own path and story through this um through this calling and quote-unquote job and it's so unique but it also takes a lot of support so aren't being finding ways to support that and really finding ways to like honor your uniqueness on the road to to defining your own

success. I love that. You know, what's interesting too about Mind Over Finger is when we go back to the things that are in place in the music education system right now, I mean, of course, universities, colleges, they cannot include everything. Otherwise, degrees would get too long, too intense. There's already so much. And I do think that all of these classes, you know, ear training, theory, solfege, all of this is so, so, so, so important. But Mind Over Finger was born out of me being incapable of bringing the curriculum I had created to the institutions where I was teaching. So I had all of these ideas, all of this knowledge I wanted to give to the students that I thought would be so helpful to not just help them practice,

but also help them suffer less it was the suffering that was getting to me the most yeah and I was building these courses and I was you know presenting it and trying to see if this could be included in the curriculum and you know I mean I don't think it's for lack of wanting it's just sometimes it's a lack of resources and so finally I decided to tap in my entrepreneurial skill that's a hard word to say entrepreneurial there we go um and and see if that is something that i could provide via a different channel so this is how mind over finger was born yeah it's amazing amazing and it's like it continues to be such an amazing resource for musicians no matter where they are you know on their path looking for help and solutions like there's so

many ways to access your content and get benefit from it. So it's amazing. Yeah. Thank you. Thank you. And same to you. Yes. One that can be difficult to answer at times, but what doubts of resistance? No, let me restart this one. What doubts or resistance have you had to face on this journey? Oh, so many, so many. I think it's really easy in classical music training to get caught in a perfectionist mindset of like, I can't do this or I can't show the world what I'm doing until it's in its perfect state. Um, and I've had to fight this a lot in myself, that idea of, you know, practicing behind the scenes and then presenting something in its full form once it's ready. But the reality is, I think building something with what you have at the time

and then constantly finessing it is not an embarrassing process. And I say embarrassing and kind of laugh about it because for many years I did find it embarrassing that I couldn't just show up in my beautiful gown with my perfectly prepared solo, musician's wellness, you know, whatever um and it's been a it's been a process of unraveling that mindset when bringing something to fruition i beautifully put thank you for sharing this yeah just be brave like the bravery counts for a lot yeah so important finally how about a quick actionable tip that the listeners could implement today in their musical lives oh i would say for this if you could start paying attention to how your breath expands in your body. Where do you feel expansion versus where

do you feel limitation? And start to explore where you can find more expansion. I just stood up straighter. I literally said breathing and I was like, breathing. I love that. So simple, but it's so powerful. That's the essence of everything. And Hannah, please tell us where we can find everything about you i will grab every link i can find on the internet and put it in the show notes but for people who cannot click on anything at the moment um so i talk a lot about anatomy and playing on my personal instagram page which is at active violinist um you can also find out a lot more about the resources that corson or has on instagram at corson or um as well as on our website. The other way to find us is soundbodywellness.com. And those are probably

the places where I'm the most active. You can always email me at Hannah at Corson or.com. If you've got questions, or I'm more curious about what Tamani might feel or look like in your practice. Yeah, I would say find me anywhere. But to be honest, I've received DMS in places that I set up 10 years ago and forgot about and then I feel really bad. So those are probably your best bets thank you i'm gonna drop all these links in the show notes hannah it's so wonderful to meet you i hope we meet in person and i'm so excited that you're actually going to come speak with my clients and the music mastery experience in a couple months and talk to us about tamani and you know walk us through some of the maybe exercises or mind

ideas that we can implement. And I just, I'm so happy that I'm able to bring this to my listeners, a new modality, something that they might resonate with powerfully that could help them in their playing, in their musical journey, in their life. And you're just so wonderful. I hope everybody goes and follows you on social media. And once again, thank you so much. Oh, my pleasure. It is just the best getting to know you here. And I think I'm putting it on my manifestation list for next year that we meet in person. Sounds great.

Thank you. There you have it. Thank you for joining us today. And I hope you enjoyed this conversation with Dr. Hannah Murray of Corsonor. You can find more information about Hannah and her work by going to ActiveViolinist.com. And you can learn more about Timani and join the incredible Corsonor world at Corsonor.com. I will have all these links for you in the show notes. And as a gift to you, Hannah has created a code for one free class on the Corsonor platform.

You can use code MOF10, that's M-O-F-1-0, at checkout to attend any live class or use it for any class in the on-demand library. I know I will definitely take advantage of that, so maybe I'll see you in class. And if you want to take things further, Hannah has created the Pain-Free Performer Program. This is a three-month program beginning January 8th. It's an experience designed for musicians looking for solutions to playing related pain and discomfort who feel like they have untapped potential inside of them. I'm going to put more information about the pain-free performer in the show notes with all the links you need to access it. If you enjoyed our discussion and found it valuable, please share

this episode with friends and fellow musicians. Grab a screenshot, tag us, and share on social and with anyone you think might benefit from this conversation. Together, let's inspire and empower even more people on their musical journey. All right, that's what I have for you this week. Until next time, much love going your way and à bientôt.