Tag Archives: viola

It’s Coming…5th Annual Photo Contest!

Photo by Michele Wiler Kolbas
3rd Annual Photo Contest Artistic Winner, Michele Wiler Kolbas

Get Ready!  Our Annual photo contest has been a favorite of KV staff and fans for several years.  We are so excited to start it up again!

Theme: Musical Bucket List

While working at Kennedy Violins, we don’t just have the opportunity to provide our customers with the instrument that is best suited for their needs, we also have the privilege of helping many people start a new musical journey.  As well as, accomplishing long held personal goals.  This year, we’d love to see photos portraying how playing a stringed instrument has allowed you to mark things off of your “Bucket List.”  What have you learned?  Where has it taken you?  What do you hope to accomplish in the future?

The contest kicks off at 12:00 am PST on August 24th and ends at  11:59pm PST September 30th.   From our entries, three winners will be selected.  A second runner up will receive  $5in store credit,  the first runner up will receive  $100 in store credit, and a grand prize winner will receive a $200 in store credit.  The winners will also be featured in the Kennedy Violins blog and monthly newsletter.

Entering the contest is super easy!  There are two ways.

1.) Post the photo on Facebook, Twitter, or Instagram using the hashtag #musicalbucketlist and tagging Kennedy Violins. *Important:  the picture must be public for us to see it and include it in the contest.* 

2.) E-mail us at photocontest@kennedyviolins.com.  Please include the full name and contact information of the photographer.

The Official Photo Contest Rules are listed below.  Feel free to e-mail or call us if you have any questions.

Brent Jacobson's Winning Photo.
4th Annual Photo Contest Winner, Brent Jacobson

Photo Contest Rules

Term: 
Kennedy Violins, Inc. 5th Annual Photo Contest begins at 12:00 am PST on August 24th and ends 11:59pm PST September 30th. By submitting an entry, each contestant agrees to the rules of the contest.

Who may enter:
Any resident of the United States of America or Canada—except for individuals affiliated with the Kennedy Violins, Inc., including employees, interns, volunteers, and their immediate families (children, siblings and spouses) and others living in their households—are eligible.  Kennedy Violins, Inc. will determine winners’ eligibility in its sole discretion.

What to enter:
The theme of the 5th Annual Photo Contest is “Musical Bucket List”  The content of the photo must be linked to the theme.

How to enter:
Please submit photographs through our Facebook page at https://www.facebook.com/KennedyViolins, Twitter, or on Instagram.  Any entry must tag Kennedy Violins in the photo and contain the hashtag #musicalbucketlist to be valid.  All entries submitted through social media must adhere to the rules of each individual platform.  Any entry submitted through e-mail must include the photographer’s name and contact information.  No entries sent through mail will be accepted.

High-quality scans of non-digital photographs are acceptable. Digital photographs should be taken at the highest resolution possible. Photographs must be in a .jpeg, .jpg or .gif format.

Kennedy Violins, Inc. reserves the right to disqualify incomplete entries and/or contestants who are unable to submit the correct format.

Entry deadline: 
All entries must be received through the Kennedy Violins, Inc web site by 11:59PM Pacific Time on September 30th, 2015.

Judging:
Judging of the annual contest will be conducted by a panel of experts selected by Kennedy Violins, Inc. Winning photographs will be announced on social media and Kennedy Violins’ blog in October 2015. Decisions of the judges will be final.

The contest is void where prohibited or restricted by law. Kennedy Violins, Inc. reserves the right to cancel the contest or modify these rules at its discretion. Decisions of Kennedy Violins, Inc. will be final.

Prizes:

Three prizes will be awarded and will be selected from all eligible entrants.

The grand prize winner will receive: $200 store credit.

The first runner-up will receive: $100 store credit.

The second runner-up will receive: $50 store credit.

Final Disclaimer:

By entering the contest, entrants grant the Kennedy Violins, Inc. a royalty-free, worldwide, perpetual, non-exclusive license to display, distribute, reproduce and create derivative works of the entries, in whole or in part, in any media now existing or subsequently developed, for any educational, promotional, publicity, exhibition, archival, scholarly and all other standard purposes.  Any photograph reproduced will include a photographer credit as feasible.  Kennedy Violins, Inc. will not be required to pay any additional consideration or seek any additional approval in connection with such uses.

Forget the Map at Home!

A Guide to Improvisation, by Katie Lubiens

You don't need sheet music on this journey.
You don’t need sheet music on this journey.

Improvising? That sounds scary! Making up the music as you go? But where’s the sheet music? Who even improvises anyway?

As a classical violinist, these were all questions I asked myself when confronted with the thought of improvising.  I never was taught to improvise.  As classical musicians, we always have our sheet music to guide us, to show us the direction we should go.  Going forward into the musical realm without sheet music seems like going on a roadtrip without a map.  Where do I go?

Surprisingly, I’ve discovered, improving is all around us as musicians.  Even classical musicians improvise, too!  There are so many musical genres to experiment with which do teach you to improvise and foster those creative juices that make new music happen.  From blues jams to Irish sessiuns, from jazz club improvs to bluegrass jam outs, there are endless outlets for practicing improvisation.  Without sheet music, how do we know what to play?   Especially when improvising with other musicians.

Katie Lubiens performing with The Seseseisiunists.
Katie Lubiens performing with The Seseseisiunists.

Here are a few pointers when learning to improvise: 

  1. The most important thing to know is what key you are playing in.  It can sound great when everyone is playing something completely different, but they must be playing their own unique parts in the same key for it to work.
  2. Think of the scale, then play itterations of the scale.  I like to play the scale aloud before trying any kind of improvising so I really get the notes in my ear and fingers.  Then try playing the scale up and down, jumping around with different arpeggios, and always keeping the tonic, dominant and 7th in mind.
  3. Take turns.  Most improv music works best when everyone takes turns being the melody.  When it’s not your turn at the melody be sure to keep the energy up.  Long notes mixed with off beat rhythms are easy on the tonic or dominant.
  4. Practice some cool licks at home.  Most improv artists aren’t actually making it up as they go.  Usually, they have practiced some licks which they made up at home and can transcribe them into any key to play while performing in an improvising scenario.
  5. Perfection is not the point.  Improvising teaches you to be adaptable.  Adapting to your current musical situation makes you a stronger player and shows you that the imperfections are what make improvising so thrilling.
  6. Don’t be afraid!  Although you can feel put on the spot while improvising, recognize that everyone else recognizes that you are improvising.  It is not meant to be perfect.  Once you get used to improvising, you will begin to feel the powerful energy in making up music with your peers as you go.

Like anything, improvising gets better the more you do it.  I promise you, if you try you, will find that creating your own music with others in the moment is one of the best adventures you can embark upon. The moment when you close your eyes and listen to yourself creating music together, making it up as you go, and you hear that it sounds beautiful and harmonious, you will find pride in yourself like never before.  So, go ahead, make up the directions to your next adventure and forget the map at home!

**Check back soon for more in depth imrpovising tools and tips!

A GUIDE TO TEACHING CHILDREN MUSIC – Principle 2: “Self-Initiated Learning vs. Imposition”

“Children learn best when the learning is self-initiated, arising from their own curiosity and interests, rather than imposed on them.”

– Aletha Solter, Ph.D., “Principles of Learning”

Godfrey Kneller's portrait of IsaacNewton, 1689
Godfrey Kneller’s portrait of IsaacNewton, 1689

Newton hit the nail on the head with his third law of motion: “For every action there is an equal and opposite reaction.” Try verbally or physically trying to make a child do something will make them resist even more.

Examples:

  • Try forcing green vegetables into a kid’s mouth and they will refuse to open their mouth or immediately spit out whatever you put in there.
  • Yell at a child to get in bed and they’re be riled up and less tired or willing to sleep.
  • Try physically removing a child from doing or playing with something they like and they will kick and scream.

When we apply this to music and helping children develop the habit of practicing, negatively forcing a child to play a specific instrument or practice at specific times for specific lengths of time may produce results—BUT, on the other hand,  they might sap away a child’s desire to play over time. This happens especially if those measures result in reluctance, resistance, indifference, apathy, or rejection of musical activities or practice.

There are two types of motivation:

  1. Intrinsic motivation, or an inner desire or interest to do something, usually for the sake of enjoyment or self-satisfaction.
  2. Extrinsic motivation, or a drive to accomplish something in order to receive a reward or recognition from an outward motivator. Motivators include threats, bribes, prizes, fame, competition, pressuring, etc.

In teacher Lara Hansen’s article “The Inherent Desire to Learn: Intriniscally Motivating First Grade Students,” she says,

“When people are intrinsically motivated they feel interest and enjoyment in what they are doing. They also feel a sense of capability and determination. What they don’t feel is tension, stress, and anxiety.”

In general, people tend to enjoy activities more when they can enjoy the experience and develop a personal passion for what they are doing. Any trauma introduced to an activity in the form of external motivators can lead that activity becoming stressful instead of a pleasure to perform.

As teachers and parents, we can provide opportunities for a child learn an instrument, but imposing, pushing, or bribing a child will create resistance and perhaps kill the child’s original curiosity and interest.

But don’t worry! We all have negative experiences with music, like playing a bad concert or being pressured to practice because of an assignment or impending performance. External/extrinsic motivators naturally exist and aren’t all bad unless they kill our passion for music.

And even if desires and passions dwindle, they can be fed and nurtured back to life. Just because a child throws a fit and doesn’t want to go to a music lesson one day doesn’t mean all is lost—you may find the same child excitedly getting their instrument out to show a friend the next day.

They say curiosity killed the cat, but perhaps killing the curiosity in the cat is the sadder scenario. Let’s keep the desire to learn alive and well!

A GUIDE TO TEACHING CHILDREN MUSIC: An Interpretation of Aletha Solter’s “Principles of Learning”

Orchestra students at the Mitch Carter school play instruments from Kennedy Violins.
Fifth grade students at  M.I.T.C.H. Charter School play instruments from Kennedy Violins.

As parents, teachers, and musicians, we hope to guide both our children and students to learn in the most effective way. But how can we encourage

  • a desire to learn
  • discipline to practice
  • enjoyment
  • and a sense of accomplishment

when teaching children to play an instrument?

Quite often children

  • equate practice with punishment,
  • experience boredom during lessons and practice sessions,
  • don’t understand what is being taught,
  • resist being encouraged (or forced) to practice,
  • lose interest in their instrument,
  • and/or don’t believe music can be enjoyable.

How can we keep children from these pitfalls and stumbling blocks during what could otherwise be a fulfilling, effective, and FUN learning experience?

Understanding how children learn is absolutely imperative when you are a teacher or parent introducing a child to music. Parental involvement is very important in the process, which is why all private instructors at Kennedy Violins encourage parents to participate in and be aware of their child’s learning experience.

The following series is a guide expanding upon eleven points from “Principles of Learning,” an article excerpt from Helping Young Children Flourish by developmental psychologist Aletha Solter, Ph.D. This series will expand on the eleven principles of learning in terms of how children can learn to play a musical instrument.

___________________________________

Please check back as sections of “A Guide to Teaching Children Music” are added to this series!

  1. “The Ability and Desire to Learn”
  2. “Self-Initiated Learning vs. Imposition”
  3. “Hands-On Self-Discovery” – Coming Soon
  4. “Learning Through Play” – Coming Soon
  5. “Appropriate Stimulation” – Coming Soon
  6. “Inspiring Imagination and Creativity” – Coming Soon
  7. “Children Learn at Their Own Rate” – Coming Soon
  8. “Children Have Different Learning Styles” – Coming Soon
  9. “Screen Time: Stifling Creativity” – Coming Soon
  10. “Stress Interferes with Learning” – Coming Soon
  11. “The Parent/Child Relationship Affects Learning” – Coming Soon

Face to Face with Joel from Kennedy Violins

Today, we are continuing our “Face to Face” series by featuring the man, the myth, the legend: Joel Kennedy.

Joel is the Founder and President of Kennedy Violins.  He has played viola and violin for over thirty years. He attended the Eastman School of Music in New York, where he earned his bachelor’s degree in viola performance and completed graduate studies in education there as well. Joel has played professionally in orchestras all around the United States and has students attending top conservatories in the U.S. and abroad. He is currently a violist in the Portland Opera here in Portland, Oregon.

Recently, Joel took some time to answer a few questions about his life and his time with Kennedy Violins.

1. How long have you worked at Kennedy Violins?

I officially began Kennedy Violins December of 2000.  However, as a stringed teacher, I had been providing instruments to my students and friends for years before that.

2. What is your favorite thing about working at Kennedy Violins and why?

My favorite aspect of working at Kennedy Violins is having the opportunity to effect change.  As the person who is in charge of “steering the ship”, I am able to use the influence of Kennedy Violins in a positive way that not only affects the local market but the national one as well.  For a long time, I have seen how the stereotypical elitist nature of classical music has left many people in our culture out in the cold when it comes to having access to bowed stringed instruments.  Working at Kennedy Violins has served as a vehicle for changing this pervasive dynamic in our society.

Joel and one of his students.
Joel and one of his students.

3. What is your favorite instrument/product that Kennedy Violins carries and why?

This is a tough question because every brand we carry represents what we feel is the best instrument in that price range.  I’d have to say that the Ricard Bunnel is my favorite because its low cost gets the most kids involved in classical music.  It’s the best starting point, for a kid, if you’re new to a stringed instrument.

4. What is your favorite band/musician/composer?

My favorite composer is Shostakovich.  There are many composers music that I have enjoyed for many years but the depth and genius of Shostakovich gets to me every time.

5. If you didn’t play the viola, which instrument would you play?

If I could do it all over again, I’d choose the piano or the cello.  I think the cello has the most compelling singing voice of all the bowed stringed instruments and the piano is the complete vehicle in which to experience the full complexity of what a composer was able to create.

6. Which musician (alive or dead) do you wish you could play with?

I’d love to play with Beethoven.  I’d sit down at the piano with him and say “do we really NEED to put a repeat there?..”

7. What are you looking forward to most in the upcoming year?

As usual, it’s very exciting at Kennedy Violins currently because it is a time of great change.  With the revamping of our web site, the introduction of new workshop instruments, like David Yale (you can see these new violins by clicking here), and the new retail store in Vancouver, WA.  I can’t to see how it’ll all turns out in the coming year!

8. What is something interesting that we don’t already know about you?

Most people don’t know that I like to auto race.  I have two racing licenses.  One with the SCCA and the other is with the ICSCC.

Kennedy Violin's Racecar
Joel’s race car. Sponsored by Kennedy Violins, of course! 🙂

9. What is your favorite thing to do when you aren’t working at Kennedy Violins?

I like to spend time with my wife and two girls and auto race.

Rent or Buy? That is the question!

1950's Music Store

Around this time every year, as the musical season gears up again, we see a lot of new string players preparing to start a new adventure.  There are inevitably A LOT of questions, and we are happy to address them.  In the past, on the blog, we have covered many topics about Beginner Basics.  One that we haven’t gone over in too much detail, though, is the question of renting vs. buying and in these tough economic times, how you spend your money is important and worth considering.

Renting is usually more affordable in terms of the monthly payment.  Our rental payments range from $14.97 a month to $92.50.  The amount you pay is determined by the instrument you need and the quality of that instrument.  Also, all stringed instrument stores have a rental agreement.  As part of the rental agreement, you may be required to commit to a minimum number of months, which is important to keep in mind.  For instance, the store may require a minimum of 6 months of payments and that amount could be close to or equal the cost of just purchasing the instrument.  Another thing to consider is what happens to the money you pay each month.  Does it go towards the eventual purchase of the instrument?  If so, how much of the monthly payments go towards the purchase?  At Kennedy Violins, we don’t have a minimum rental requirement and we set aside 55% of all rental fees as store credit that customers can use towards the purchase of any instrument.

Buying an instrument certainly requires the most  money up front, but it can be the most affordable in many cases.  If you are part of a family with several children, purchasing would give you the ability to keep the instrument after the oldest child grows out of it or looses interest and pass it on to younger children.  Or, if you were like my family and you required at least one year commitment to whatever new thing you are trying out, purchasing could be less expensive in the long run.  For instance, if you purchased Kennedy Violins’ Bunnel G2 Violin outfit, based on our current rental price, it would pay for itself in about a year.  Plus, purchasing usually means that you have “trade-in” power later when it’s time for a new size or an upgrade.

Either way, the most important factor in the decision making comes down to what the customer is comfortable with.  At Kennedy Violins, we are happy to provide both options for people ready to start the adventure of learning to play an instrument.

Violins in several sizes

Musical Identity: Defining Instrumentalist Personalities

The Borealis String Quartet. Photo by Vancouver 125.

Which instrument you play (or even want to play) somehow becomes an indelible part of your identity. Even now when I talk about my musicianship with strangers, I often hear, “Oh, I played the cello growing up,” or “I’ve always wanted to learn the guitar.”  To the former I say, “Do you still play?” to which they sometimes say no. So I respond saying, “Hey, it’s never too late to pick it up again!” To the latter, I say, “Hey, it’s never too late to learn!”

Either way, the fact that these individuals have, had, or want to play an instrument is a part of their identity which helps them both establish their background and relate to me as a fellow musician. It provides us with common ground and a shared interest.

But deeper than that, the instruments we identify with not only become associated with our identity, but even define our identity. Over time, as you play your instrument and spend time in your section, your orchestra, or your practice room, you may find that your specific instrument teaches you something or molds you in a specific way.

 

Instrument-Associated Personalities

I’ve found, as a bass player, that most bass players have similar personalities: relaxed, a little rebellious (we run off and join punk bands in high school), perhaps more introvert, “chill.” We’re often the type of people who stand at the back of the orchestra making sarcastic comments about the “uptight” violinists who don’t know when to stop practicing and take a break. (Am I stereotyping here?) Bass players usually have less competition than violinists, so we are usually less competitive individuals. Not to say we aren’t driven or dedicated, but . . . there are just a different set of demands that shape a bassist player versus, say, a violinist. Make sense? Of course these stereotypes aren’t always accurate, but still, you’ve probably noticed a difference between choir buffs, band geeks, and orchestra nerds.

This poses the question, do you choose the instrument, or does the instrument choose you? From a Kennedy Violins standpoint, it’s fascinating to observe customers choosing a violin or viola for purchase. What causes one individual to choose the rich, dark sounding Gerard with the dramatically flamed back while another chooses the Antiqued Giuliani Violin with the lighter yellow, distressed finish and a different sound altogether? What draws one towards a reddish violin, like the Giuliani Etude, and another to a dark chocolate brown, like the Bunnel G1?

Beyond choosing a specific violin, choosing which instrument to play, especially as a child, is an important decision that can shape the rest of his or her life. Helping your child choose an instrument may come down to practical decisions such as already owning a specific instrument in the home for them to begin. Do you allow the child to choose the instrument, or do you choose it for them? It’s an important decision, one that requires a balance between the child’s interests, personality, and any other factors.

 

Switching Instruments: Identity Crises

While the instrument that you associate yourself with will always be an important part of your identity, I hope to discourage the tendency to feel trapped or stuck playing a certain instrument. For example, I’ve heard of many children who want to play the cello or bass, but begin on the violin because it’s smaller, easier to carry, more affordable, or more accessible. Some never switch over to the instrument they intended to play, while others do. I’ve know of concert violinists switching to play the viola in college and succeeding tremendously. I’ve known many bassists who started on the cello and switched over. And I know of many violinists who have made excellent guitar players later in their musical careers.

Is it preferable to start on the original instrument you intend to play? Not necessarily. However you choose to define your musical identity, don’t be afraid to try something new. Renting a different instrument than you currently play from Kennedy Violins may be just the change you’ve been looking for to refresh your interest and personal development as a musician.

The Fine Art of Tuning

A cello section tuning.

In high school at the beginning of each concert, like all orchestras, we would take some time to tune.  Once the squeaking and squawking settled into a common A natural, our conductor would say, “Thank you very much.  Our first song was ‘The Fine Art of Tuning.'”  The audience, slightly confused, would laugh and we would move on to the actual concert.  His comment, while quite dry, actual holds a lot of truth.  The concept of may seem like simply matching pitches but there is “fine art” to it that I see even advanced musicians missing out on.  In my experience there are two main things that will help you master the fine art of tuning: a strong pitch reference and good tuning habits.

A Strong Pitch Reference: Unless you were born with “perfect pitch,” you will need a reference to the correct pitch.

-A tuning fork is the classic tool for tuning.  It is a piece of metal cast into a specific u-shape so that when struck, it emits a particular pitch. *NOTE:  Never strike a tuning fork on your instrument.* I’ve seen this happen which is why I have to say it…

-For beginners, an electronic tuner is useful because they can either emit the desired pitch or show you digitally what pitch you are playing.  There are even some that clip directly on the instrument.  I suggest investing in a tuner that doubles as a metronome.  It’s less to carry around!

Pitch pipes are lightweight and easy to use as well.  All you have to do is blow.  The down side is that if they get dropped or beat up, the notes on the pitch pipe will get out of tune themselves.

Pianos are best used in a band setting.  They aren’t exactly portable like the other options but they are the best choice if you are going to be playing with a piano (I’ll explain that later).

-If you want to be super tech savvy, there are several apps for mobile devices that turn your phone into a tuner.  Just be careful which one you get, the free ones aren’t always accurate.

Clockwise from top left: a chromatic pitch pipe, a tuning fork, a violin pitch pipe, and a mobile app.

Good Playing Habits: some of this may seem like common sense, but it’s good to be reminded.

-The best habit to have while tuning would be listening. It’s not enough to simply look at the tuner see that you are in tune (or worse, just play a note and turn the pegs until you are tired of it or the rest of the group stops tuning).  Listen to what it sounds like to be in tune and out of tune.  On a stringed instrument, you will need to listen to the intervals between the strings.  Traditionally, violin, viola, and cello strings are tuned in fifths (sounds like the beginning of “Twinkle, Twinkle Little Star”).  If you are playing in a group, listen to the other players and “agree” with their tuning.  At times, the people you are playing with may have instruments that aren’t perfectly in tune and can’t be tuned without great difficultly.  I’m not talking about stubborn viola pegs or sticky clarinet keys, but a 250 year old pipe organ or a tinny house piano at a bar.  Your instrument may be perfectly in tune on its own, but if it doesn’t match the instruments you are playing with you will sound out of tune.

-Having strong fundamentals is another habit that will make the tuning process easier and more effective.  In the violin family, a good bow hold is key to quality sound production.  If you don’t have a strong bow hold, you won’t be able to produce a good sound to tune from .  Also, applying too much or too little pressure with the bow can cause the note you are trying to tune to go in and out of tune.  Long and steady bow strokes at medium volume are best for tuning.  Likewise, having the correct shape and placement in the left hand directly impacts the intonation of the notes you are trying to play.  I hate to say it, but it’s best to practice scales over and over again to strengthen tuning in the left hand.

-Lastly, take the time you need to make sure you are in tune.  I remember when I first started tuning my own instrument, the time it took to get it right was frustrating and felt like everyone else I was playing with was getting in tune faster.  Yet, I know that my stand partner and my teacher always liked it when I took an extra 30 seconds to make sure that I was in tune.

Other Helpful Articles: How to Install Strings and Keep Pegs from Slipping, Strung Out on Strings, Beginner Basics, Stringed Instrument Care and Maintence Part One, and Part Two.

Playing While Pregnant

When I found out this last summer that I was pregnant with my first child, I knew that I would have to make adjustments to my everyday life.  I wasn’t sure exactly what all of those would be since  I had never been a mom before.  Luckily, there is a lot of information available online and in print for curious new moms like me.  I discovered I would have to change what I was eating, start taking a pre-natal vitamins, not ride roller coasters, things like that.

Pre-Pregnancy Playing

When the fall approached and the music groups that I had been playing in started new rehearsals after the summer break, I found myself asking a new question: how do you handle pregnancy as a musician?  I knew I wasn’t the first woman to try be a musician and pregnant at the same time.  I spent hours online and reading books trying to find any information about playing string instruments while pregnant.  All I could find were more first time moms with questions like mine.

What’s a girl to do?

Well, I decided to just “go for it.”  I would play like I usually had each year before and make any adjustments I need to along the way.  Now that I am in the last few weeks of pregnancy and having just finished the last concert I would play before my little one appears, I thought I would share some tips for other pregnant musicians that want to know how to make it all work.

1.  Know where the bathrooms are.  There is nothing like a full bladder to throw off your concentration, timing, intonation, and everything else.  Most people that you are playing with will understand if you disappear for a few minutes.

2. Drink lots of water.  This might seem counterproductive (especially considering the previous tip) but studies show that when you are well hydrated, the swelling and muscle aches that can hinder a musician from playing their best are lessened.

3.  Invest in the appropriate brace.  Personally, I spend most of my time playing the cello and violin and I developed pregnancy related carpal tunnel in my left hand.  I found that wearing a brace during the day when I wasn’t playing or night when I slept prevented or reduced any pain associated with this while playing.

My husband and I after a trio recital at 6 months pregnant

4.  Stretch and take breaks.  For pregnant gals, it is recommended that you take a break from sitting/standing every 20 minutes.  I like to incorporate some yoga as the stretching portion. There are positions for sitting and standing that will give your joints relief.  The 20 minute rule works well for practice sessions.  It can be difficult to keep this up if you are playing a concert/gig and when the program/set usually doesn’t have a break for 30 minutes or more.  If you find yourself in this situation, prior preparation is key.  Get plenty of sleep the night before and stretch beforehand.

5.  It’s okay to say no.  This is one I struggle with.  I used to play music with every one that would let me,  but it is very important that you don’t try to do it all.  The baby takes up a lot energy and during pregnancy, you can’t do everything like you used to.  Besides, if you are exhausted, you will put yourself at greater risk for injury and you will your baby under stress.

6.  Know that every pregnancy is different.  You may not experience joint pain or get carpal tunnel but you may get nosebleeds or some other weird pregnancy symptoms that would effect how you play.  Just know that there is a way to deal with any symptom out there.

7.  Remember that pregnancy doesn’t last forever.  All the aches and pains associated with pregnancy end after the baby is delivered.  For some women, they are back to normal with in a few days, some it takes a few moths.  Either way, you will be back in prime playing shape.

If I knew at the beginning of my pregnancy what I know now, there are a few things I would do differently.  For instance, I took on way too many gigs this holiday season, but I still survived.  Hopefully these tips provide some encouragement to other musicians out there embarking on motherhood.