Thanks so much for your bodymapping class at Providence College. I've been practicing what I learned in the class - esp. head balanced over the center. It's rewarding to play from a balanced state - the resulting freedom in playing, breathing, and phrasing is wonderful!

​                                     Ann. Gasper, flute faculty

                                               Providence Collge

 If you would like to attend the next WEM course,  or wish to schedule a workshop for your studio or group, please send me an email!

Jane Murray

                       “What Every Musician Needs to Know  About the Body” 

This six-hour  course is designed for performers, students and teachers who wish to help themselves and their students increase their awareness of the effective use of the body in playing and singing, with the goal of negating/preventing bad habits, remaining pain and injury–free, and making music in a joyful and easy manner for a lifetime.
The principles of Body Mapping are introduced in six one-hour sessions.  Also addressed is  the value of Inclusive Awareness in re-training movement, individual attention, and an  introduction to  Constructive Rest.:
Hour One: About Movement, Senses, and Attention in playing and singing
Hour Two: The places of Balance in the Body
Hour Three: All about Arms
Hour Four: The  Mechanics of Breathing
Hour Five: Legs and how we use them in Music-making

Hour Six: Individual attention and Constructive Rest

"I can't thank you enough for your guidance. I have really been working to discipline myself in a slow responsible way using the techniques that you shared. The results have been wonderful! Case in point: The ECSO did a performance of Ein Heldenleben this last week which as you know pushes the endurance of all the players on stage. Thanks to  Body Mapping, I was never at my limit this week and felt in total control of my physiology. Air efficiency was off the charts in the big passages, and I felt very confident on the pianissimo entrances, and long sustained soft chordal sections. If I felt any tension creeping-in I worked on quieting and resetting my joints and musculature. I have been talking you up quite a bit lately because people have been noticing a difference in my playing. I tell them I owe it all to Mapping (and being disciplined in adapting responsibly) I am a believer!"

                                                           Mark Weaver, trombone

                                                   Eastern Connecticut Symphony