Sharing Accumulated Experience, Insight and Expertise with You.

Our Knowledge Bank intends to provide complimentary stimulus to our classes. We publish articles, essays and blogs from faculty members, participants and members of our community that are relevant to topics and themes explored at The Exhale. Each piece is reviewed by faculty members of The Exhale, or practitioners and academics close to our organisation who share a similar field of interest, before being published. We hope that this lends the platform a sense of depth and shared wisdom that offers food for thought and contemplation. Please contact us if you would like your articles to appear here!

Masin Vardai Frankl GAIA2016

Body Mapping in the Music Studio – Part 2

Musicians Move! A Body Mapping Example

by Jennifer Johnson

One injury that commonly appears in young students is pain and tension in the muscles of the shoulder and upper back region. Teachers often ask about it and though its cause is always related to a head that’s not balanced on the spine, or ribs that aren’t moving freely enough with every breath, the root cause is that the whole arm has not been mapped. For this reason, I am including in this article a brief (and slightly edited) excerpt from Teaching Body Mapping to Children which addresses this problem.

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The Whisper in the Gaps

Meditation Meets Creativity in a Time of Lockdown

by Rolf Hind

One of my first yoga teachers made an observation that has stuck with me. The difficulty with yoga, he said, unlike other things in the world that yell for our attention, is that it whispers. And so its values and message are often ignored, or drowned out.

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DSC9495 - Gwendolyn Masin in the Woods for Amy Littlewood Self Trust Blog

Self Trust

A Musician’s Secret Weapon

by Amy Littlewood

‘I’ll just go over that passage one more time’. These sound like the words of a diligent student? Well… not in this case! This was me, back when I was at music college. On the face of it, my practice looked to be well structured, detailed and with hours of commitment each day. Why then, did I not feel adequately equipped when I walked out on stage?

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Body Mapping in the Music Studio – Part 1

Musicians Move!

by Jennifer Johnson

There is a story about Jascha Heifetz being greeted backstage after a performance by an admiring fan. She gushed to him “Your violin makes such a beautiful sound!” Still holding his violin, Heifetz held it up to his ear and said “Funny, I don’t hear anything!” His point, of course, was that regardless of how wonderful a violin is, no sound will emerge from it at all until the player sets the strings vibrating and that it’s the skill of the player that makes it sound beautiful or not.

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Aisling Casey Body Mapping Workshop 09 Deirdre Daly2020

How I Stumbled Upon Body Mapping

by Aisling Casey

I stumbled upon Body Mapping while investigating better ways to explain how to do certain oboe techniques to my Conservatoire students. Many of the books I read on oboe technique either contradicted each other or contained statements that I just didn’t agree with. Eventually I came across Oboemotions by Stephen Caplan, a guide to oboe playing using the principles of Body Mapping which resonated with me as being a healthy and sensible approach to playing the oboe and prompted me to find out more. Finally, someone was explaining oboe technique based on the truth of the anatomy and HOW we use our bodies.

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Chamber Music - Why We Should Facilitate It

by Joanne Green

As a one-to-one instrumental teacher, do you play duets with your students? Or accompany them on the piano? Do you get your students together to play chamber music? Do you encourage them to play in a string group or attend group lessons? Do you encourage them to join an orchestra? I think we all understand that music is ultimately a type of social glue; a way to bring humans together into a close-knit community. To study and play only in isolation defeats the purpose of learning to play in the first place.

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Gwedolyn Masin Violinist Founder of The Exhale Blog

Reframing the Big Picture

The Origin of Human Movement

by Gwendolyn Masin

Call it an obsession, but I notice how people walk, how they stand, how they sit. When I see people, I see posture, and I feel their presence as transmitted through their body. So, it strikes me that so many violinists have been trained or exposed to teaching that either doesn’t confront posture, or indeed, teaches stance and motions that are not in harmony with natural body movements.

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