Primary control

At some point in our childhood, we all knew how to move with freedom, balance, and joy. When we watch a small child learning to walk, we can notice the ease and fluidity of movement that we are all capable of developing. So what happens to that spontaneous and harmonious organization that once seemed innate? Where does it come from, and why do we lose it? According to F. M. Alexander, the answer lies in what he called “primary control.”

What is primary control?

Alexander observed that, in both humans and all vertebrates, there is a dynamic and constantly changing relationship between the head, neck, and spine. This coordination is not rigid or mechanical; it is fluid and intelligent. He called it “primary control” and discovered that the more aware we are of this relationship—and the better we guide it—the more effectively our entire organism organizes and functions.

Far from being a fixed posture or something that can simply be “corrected,” primary control is a living form of organization, with clear direction and attentive presence. This direction has a direct impact on how we play an instrument, how we breathe, how we move, and how we feel when making music.

The wisdom of animal movement

Wild animals show us clearly how this principle works. Think of:

• A cat jumping onto a table, with its head following the body’s intention.

• A horse clearing obstacles, where every movement begins from the head and flows with strength and joy through the spine.

• A bear that, even when standing upright, follows a natural sequence: the head leads, and the body follows.

• A seagull gliding through the wind with an elongated spine and toned body, guided by the direction originating in its head.

What all of them have in common is this integrated and harmonious relationship, where the spine lengthens and organizes itself from a balanced head on top of the neck. This is no different when we practice our musical instrument: the quality of our internal direction directly affects sound, breathing, and freedom of movement.

Learning to move, unlearning tension

Just as a wild animal learns through experience, a young child learns to walk through trial and error. With each step, she reorganizes her body based on the relationship between her head and neck. As she gains confidence, her whole structure coordinates.

However, sooner or later, most of us lose that natural coordination. The imitation of adults around us, misconceptions learned during school years, habits developed for social reasons, the pressure to achieve goals constantly, and the desire to succeed in everything we do—all contribute to disconnecting us from our innate organization.

In musical practice, this becomes especially evident. How often have we seen flutists, preparing for a high note, tense their necks or lift their heads without realizing it? Or, when attempting a fast passage, collapse their chest or tighten their fingers and jaw? The desire to perform well can end up sabotaging the coordination needed to achieve it.

Regaining internal direction

The Alexander Technique invites us to rediscover the natural coordination we once knew, through renewed attention to the relationship between head, neck, and spine.

When we develop a healthy and conscious relationship with primary control:

• Our posture becomes freer and more functional

• Our movements simplify and become more efficient

• A sense of presence and lightness emerges

• The joy of moving (and playing) becomes available again

In flute playing, this might mean:

• Playing with a more elongated spine, allowing for broader, effortless breathing

• Maintaining head balance even when turning toward the instrument

• Feeling the instrument not resting on the body, but integrated as a fluid extension of musical gesture

• Releasing unnecessary tension in arms, wrists, tongue, or jaw, allowing for clearer articulation and a fuller sound

Once we learn to properly guide our primary control, changes in overall coordination occur so organically that, in many cases, the body naturally finds its new balance.

From a specific problem to a profound transformation

Many approach the Alexander Technique for a specific problem: back pain, tension while playing an instrument, difficulty breathing during long phrases, stage anxiety… But what they discover goes far beyond that. By learning not to interfere with our natural organization, we not only resolve the symptom but improve every aspect of our daily and musical life.

We become like that child wobbling down the path with a smile: a little uncertain, yes, but with the deep certainty that we are on the right track.

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