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Tina talks to Johannes Martens
4 Plays22 days ago
Interview with Tina Margareta Nilssen, creator and founder of Timani
Transcript
Introduction to the Timani Podcast
00:00:03
Speaker
Welcome to the Timani podcast for musicians where our host and founder of Timani, Tina Margaret Nielsen, talks with inspiring musicians from all over the world about creating a life as a musician while maintaining a healthy body and mind.
00:00:18
Speaker
She also shares wisdom from her years of experience helping thousands of musicians on their path of unlocking their physical and psychological potential. Tina is a musician herself, an international teacher of Timani and an endless student of the body and mind.
00:00:35
Speaker
So without further ado, here's Tina with this week's episode.
Interview with Johannes Martens
00:00:40
Speaker
A huge welcome to this very first podcast in the Timani podcast series for musicians.
00:00:47
Speaker
In this episode, I'll introduce some aspects of Timani for you, a method to create embodied musicians. So this time I actually invited Johannes Martens, an amazing cellist and chamber musician to interview me.
00:01:03
Speaker
Johannes plays in the Oslo Philharmonic Orchestra, He has participated on 13 chamber music recordings, and he's a teacher of Timani. Johannes is a great friend of mine, with whom I've also been fortunate to play with, so I'm excited to introduce you to our conversation about aspects of the body and playing music.
00:01:21
Speaker
I hope you'll enjoy that. Hello, Tina. Hey, Johannes. Thank you for inviting me to join you this podcast, in which I get to interview you. Well, thank you for interviewing me. I'm pleased to do this.
00:01:36
Speaker
Great,
Understanding Timani for Musicians
00:01:37
Speaker
so am I. might You are the creator of Timani Yes. I was wondering if you can start off by giving us a brief overview of what Timani is, like the short version.
00:01:52
Speaker
Yes, Timani is a system or a method, you could also call it, that is especially designed for musicians and how we are using the body.
00:02:03
Speaker
What I have discovered through being a musician myself is that we don't learn a lot about the body as musicians. We talk about it. Like we talk about relaxing the shoulders, breathing deeply, sitting straight maybe, or standing grounded, stuff like that. But there's a lot of information that we don't know. And I think that we are, in certain ways, we are athletes. We need to really master and control certain movements for it to be most efficient.
00:02:34
Speaker
And i was really lucky to have great teachers when I was in my twenties that taught me some of these principles. And I just loved it because it made my path so much easier as a pianist. I learned more of the anatomy and the movements that was required to play the piano. So I really had the passion after that to dive even deeper and to create this as something mainstream if you want. Like that every musician should have access to learning more about the body.
00:03:07
Speaker
And even since then I know that there's several methods and books and everything about anatomy and musicians and movement. So I think it's like a lot of interest for this theme right now.
00:03:21
Speaker
And in Timani we focus a lot on the whole body but also the real small details of every instrument. So i go deep into the anatomy and movement with my students.
00:03:36
Speaker
Timani is a method to master your body in the best way possible so that you can develop further as a musician and really get all the help that you can from the body. So it's your friend and not the enemy in creating music. Yeah, I'm first of all a musician but I also have done a lot of educations within the body and the mind which has helped me tremendously to understand the anatomy behind playing music.
00:04:06
Speaker
I also include new science about the body. Things that we know about the body now that I think is really important for musicians
Anatomy and Movement Techniques
00:04:15
Speaker
to know about. We know so much more about the anatomy, about connective tissue, which is this tenderness tissue in the body, how it works. And we know more about how the different muscles are working in the body.
00:04:28
Speaker
And these details are very important, I think, for musicians to be aware of so that we know better what we're doing. Also from a theoretical standpoint, not only from a movement standpoint. So Timani is aimed for musicians.
00:04:44
Speaker
We all want to reach a state of natural movement and personal development. Yeah, and we also think about the natural technique. That's something musicians often say they They describe someone as having a very natural technique. what would you and How would you define natural movement? What's an ideal movement? Because it's not the natural to play the violin. in ah in or you know Many of these instruments are quite awkward for the body in a sense.
00:05:14
Speaker
But still you can acquire a sense of ease when you play. Yes, it's quite magical actually. Because in one way it's unnatural.
00:05:25
Speaker
to play an instrument. We didn't do these things a thousand years ago, like using the fingers in this manner or holding the arms to perform on the violin for hours and hours.
00:05:37
Speaker
But I think that everything we do can be done naturally. So I think sometimes we say that, well, it's not a natural position and therefore I have problems, but I don't really agree with that.
00:05:52
Speaker
I think that we can use muscles that are benefiting us when we are doing it. I think that on every instrument we can have the thought that we want to become stronger and healthier while playing.
00:06:06
Speaker
So that's my sort of motto is that we can do everything in a good way, but we can also do everything in a not so beneficial way for the body. so What you're asking me is a big, big question. but But I'm going to try to answer it with one little thing.
00:06:25
Speaker
And that is that we have something in the body called proprioception. And proprioception is a part of the nervous system that tells us or tells our brain where is my body in time and space.
00:06:40
Speaker
So it basically tells me now I'm bending my elbow and I don't have to look at my elbow to know that I'm bending it. I know it because the signals in my nervous system is telling me where my elbow is.
00:06:52
Speaker
However, this part of the nervous system can also be a little bit out of tune. So it will start giving messages that are not really accurate.
00:07:03
Speaker
So when it does that, we will feel that something is natural when it maybe isn't. And this is really important to know because I think and a lot of musicians are trying to get to the natural feeling of playing.
00:07:19
Speaker
But as long as we have muscles that we are not using properly, or we haven't used them for 10-15 years in the way that they should be used, or they don't have the range of motion that they should have, then we'll actually get unclear signals to the brain of our possibilities.
00:07:38
Speaker
and also inaccurate message of what is actually natural. So in Timani we go pretty deep inside regaining the function of the muscles of the body so that you actually get more accurate message to the brain and that you actually get a more natural technique even if it doesn't always feel completely natural in the beginning.
00:08:01
Speaker
But sometimes it also does. so So it's not like it never does. Sometimes it's like, oh my God, this is so much easier and it feels so much better. And sometimes it's like, oh, now I feel a little stiff. But actually when they look themselves at the video of playing, when it has felt in a certain way, that my students see their the video and they see that, oh, but it actually looks very easy and naturally. And they didn't feel that way. So we can't always trust how it feels.
00:08:31
Speaker
So that's a really important part of natural technique. We cannot just search for a certain feeling of naturalness, if you want. We have to know what's natural and that requires some knowledge, some concrete anatomical movement knowledge about coordination.
00:08:49
Speaker
And then we have to retrain our muscles and retrain the body back to what was natural that we once probably had when we were small kids.
00:09:00
Speaker
Yeah. One thing I've learned from you about all this is the importance of differentiation of muscles because as you yeah as you've told me what happens is that the brain groups muscles together or the the signals from muscles if they fire together they wire together as they say. Yes. ah And that's why It can be difficult to unwind old habits because when you try to move one muscle, several other muscles move with it just automatically because you've done it for so many times. Exactly.
Body Awareness and Practice Frustration
00:09:38
Speaker
So this, can you talk a little bit about the process of differentiation? How how do you manage to do that? You know you mentioned proprioception. But they you also have another word that you refer to a lot, which is interoception. Is that part of this? Yeah, well, interoception is a word that is still being defined by scientists.
00:10:00
Speaker
But you could say that part of interoception is actually feeling the body from within. So it's what many people would call body awareness.
00:10:11
Speaker
And it's really important, of course, because if you're not aware of what is going on in your body, it's really difficult to do something about it. But I think also a lot of body awareness has been a lot of sensing into it and trying to feel into something. But I also think we need then the knowledge of how to, like you say, differentiate between the muscles.
00:10:34
Speaker
So we we need both. We need to feel what we're doing and we need to know how we should do it. And when I go into differentiating the muscles, I can use a concrete example.
00:10:48
Speaker
I might ask somebody to grab around their chest muscle in a certain way, like in the front of the armpit, they can feel that their chest muscle can relax and they can at the same time do a certain movement with the shoulder blades so that they know that I'm relaxing my chest muscles and then I'm using some muscles in my shoulder that is beneficial.
00:11:12
Speaker
So i would I would do this with exercises that are really exactly going into which muscles to relax and which muscles to train. Because sometimes we do a movement, we try to learn a new movement, but we don't learn to turn off the muscles that we don't need for the movement.
00:11:31
Speaker
So we try to relax something, but we don't really know what to relax. And I think this is really frustrating for many people. that we are trying the best that we can to do the good thing for our body and we try to have a better movement pattern.
00:11:50
Speaker
But when we don't really know how to do it, it's going to feel like we're not mastering it and we don't really understand why. And I've met hundreds of musicians that are frustrated because of that. And many of them come to the conclusion that oh I'm just gonna stop thinking about my body, I'm just gonna play now because I'm just but obsessing about trying to relax something so now I'm just, no it doesn't help to think about the body but of course if we don't know exactly what to think about we will become frustrated so so I think knowledge and interoception is a really good ah coupling together we need body awareness we really need to feel it because it's also
00:12:36
Speaker
really hard to change these things if we are not connected to the body so it's really becoming like i said in the beginning like becoming friends with the body that we understand the body we understand why it has gone into certain patterns we're not mad at it because i used to be really mad at my body when it hurt or when it didn't do what i wanted it to do but i didn't understand it I had no respect for my body. So I think that's a really huge part of it. It's removing frustration, it's removing the bad relationship that we can develop to the body and actually increasing our, if you want to call it, accept and love for the body and really understanding how much it's doing for us all the time.
00:13:23
Speaker
And i just have to add, really understanding what we are asking it to do when we are musicians. It's crazy! i We have over 600 muscles in the body and all of them have to do a certain thing to play an instrument.
00:13:40
Speaker
And if we don't even know about these muscles and we ask them to do the most complicated thing that a person can do almost, like I don't know anything that's more fine motor skill and more demanding for the body than playing an instrument.
00:13:58
Speaker
It's really requiring the best of the brain, the best of the body. And in sports, they've come so far. They're decades ahead of us in analyzing the pitch of a baseball player or whatever down to... The swing of a golf player. Yeah, exactly. There tons of books and PhDs about all this. And and musicians have been... the left left out. so it's a fantastic that you're doing this work, I think. yes
00:14:29
Speaker
but I even find I hear musicians ask me, ah well, is it really um a good idea to start thinking too much about the the muscles and the the body?
00:14:42
Speaker
Many people are scared, I think, of starting to analyze because they they're afraid of losing what they feel as natural or But I think it's just because the specifics and the the level of knowledge hasn't been accessible maybe until more recently or or yeah the work you you do among others.
00:15:08
Speaker
I find, at least for myself, that when I get expert advice, it's just the benefit to learn more and to be more specific That enables me to to be more general in a way and and to to play more naturally. I don't find that I get obsessive word or... You know, there's the story of Menuhin. I think he's a famous example. He was such a natural prodigy.
00:15:38
Speaker
he had the most beautiful and natural technique and then he came up upon some problems later in life with his playing and as he says himself he started analyzing and he got so frustrated he never really found back to his to to his so youthful naturalness. Yes.
00:15:55
Speaker
And that story is kind of mythical I think in the way many musicians think. I don't know if you get this a lot. Definitely. yeah I do, and I think there are several reasons. like One of them is what you say that we are decades behind the athletes in actually knowing what we are doing.
00:16:14
Speaker
And I think that's because we are in a different box. We are in the artist box. Because the athletes are in the body box. They are they are obviously obviously have to master their body.
00:16:27
Speaker
But musicians, we have we are artists first of all. but we really need the body to be the servant to be able to transfer the art through us.
00:16:41
Speaker
But that has been sort of secondary. And also I remember myself, I was very critical to technique, like everything that was technical or analyzing. i didn't like it. I didn't. I was like, no, the music matters the most. And I still think so. Yes, of course. But I think Like you say, when you actually get the real answers to stuff, like if you know that, oh, if I just activate this muscle, i actually can access a new sound on my instruments, or I can access
Coordination vs Gesture in Music
00:17:12
Speaker
a new ease when playing, or I don't have to hurt in my shoulder when I'm playing. Like, who doesn't want that, you know? Yeah.
00:17:20
Speaker
But, but I... And, or, or... You suddenly understand what your teacher was talking about when he feel the weight in the arms. It's like, what weights? I'm trying. Exactly. And that's what I hear a lot. It's like, oh, that's what my teacher meant. Because they were maybe accessing the muscles that you were after. But you didn't know that these were the muscles that your teacher were was using.
00:17:42
Speaker
But you have the same amount of muscles as your teacher. So it should be possible for you to do the same as your teacher, basically, you know. So yeah, I really am think that that the body part of playing has been one of the things that we have been neglecting.
00:18:00
Speaker
But still, if you look at old method books, it's a lot about movement. I have good books about playing the piano and how to move the fingers or the hand.
00:18:13
Speaker
But there's no muscle names in them. You know, there's no muscle and description which muscle to use, how to access it, how it should be able to to move your finger or your wrist or whatever.
00:18:28
Speaker
So I think we have come from a gesture point of view. Like we learn gestures, but we don't learn coordination. And these are two very, very different things.
00:18:41
Speaker
Because you can try to copy a gesture and you might gain something from that. But if you're not, on, like if you're not activated in certain muscles, you might try to do this gesture, but it's not going to give you exactly what you want necessarily. Like sometimes it might, but not always, you know?
00:19:03
Speaker
And I think that's part of it too. Like we we think more that movement has to do with gesture. And I think more that gesture is something that you might do in addition Like if you want to feel that like you're dancing to the music or you want to to make a gesture that expresses your feeling of the music.
00:19:25
Speaker
But for technical reasons, I don't think gestures are the main thing. I think the inner coordination and the differentiation of muscles is at the core of how your sound is produced, how your music is transferred through your body.
00:19:43
Speaker
And the gestures can sometimes even be compensations. that That something is not working in the most efficient way in your body. And then we tend to try to do it more gestural, if I make a new word here, so ah in order to try to reach some sort of coordination. But if you get the inner coordination and you get the inner power and access to your core, and I'm not talking like core muscles, but I'm talking on the inside of the body, and also on the outside that you know what to use and what to relax and which muscles in the fingers and which muscles in your feet and in your hips and everything then all of that can help you to gain the movement the musical movement the musical movement for me is an inner movement so when I'm moved when I'm listening to somebody I'm moved from the inside most of the time it's it's like I feel it on my inside
00:20:39
Speaker
So I think we musicians, we need to go within if you want. We have to feel the music on the inside so that it can grow out into the instrument through the right coordination and then be transferred to vibration that meets the ear of the listener.
00:20:56
Speaker
Wow, this is it's so great. This made made me think of a word, intention, musical intention, which is very central to our all music making. Yes.
00:21:09
Speaker
in that word there's tension yes and i think what's beautiful about the your approach to to body and technique is that to relax is not the only goal torture because a lot of teachers who keep talking about relax relax relax but actually knowing what muscles to turn on which stabilizing musculature that must be on in order to let the movement musculature do what it's supposed to do.
Balancing Tension and Relaxation
00:21:40
Speaker
and I think this it feeds very nicely into this word having an intention because in music there is tension and that's the whole that's the play between relaxation and tension is what music is about i find.
00:21:57
Speaker
yes I don't know where where my question is in all this. i't I can talk about it anyway because I totally agree. I think I was very unaware of how much tension it was needed when I was playing. But I remember my best times as a student of the piano and I had at one point I had a teacher that was very passionate and he was like hanging above me and like singing and and shouting and I was so inspired and I was playing and my whole body was just expressing this emotion and It came into the instrument and that was my best times, you know?
00:22:41
Speaker
And then I came to my practice room and to reproduce all of that emotion or that intention was exhausting. I didn't really know how.
00:22:53
Speaker
So knowing what muscles give tension in a healthy, good and effortless way, because it's actually effortless when the right muscles are being used.
00:23:05
Speaker
was so nice to start knowing how to use my body. So I didn't have to always in six hours of practicing every day, I had to, you know, create all of this tension and emotion and everything to have the sound I wanted on the piano, because that would that would be exhausting in the long run, you know. so So actually being able to produce a good sound with an intention in it that has tension that has that is not dead or flat or boring you know you have to have something that's creating the the even if it's a slow piece even if it's if it's something um pianissimo or you know that's that's not has has to be very strong or or fast or anything but
00:23:55
Speaker
You always need to have the intention which requires different types of tension. And knowing where to get that in the body is so nice for most musicians because it it takes away all the struggle and it gives a lot of freedom and ease in the playing.
00:24:16
Speaker
Can I get into a a specific example which is very common for many instrumentalists, at least string players and pianists? It's about pressing.
00:24:27
Speaker
Yes. Because string players hear that all time, don't press, it makes a hard sound, which is true. And then very often the instruction stops there. Okay, so not press. so What do I do then? Okay, then they say use your weight.
00:24:44
Speaker
Oh, ah And there's lots of metaphors for this and people approach it in different ways, I think, to access them the goal, which is which is a nice ah free sound.
00:24:59
Speaker
But to me, there was a very clarifying differentiation here that there are two ways to apply force or pressure into an object. You can press into it or you can push away from it. and you have this word which is in english push up push off in a way which is very central in timani and i can only talk about string players and especially the bow arm the push-off is is basically a different set of muscles than when you press when you press you use a lot of the
00:25:35
Speaker
front of the arm, the biceps and the chest muscles and this and you get quite a hard sound but when you push you use the extensor groups the back side of the arm and the all the way to the back and the shoulder blade and you get that feeling of opening up then suddenly what I find anyway I feel the weight of the arm and just by understanding very specific which muscles to put attention to and where I can relax it made everything so much more clear about pressing.
00:26:08
Speaker
But can you talk a little bit more about the push-off and and what you yeah mean by that? yeah ah You find this push-off in many traditions actually, because some yoga teachers talk about it and Qigong they talk about it and you know it's it's a thing that's Connected to what is natural. So taking us back to what is natural technique. It's part of natural technique.
00:26:35
Speaker
Pushing away from the ground is part of how we naturally should move the body. But most of us stop doing it. When we were babies, we did it.
00:26:47
Speaker
That's how we learned to first roll from our belly to the back and and to lift the head. Yes. Yes, you lift the head but you also take your arms and push away from the ground. Exactly. That's part of that section. And even you push away from the hips and your feet go up and you know and then you push away from the feet when you start crawling and away from the arms and everything. So it has to do with a relationship to the surface that you're pushing away from.
00:27:19
Speaker
So you're going towards the surface and when you reach it you keep going but the direction of force moves in two ways now. So you're pressing into the ground, but also you get a force pressing up from the ground, which makes you rise up.
00:27:37
Speaker
So when we use that, both from the sitting bones when we're sitting, we're using it from the feet when we're standing, or with the bow on the string when we're playing, or the fingers in the keys when we are ah playing the piano or on the drums we use the drum set and the stick the contact between them and we have this relationship and it's it's a neurological um setting you could say like it's it's a natural neurological coordination so once you get that like once you have done some exercises to regain this push-off it will feel quite different to play because you are suddenly getting power
00:28:19
Speaker
from within because you're pushing away from all the grounds if you want.
Push-off Technique for Ease in Playing
00:28:23
Speaker
So all the grounds and the grounds are with the instruments or with your sitting bones or the feet and you get this bridge through the body.
00:28:32
Speaker
So you have the heads of the bridges that are playing against each other if you want. And then the rest of the body is rising up from that. So it's rising up from the instrument, rising up from the ground.
00:28:45
Speaker
And it makes it so much easier to sit upright, for example, or it makes it so much easier to gain more power. If you need more pressure, you just push away even more.
00:28:57
Speaker
And it it feels very different than pressing down. But we we don't live very naturally in our society. We sit a lot and we don't move so much. So we lose this pushing away and we have to actually train it back into functional. Would it be correct to say that this has to do with our ah relation to gravity?
00:29:24
Speaker
And that in a way a push-off is working the opposite way from gravity. In a way it's what all life has in it. It's the the trees that stretch up or if you get very philosophical about it and But, whereas pressing in a way works in the same direction as gravity a little bit did. Yes.
00:29:48
Speaker
So, yeah. Yes, that's a very good way to say it.
Biotensegrity and Fascia's Role
00:29:54
Speaker
There's one more concept I would like you to get into, at least one more.
00:29:59
Speaker
You mentioned connective tissue earlier. We've also been talking a little bit about tension. And this, I think, leads us nicely into a word that you mention or use a lot, which is biotensegrity, which has to do with ah even distribution of tension within the body.
00:30:22
Speaker
Actually, the word tension is the same word as intent, you know, or tendency. And it has to do with this suspension of force in way, or distribution of force.
00:30:38
Speaker
Can you talk a little bit about biotensegrity and integrity ah describe it it in a few words? Yes. I think one of the first people using the word tensegrity was Buckminster Fuller talking about his architecture where he created bridges and different constructions from tensegrity. So it wasn't just building brick on brick anymore.
00:31:05
Speaker
It was actually held together by the distribution of force. And then the people who are very much into fascia, which is part of the connective tissue in the body.
00:31:18
Speaker
So this is the tenderness material that is like, one can talk about it like the wetsuit around every organ or around every cell even in the body.
00:31:29
Speaker
So if you take away everything else than the fascia in the body, you will see a 3D model of yourself sort of being held together. Because we are just a stack of bones really, you know? And if these weren't held together in some way, we would just lie there on the floor basically. So we have to understand that the body is a really... It's a very special structure.
00:31:52
Speaker
We can't just and take a house, put it upside down, because it's gonna break. Like the roof is not constructed to bear the weight. and We can't even take it on the side, the the windows are gonna break.
00:32:05
Speaker
But if we go to the side, if we move out of the center, if we go upside down, we are actually, the tensegrity is going hold us up somehow. And it's going to distribute the tension that is the force from the gravitational forces that are going to affect us.
00:32:22
Speaker
This is held together somehow by this connective tissue. Also this part of the connective tissue called the fascia. So these are... newer areas of research that I think is really important for us musicians to have insight in,
00:32:40
Speaker
understanding of, understanding of. So um we need to distribute the force. And what I see with most musicians is that we cramp one area and we are too loose in the next area.
00:32:56
Speaker
So for example, we might be very stiff in our back muscle, holding ourselves up. and the belly might be floppy, just falling out, and we might be holding our chest tight, and then our arm might be heavy and relaxed, but then the fingers may be cramped again. So many of us are compartmentalized somehow. we we use too much in one area and too little in another area.
00:33:24
Speaker
And that creates a lot of strain on the areas that we are using, and it gives us much less access to the potential of the areas we are not using.
00:33:37
Speaker
So I think that's actually one of the most important parts of Timani is to have a lookout. Does it look even? Does the force distribute
Efficient Movement through Tension Distribution
00:33:47
Speaker
evenly? Does it look like you're getting enough help from all the places in your body?
00:33:52
Speaker
Does it look like some places are tensed up too much? And many times musicians are trained to look at the tensed up places and we punish ourselves for tensing it up.
00:34:07
Speaker
But as you said earlier, like we need the tension. It's like the tent. I just came to to think of that image. The tent has these threads that you knock into the ground to keep it up. And if you cut one of those threads, suddenly the tent will collapse on one side or even even fall all the way down. And what's amazing I find about the connective tissue from the pictures you've shown us is literally how it it is connective tissue. It connects the whole body. It's like our clothes. If you pull one part of your shirt, the whole shirt moves in a sense. Yes. And just the feet they are so important because so much connective tissue meets in the feet. Yes.
00:34:54
Speaker
To realize that what happens in the feet can actually affect your neck. Yes. Or your back. Or breathing. It's not just something people, experts say, but it's very easy. You can even see it in in the pictures now because the dissections people make today, they are able to take out the whole connective tissue.
00:35:16
Speaker
And these chains of connective tissue, you can actually see how they go all the way from the feet up to the top of the head. Yes. That's really fascinating, I think. It is, and it's so clarifying for many musicians as well. yeah Since we are trained often to just look at the shoulders, or just look at the hands, or, oh I have a stiff wrist.
00:35:39
Speaker
But then the rest of the body, we haven't really always learned what to look for. And the traditional anatomy book is not necessarily that clear about these things either, because you you look through these books and you see all these muscles and Even if you were to memorize all the muscles yeah in the body and you didn't have this understanding that they all act together through the connective tissues, they wouldn' it wouldn't necessarily be all that helpful.
00:36:07
Speaker
Yes. see I love what about Timani I love this detailed specifics about each tiny little muscles, but within the context of the whole that everything works together and in the coordination. Yes, and and of course this has developed over many years because i have I have started in one end and then I have learned more and more and more and then in 2007 I started teaching on university level in the physiology classes and then I just realized i need to know more because I got all these students that had different problems. They don't have the same problems.
00:36:50
Speaker
it looks different for them, you know? And so so I really had to just learn more and more and more. And that's why it's now called Timani because it doesn't look like anything else in the totality of it.
00:37:04
Speaker
So i've I've been fortunate to have the possibility to extract knowledge from many, many different places, but still create my own analysis tool that is created for musicians especially because we really need we really need the holistic part and we also need details and this is maybe a good time to start rounding off I think we've been talking for a long time we could go on for days yeah this is so fun
00:37:40
Speaker
Timani has become very international now yes They're teachers all over the world, actually. But what's the best way if if any of our listeners want to get in touch with a Timane teacher?
Accessing Timani Resources
00:37:55
Speaker
you can yeah you can head over to timani.no. So that's T-I-M-A-N-I dot N-O. So that's our website. And you'll find a list of all the teachers in the whole world. that we have and also if you want to learn Timane from your home it's possible to join timanicommunity.com which is an online membership program which helps people to do the exercises, learn anatomy and I also talk about the implementation in those videos and and really you you get a lot of material that you can play with to do it on your own and enhance your playing
00:38:42
Speaker
There's also lots of courses of course, so it's possible to go to timani.no and check out the course page and see if there are any courses where you live or you can contact teachers and ask to have a course in your place.
00:38:56
Speaker
So many possibilities. Also Skype sessions and individual sessions and everything. So there's lots of possibilities to learn. And who is Timani for? Is it all levels?
00:39:09
Speaker
Professionals? it's like amateur yeah It's a great question because sometimes I talk to professionals and they say, oh, that's very good for the youth. But I also teach and many, many of the teachers teach professionals like orchestra musicians or soloists and like everybody can benefit, but also I've taught Timani down to the age of three years old, so kids can also benefit from connecting to their body. It's going to look a little bit different when you work with kids, but Timani is for everybody. It's for every stage of learning an instrument and singing.
00:39:47
Speaker
And as an orchestral musician, I can only add to that, that I i find it so much more fun being in orchestra. because I find that I can sit and and practice in a much more and specific and efficient way when I'm in the orchestral rehearsals now because I have so many things to work on even if if the first violins are rehearsing forever and I have to sit and wait I can sit and do my exercises and get a lot out of it so I think it's a wonderful
00:40:21
Speaker
method and a great thing for professional musicians as well to look
Conclusion and Listener Engagement
00:40:25
Speaker
into. So thank you so much for having this chat. Thank you. It was a pleasure to talk to you. Likewise.
00:40:34
Speaker
Thank you so much for listening to the Timani podcast. Please feel free to subscribe to this podcast series on iTunes so you never miss an episode. We also invite you to go to iTunes now and rate us and leave us a comment.
00:40:46
Speaker
We really enjoy hearing your feedback. If you want to get news and inspirations from our monthly newsletter, please go to tamani.no and sign up now and we'll see you in the next episode.