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When I was very young, sometimes I could listen to
other people saying that a very good musician had
"lost" his lip and was incapable of playing
the instrument, his sound was inarticulate or something
like a stuttering difficult to identify. They also talked
about the wry faces they used to make when trying to
play the instrument. Of course, I rapidly forgot those
comments.
Some years later I lived the worst musical experience
of my life that made me remember those old comments,
it was a severe embouchure dystonia that nowadays
is but a far and inoffensive recall.
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Presently, it is unfortunately usual to get acquainted
of cases of musicians that suffer from abnormal muscular
disorders that affect their embouchure. However more
and more people dare to open their mind and look for
solutions. Embouchure dystonia has already stopped
to be a taboo. The reason of my research is obvious,
I had to solve my own conflict, and I wanted
to apply my knowledge to those who came to me looking
for help, something that has unquestionably allowed
me to draw further valuable information. So the results
of my research, up to now, are the conclusion of my
own experience. Firstly, being myself subject and
object of the research, and secondly by the experience
derived from its application to the cases that I have
treated and I am treating day by day.
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Unless one suffers from irreversible muscular
or anatomical pathologies, or undeniable technical
problems, we must immediately suspect that the
problem that affects us does not share the nature
of the previously exposed, but a completely different
one that has much to do with the deterioration
of our behaviour. Therefore, it would not be appropriate
to reject contemplating it as of psychological
origin, a clear and stubborn technical problem
that does not find solution through discipline,
mainly, if we consider that in the immense majority
of the cases the conflict only arises when
we want to perform and not when we imagine ourselves
performing (doing everything without the instrument).
This being so it is evident that certain mental
conditionings impede the normal functioning of
the muscular mechanisms responsible for being
able to play the instrument.
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Embouchure dystonia does not arises overnight.
It is the culmination of a mistaken integral work, and
as such, is reversible if right patterns are newly established.
Getting free from those erroneous mental patterns will
facilitate incredibly the come back to the natural condition.
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