Well-being: The Arts and Health Conference, Royal Society of Medicine in London 2005: ‘ The remaining musical contribution came from the engagingly articulate guitarist Paul Anders Søgaard, telling the story of his discovery of the benefits of the Alexander Technique…it remained fascinating to see Søgaard’s detailed demonstration, guitar in hand, of just how the principles affect the minutiae of performing. In the course of his lecture, Søgaard also offered a penetrating insight into the musical performer’s psychological attitude to injury.’
Andrew Green, Classical Music Magazine 5 November 2005.
We’ve had a fantastic response to your seminar at the RGT Conference … many teachers told me on the day and telephoned the office to say how much they enjoyed your seminar and how informative it was!’
Tony Skinner, Director, Registry of Guitar Tutors
‘Many congratulations on the absolutely brilliant master class you gave last week.’
Dr Christopher Wynn Parry MBE MA FRCS FRCP. Consultant Rheumatologist and Honorary Physician to BAPAM. ( BAPAM Training Day 19 November 2004)
‘Paul has the ability to make the students aware from the first minute … to create a dialogue with them. I strongly recommend his lectures/workshops to all music institutions!’
Nina Kastrup, Director of Music, Slagelse School Of Music, Denmark.
In this lecture I will discuss and demonstrate my approach to playing and teaching the guitar. I was awarded a distinction for my dissertation ‘Ergonomics of the Guitar’ (PAMT Course).
This will include:
- Ergonomics of the guitar
- Alexander technique applied to playing the guitar
- The benefits of improvisation
- How to conquer Performance Anxiety
- Specific techniques for electric and acoustic guitar playing
- Breath control for improved practice and performance
- The elimination of negative thought patterns
- Preparation for exams exam, concerts and gigs
- Practice schedule including warm up/down
A question and answer session will close the workshop.
The workshop is designed to let students explore the subjects from the lecture, by using the feedback they get from their bodies. There is no right/wrong, but instead students are encouraged to find solutions that suit them by creating a natural technique based on their natural ability to learn. I have always thought it was important to give each student their own tools to develop as a guitarist and musician. I want the student to know how to think, not what to think.
Simply to copy somebody else, especially when it comes to technique, defies the whole purpose of learning how to play the guitar. Without a conscious and precise method we can never hope to develop our selves and realise our full potential as human beings and musicians.
By teaching the student to use his/hers awareness in relation to the instrument it is possible for anyone to create their own way of expressing themselves without any unnecessary tension, only the true tension in the music!