When I first started my training to become a music therapist, I wasn’t sure
where my primary instrument would fit in the picture. I came from a classical
background with a bachelor’s degree in double bass performance. I had an extensive amount of classical training, but I wasn’t sure how that training would carry over into the skills I needed to be a music therapist. After all, I’m pretty sure most people don’t want to listen to obscure orchestral excerpts from Beethoven’s Fifth Symphony. I started my search for answers in the library, searching for journals and books that mentioned the use of orchestral instruments in music therapy. I was dismayed to see there wasn’t as much literature as I had hoped. But I found inspiration in some of the articles I read to start bringing my bass to sessions. I was fortunate to have supportive supervisors and advisors throughout my music
therapy training who encouraged me to use my instrument as much as possible, and by the end of my training, I found a way to use my instrument in sessions that
worked for me.
This topic interested me so much, that I chose to write my master’s thesis on
developing a proposed supplemental curriculum for master’s students who play
orchestral instruments. After all, your primary orchestral instrument could be an
extra tool in your belt to help your clients reach their greatest potential. In the best
interest of the music therapy blogosphere, I didn’t copy and paste my whole 50 page thesis into this article. However, I’ve included a list of ideas below to get you started using your orchestral instrument in practice!
3 Tips to Getting Started
Tip 1: Start With What You Know
You’re the expert! You know the capabilities of your instrument and your
range of repertoire. Take some time to look at your primary instrument through a
new lens. Think of new ways to use the repertoire you already know. Whether it is
for environmental purposes or relaxation, think of ways to build familiar pieces into
your sessions. For example, I took one of my favorite movements from a Bach cello
suite and turned it into a greeting song. Use repertoire you’re comfortable with. It
doesn’t have to be the hardest concerto you’ve ever learned! I’ve had great success
using a simplified Songs from Broadway book in song recognition exercises.
Tip 2: Make a List
Make a list of the top 5 therapeutic qualities of your instrument. Now make a
list of the top 5 reasons you haven’t used your instrument for therapy. Are the pros
outweighing the cons? Many of our instruments are valuable, both monetarily and
sentimentally, but there may be ways of protecting your instrument and working
around your concerns in a way that works for you. For example, my instrument is
expensive so I get a little nervous about people touching it. However, I think the
double bass has a large set of therapeutic qualities, including the vibrations it
produces which are great for sensory experiences. I wanted to use this
characteristic of my instrument in a session with kids, but I was worried about the
many little hands touching my instrument! My Solution? I gave the children different colored cloths to use as a barrier between the instrument and their hands. This was a solution that worked well for me. As always, you should only use your instrument in ways in which you feel comfortable.
Tip 3: Think Outside the Box
Now that you’ve found ways to use familiar repertoire, get creative and step
outside of your musical comfort zone! Improvisation is a great place to start. If
you’re classically trained, try playing pop or jazz standards. If you play an
instrument you can’t sing while playing, try using the instrument for breathing
techniques or record yourself playing to sing over. Think of ways to adapt your
instrument so that your client may play it. The possibilities are endless!
Resources to Get You Started
Hoelzley, P. D. (1991). Reciprocal inhibition in music therapy: A case study involving
wind instrument usage to attenuate fear, anxiety, and avoidance reactivity in
a child with pervasive developmental disorder. Music Therapy, 10 (1), 58-76
Kildea, C. (2007). In Your Own Time: A Collaboration Between Music Therapy In a
Large Pediatric Hospital And a Metropolitan Symphony Orchestra. Voices: A
World Forum For Music Therapy, 7(2). doi:10.15845/voices.v7i2.495
Oldfield, A., Tomlinson, J., & Loombe, D. (2015) Flute, accordion or clarinet? Using the characteristics of our instruments in music therapy. London, UK: Jessica
Kingsley Publishers.
Salas, J. & Gonzalez D. (1996). Like Singing with a bird: Improvisational music therapy with a blind four-year old. In Kenneth E. Bruscia (Ed.) Case Studies in music therapy (pp. 19-27). Gilsum: Barcelona Publishers.
Simoens, V. L., & Tervaniemi, M. (2013). Musician–instrument relationship as a
candidate index for professional well-being in musicians. Psychology Of
Aesthetics, Creativity, And The Arts, 7(2), 171-180