While there is no substitute for hands-on work and individual attention, these free 7 steps of smart Alexander Technique “reminders” make it worth it to subscribe.  The free e-course is called Seven Steps to Less Pain, More Poise. Put your name and email into the boxes on Alexander Technique teacher Sarah Chatwin’s site and the course is delivered straight to your in-box. Read the rest of this entry »

PROFESSIONAL DEVELOPMENT

Institute for Musicianship and Public Service
Are you a musician interested in combining your artistry with public service? You may be a candidate for our four-day professional development opportunity, May 31 through June 3, supported by the Mellon Foundation. Applications are due by March 23. Learn more HERE. Read the rest of this entry »

The Savvy Musician’s best reads of 2011

The 10 Craziest Kickstarter Projects of 2011

How to cultivate originality

Attentive Collaboration by the Audience:  Essential but Not Easy

Jazz’s encroachment on classical station upsets some

The future of classical radio?

Learn about SOPA and Wikipedia’s Blackout Page

Practice with your head, perform from your heart

So you think you know? Discovery in Alexander Technique

The three roots of Performance Anxiety

Making a good first impression

Financial Freedom for Music Entrepreneurs

The day one very determined teacher and The Philadelphia Orchestra changed a little boy’s life

In Philly, Tuesday, January 24, 2012 at 7:30PM , a free talk by Eric Booth, Tricia Tunstall, and Stanford Thompson discussing El Sistema: Social Innovation Through Music Education

Wynton Marsalis:  My relationship to MLK

Edna Landau’s popular career advice blog for Musical America, Ask Ednais celebrating its first anniversary with a contest. Music career-related questions must be submitted by January 31 in order to be eligible for the prizes, which include a free career consultation with Edna. Those submitting questions have the option to remain anonymous on Edna’s blog. Just send your questions to AskEdna@MusicalAmerica.com

Quotes of the week:
You don’t have to practice boring exercises, but you have to practice something. If you find the practice boring, you don’t run away from it, but don’t tolerate it either. Transform it into something that suits you. If you are bored playing a scale, play the same eight tones but change the order. Then change the rhythm. Then change the tone color. Presto, you have just improvised. If you don’t think the result is very good, you have the power to change it- now there is both a supply of raw material and some judgment to feed back the process. This is especially effective with classically trained musicians who think they can’t play without a score or develop technique without exact repetition of some exercises in a book. –Stephen Nachmanovitch, Free Play

From Martin Luther King, Jr.–Almost always, the creative dedicated minority has made the world better.
Images from:
http://www.artsjournal.com/bookdaddy/2008/07/
http://seattletimes.nwsource.com/special/mlk/
http://www.songwright.co.uk/2009/12/16/why-any-good-songwriter-needs-to-be-able-to-improvise/

Think You Can, or Making a Living as a Musician, from the NEC’s Entrepreneurial Musician Blog

When it comes to careers, musicians learn to improvise

Alexis Del Palazzo on Participatory Audiences

Is Classical Music too elitist or not enough?

Astrid Baumgardner’s latest, Finding Passion in Your Life’s Work: Do What You Love

Just live Your Own Damn Life, from the Sun Magazine

Michael Morgan of the Oakland East Bay Symphony pushing programming in new directions

Musical America’s musicians of the year

The success of the LA Philharmonic

The orchestra’s guide to looking cool

Photos from Mahler Remixed from the New England Conservatory , a creative performance featuring creative arrangements

From the blog String Visions, Breaking Boundaries with Aaron Dworkin

Coaching Advice from the author of the Talent Code:  Talk less, Matter more

Some Alexander Technique observations

Check out Yoga Nidra, thanks to John Ranck who shared this on the FLUTE list

Video of the Week:

Ian Anderson of Jethro Tull with orchestra, thanks Flutronix for passing this on!

Do What You Suck At

June 20, 2011

One of my mottos for awhile now has been “You are only as strong as your weakest link”. This picture exemplifies the idea perfectly. When I was in Army Basic Training, that was one of the things they told us almost constantly. We had to do everything as a team, and if one person was wrong, you were all wrong. If one person wanted to keep the Kevlar helmet on instead of taking it off, we all had to keep it on. If one person got punished…well, that didn’t happen, we all got punished.

The point was that you HAD to learn to do everything as a unit, as a team, and that each person was as important as the next. You are being taught to pay attention to detail and you realize very quickly that even if YOU excel in one area, your Battle Buddy probably doesn’t, and to work together as a team, everyone has to come together to support and encourage and work on their “weakest link” before you can excel as a team.

Your body works as a team as well and if you don’t address your weakest link, you are shortchanging yourself. As a musician, you know that if you don’t work on your weak spots, you’ll never reach your full potential because being a musician is made of several “links” – scales, intervals, tone, technique, body awareness, attitude, work ethic, etc.

As for my title…

You’ll have to pardon the hanging participle and bad grammar….but it got your attention, didn’t it?

Here’s the point if you do what you’re good at, you’ll never get any better. Makes sense, doesn’t it? Sure, but what do we do? We do the things at which we already accel. Why? Because we like doing well, we like feeling that good feeling that comes with doing well, and when you do something well, it’s, well…..easy.

Another way to say “do what you suck at” is to say “work on your weaknesses”. Now, honestly if I had put that as the title, you wouldn’t have stopped by to read, would you? Not nearly as interesting. But the truth is there in both statements. When you take a good look at the areas in which you lack and you go forth and WORK on those weaknesses what happens?

Well, it’s hard.
It’s generally not much fun.
You might fail
….a lot.
But in the end, you end up succeeding and ultimately not only gaining a greater sense of achievement due to the feeling of overcoming something at which you used to not do well, but it gets easier from there for you to get better at it.

Two examples: music and fitness, of course 🙂

Fitness

Take your pick: squat, pushup or pullup.

Sure, there are other hard exercises like deadlifting and benching and rowing but in all honesty, these are tough for me and most women. Most people do a HORRIBLE job of squatting with good form. They either

  • don’t go low enough
  • elevate their heels and squat on their toes
  • have their knees cave in
  • point their toes way out

It’s sad really, because what should be easy to do (we did it as 2-year olds without another thought) becomes so much more difficult as we age.

Side note:
This is why I suggest EVERYONE get some training in Alexander Technique. It’s not just for musicians and you will relearn how to use your body the way God intended and the way you used to, as aforementioned 2-year old but with better motor skills 🙂

Walk into almost any gym in the country and undoubtedly you will see a lot of the same things: the treadmills, ellipticals and bikes will be mostly full (sadly, mostly with women), lots of people using machines, and in the free weight section, the few people you see will be mostly men, mostly doing chest and bicep exercises. Occassionally you’ll see a man doing a squat….probably only going half-way down with too much weight (because it’s always better to improve your ego by using too much weight with bad form than to use no weight with good form, right?) and even more rarely, you’ll see a lady in there, doing “toning” exercises with the pink dumbbells. She’s doing it because she knows she needs to do something but isn’t sure what, so she sticks to what’s safe, what isn’t challenging, and pats herself on the back for venturing into the “guy’s” part of the gym. And year after year the ladies on the treadmills wonder why their bodies haven’t changed the way they “should”.

The guys do their same routines for the same reason: they work the vanity muscles using some outdated routines they found in magazines (that really only work for newbies) because they don’t know any better, it’s safe, it’s what the other guys are doing and hey, what woman looks at a guy’s legs – they look at his GUNS right? And year after year, he does the same stuff, blindly going forward, his gains decreasing every year and wondering why.

I’ll tell you why. It’s because they don’t work on their weaknesses.


Music

Where is your weakness when it comes to music? Ignoring etudes, scales and technique exercises – only focusing on working on pieces? Not really “wood shedding” the music, but just playing it over and over again? Putting off memorizing something? Not practicing much at all?

As a musician, my biggest weakness is 1) not making the time to practice and 2) not giving myself structure during practice time….which leads to feeling like I”m just wasting my time, so I end up not practicing at all! If you are one of those musicians who has been out of school for awhile, you know how easy it is to get out of the habit of daily practice, espcially when you aren’t surrounded by other musicians pushing you, endless rehearsals and recitals. If LACK of practice is your nemesis, ask yourself why? And chunk it into manageable goals: 1) I will practice every day or every other day 2) I will work on these pieces and these exercises, etc. Just write it down and give yourself structure.

If there is something specific you suck at and you’re just avoiding it, it’s time to take the bull by the horns and go after it! If you are a person who plays by ear and has a difficult time deciphering rythms on the page…..well, you need to start reading more music with difficult rhythms. If you suck at sightreading, the only way to get better at sightreading is to sightread a LOT.

See how this works? Identify your weakness, have the courage to put your ego aside and say “ok, what do I really suck at?” and then do THAT.

Take your dreaded evil and look it square in the face and say

“Today , it’s you and me and while I may not conquer you today, maybe not tomorrow, I will not fear you, and I WILL do this”.

And from there, you start with Moyse Gamme Arpegge and work your way through 🙂

So Do What You Suck At

If you are a gym “bro” who splits his workouts into “chest days’ and “arm days”: have the courage to do a full body workout,

If you are a lady who does nothing but stay on the elliptical or do curls and crunches in the “guy’s part of the gym”, have the courage to pick up some 20 pounders or hire a personal trainer and learn how to do a real deadlift…I can tell you, there’s nothing more empowering than deadlifting your bodyweight (with excellent form) in a gym full of men who are doing superflous exercises (with bad form).

If you are a musician and you’ve been putting off attacking Berio’s “Sequenza” GO FOR IT! You just might find that it’s way more fun than you ever realized.

In the end, we all have to work on our weaknesses, because there is only so far you can go in the areas you already excel.



Ask almost any flutist that has pain brought on by playing, and odds are they will mention one of these sites as giving them trouble: wrist, upper back (between shoulder blades), shoulder area or lower back. Sometimes the problem is that the pain is in ALL of these sites.

Studies have been done, but the results are inconclusive as to the results of what causes pain. A study I read recently studied the “History of Playing-related Pain in 330 University Freshman Music Students”. The interesting point is that MOST of the students had pain brought on by playing. The frustrating point was that the study was inconclusive as to the cause of the pain.

I have my own hypothesis, however, because this study did not cover my area of expertise: strength training. This is what the study found:

  • More students did than did not exercise, but pain occurred in 79% of the exercisers and in only 76% of the sedentary. Data were collected though not analyzed regarding exercise type; jogging appeared to be a favorite, as was the use of a variety of exercise machines
  • Most of the pain problems reported by instrumentalists are associated with the musculoskeletal system
  • Several factors have played into the lack of regular exercise for musicians. First, those who start their instruments early in life…often have been warned of the potential injury that might befall especially their hands and fingers by participation in athletics. This avoidance behavior becomes habit as they grow older.
  • There apppears to be an association between poor conditioning and musculoskeletal complaints, and vice versa; those who do have a regular exercise routine appear more resilient.
  • When asked about “regular exercise” …our definition for inclusion here was exercise of at least two times per week for a minimum of 30 minutes. We did not differentiate between exercise modes, but just from casual scanning of the data, jogging was by far the most frequent activity, followed by some kind of machine and/or light weights and biking. A minority did heavy resistance weight training, swimming, soccer and/or basketball.

It is GLARINGLY obvious to me what could possibly be the cause of so many musician’s pain, here, but this was not covered by the researchers.

  1. The type of stretching done, is probably out-dated, static stretching, which has been shown to be more detrimental than helpful
  2. Jogging is a favorite activity….this does NOTHING to help weak muscles. If you play an instrument held in front of your body (aren’t they all?) then your body is forced to compensate after the primary muscles holding up the instrument fatigue. Thus leading to pain.
  3. The MINORITY did heavy resistance training and soccer, swimming and basketball – sports that require a high degree of movement.

Can you see the pattern here?

So getting back to the flutists’ pain points

What are the points of chief complaint?  From what I have heard (though if you have another spot, please leave a comment below!) these are the most common

  • wrist
  • upper back
  • shoulder
  • lower back

With the exception of the wrist, the other three points are located on what we call the “posterior chain”  This is the back half of the body, responsible for a lot of pulling movements and fighting against the pushing movement of the front of the body, including keeping the body upright.  If your posterior chain muscles are weak, it causes them to stretch.

Example:

You sit all day, in rehearsals, driving, typing, practicing.  You probably slouch, meaning your chest comes forward, your abdomen caves in and your back rounds.  You are not balanced on your sit bones.  Your shoulders round forward.  Your head protrudes.

What does this lead to?

Try taking that posture for awhile and I bet the answer will be:

  • my neck hurts
  • my upper back hurts
  • my hips hurt
  • basically, everything on the back half of my body HURTS!

Can you see how this  posture, practiced day in and day out is compounded with holding a heavy instrument (or maybe your instrument isn’t heavy but after several hours of playing it becomes heavy to you) can wreak havoc on your body?

Solutions!!!!

The part you’ve been waiting for!  You can see where the problem lies, by now, I hope.  Weak posterior chain can equal pain.  What to do?  Strengthen it!  Let’s take this on a spot by spot basis.

Wrist

If your wrist hurts, there can be several causes, some of which may not have anything to do with your wrist, but  may actually be a symptom of poor upper body posture, shoulder position, etc.  Assuming you play an instrument that puts your wrist in somewhat of a contorted position (flute, guitar, violin, etc.) there are some stretches you can do.  Hold each for a count of 10, and follow with movement.  It is very important that after you do a static stretch (a stretch you hold without moving) that you follow that with a dynamic stretch (a stretch that involves movement).

                                                                             

These are stretches and of course there are exercises you can do to increase your wrist/grip strength.  However, I’m not sure that that is necessary, as my guess is that the reason the wrists hurt has more to do with being tight and needing to be stretched due to being in an awkward position for long lengths of time, rather than being weak.  However, grip strength is important when it comes to lifting weights.  Diesel Crew has a lot of information on improving grip strength.

Upper Back/Shoulder

This area could take all day to address, and I have in two posts and a guest post by Dr. Perry.  For detailed information see Shoulder Pain Part 1, Shoulder Pain Part 2 – What to Do About it, and Dr. Perry’s Post: Shoulder Pain Secret.

The chief culprits of pain are the rhomboids (the muscles in between your shoulder blades that work to pull them together), lower traps (pull shoulder blades back and down) and rotator cuff muscles.  When you lean forward with a rounded posture, or have your arms extended in front of you for a long time, these muscles that do the pulling in your upper back get stretched the opposite way and get kinda angry about it.  They are designed to pull the shoulder blades back, but if you do not strengthen these muscles, if they do not get used the way they were intended.  You get pain.

I think this is the biggest problem area among musicians and the most overlooked!

Strengthen your rhomboids and upper back by doing pulling movements and see if your pain doesn’t improve, not to mention your posture!

My favorite exercises are:

Lat Pulldowns/Pull ups, any type of rows (inverted, seated, barbell or dumbbell) and exercises for the rotator cuff: soup can pours, prone lower trap raises and wall slides.  You can see all three of the rotator cuff exercises in Shoulder Pain Part 2.

Before doing any of these exercises, however, it’s not a bad idea to stretch the muscles that are tight, before strengthening the muscles that are weak. That’s another post for another day. 🙂

Lat pull downs/Pull ups.

     Good form                       BAD FORM!!!

(Coaching cues – keep spine neutral – curve in lower back, no leaning backwards, and keep shoulder blades down)

The big thing to remember here is to that before and DURING the movement, keep your shoulder blades pulled back and down.  This will prevent you from going into full shoulder extension and increase shoulder stability.

Huh?

That means that when your arms are as far away from you as they can be, if your shoulder blades are properly retracted and depressed you will still be able to let your arms go farther away.  So, when you are reaching up for the bar, don’t let your shoulder blades float away – keep them back and down.  If you find you can still let them go a bit farther (like in the second picture), you know they are not properly retracted. Think of keeping the bottom of your shoulder blades squeezed together throughout the movement.  This may cause you to not use as much weight as you would like, but so what?  If you use more weight than you can with good form, what are you really accomplishing?  THAT’S where you get into more pain and injury.

Inverted Row

Coaching cues: keep body “straight”, keep shoulder blades back and down.

Coaching cues: keep shoulder blades back and down, keep neutral arch in back, do NOT round your back when reaching for weight or pulling forward

Lower Back

If your lower back hurts, ask yourself how much you sit.  If the answer is “a lot”, you may have found your problem.  When you sit, your hips “flex”, this means that the knees come towards the body by means of the hip flexors   The hip flexors are pictured here and I know the Alexander Technique teachers will jump all over the psoas, as they should! That’s where I first found out about this very important muscle.  You can see how it attaches to your leg AND your low back. When you sit, this muscle flexes, or shortens, which (especially if your abs are too strong – aka, don’t do situps or crunches!!!!) causes you to bend forward, this muscle pulls on your low back.  The muscles on your low back (Quadratus Lumborum and spinal erectors, etc.) get stretched, just like the upper back muscles.

Solution?

Stretch the tight muscles, strengthen the weak muscles.  In this case, stretch the hip flexors, strengthen the low back muscles  and muscles of the core.  The CORE is actually made up of your entire torso and if you want an EXCELLENT book on strengthening the core in the non-traditional way (there is not a single “ab” exercise in this book!) I HIGHLY recommend getting New Rules of Lifting for Abs. 

I’m just finishing up this book myself and not only has it improved my posture, it has improved my balance, core strength and overall body strength.  I can lift heavier weights than I have in a long time and I have better posterior chain activation as well!

There are WAY too many exercises to list here for strengthening the core and lower back, and in fact, if you want more information on that, I cannot recommend anything here safely, which is why I recommend hiring a personal trainer to help you do these exercises, because done incorrectly you can cause more pain or even injury to yourself.

As for stretching the hip flexors, I have some great ones.

You can do this standing as well.  Make sure when you do this stretch, you lean backwards with your torso until you feel a stretch in the front of your hip and SQUEEZE your put on the stretched side.  When you stretch the hip flexor, you want to activate the opposing posterior chain muscle, in this case, the glutes.

This exercise is one you can do during rehearsals, while typing, or while lying down.  It will stretch your piriformis muscle (the angry little muscle in your butt that gets stretched out when you sit for too long).  I recommend doing this lying down: take the chair out of the picture and put the person on his back.  Grab the vertical leg and pull it towards the chest.  The horizontal leg (the one that is bent across the other) will feel a stretch in that glute and hip.

A good stretch for the psoas is this stretch:

Lie on the edge of a bed, bench or table and pull one leg towards your chest.  The other leg should dangle off the edge of the table.  DO NOT do this exercise if your doctor has told you not to or you have major back pain.  Check with your doctor first if you have concerns.  When doing this stretch, you should feel a deep pulling feeling in your abdomen, that is difficult to identify.  This is your psoas.  Hold for a count of 10-30, depending, and switch sides.

You can also do this on the floor to test for hip tightness.  Lie flat on the floor just like in this picture.  If your lower back comes off the floor and rounds, it can be a sign of hip flexor tightness.

What are some exercises I need to NOT do?

As you can see in this post, training the posterior chain is of utmost importance.  Therefore, training the frontal chain, is not as important.  If you have muscular imbalances, you do not want to add any more strength to those muscles.  The opposite of the muscles covered in this post would be: chest, quads, biceps.

Exercises I do not recommend if you are in pain:

Chest presses, bench presses, cable flyes (basically any chest pushing exercise), crunches, situps, any kind of oblique twisting ab exercise,  leg extension machine.

Other GOOD exercises to include would be exercises that train the entire body:

Pushups

Deadlifts

Squats

Make sure you perform these exercises with permission from your doctor and under the supervision of a properly certified personal trainer.  If you have any kind of health condition, check with your doctor first.

Related articles

What Interests You?

May 22, 2011

So as you all know, I have two main passions when it comes to career: Music and Fitness. I’ve gone into mostly uncharted territory with promoting myself as a Musician Health Coach, or a personal trainer for musicians. What does that mean to you, though? What does that mean and what do I do and how does that actually benefit you?

  • I am a NASM certified personal trainer. This is one of the top rated personal training certifications in the country and, along with the NSCA, is considered the gold standard. In addition to this, this particular certification agency focuses on addressing the different muscle imbalances that everyone tends to develop – especially those who do repetitive motions like driving, sitting at a desk or computer, practicing an instrument, etc.
  • I am a classically trainer professional flutist. I have studied music performance for a long time, ending (so far) with getting my Masters in Music Performance from FSU. What does this mean? It means that I LOVE to play my flute and perform for people. It means that I am one of those people in the above categories, practicing my instrument for hours, sitting in front of a computer (typing this), and I understand the demands that are placed on a musician’s body. We are unique in what our discipline requires from us. I get it, because I’m just like you.

So what the heck is a Musician Health Coach?

Besides my anatomy/kinesiology knowledge that came along with the personal training certification, I also have studied the Alexander Technique (taking classes/lessons at Interlochen Arts Camp, Appalachian State University and Alexander Murray), Body Mapping (taking the “What Every Musician Needs to Know About the Body” class from Barbara Conable, and several other classes and presentations) and taking 2 years of Dynamic Integration with Eva Amsler at FSU. All three of these different modalities focus on the body; learning about the actual layout and how the body works, understanding how we move, remapping our idea of what we look like on the inside, learning to move with only the amount of tension that is necessary, UNLEARNING how to move in some ways, and most of all becoming hyper AWARE of my body and how it functions/moves.

As a musician health coach, what I do is to help musicians make that connection between their brains and their bodies. Huh? Playing the flute involves more than just your lips, arms, fingers and lungs. You use your entire body to play the flute, trombone, drums, etc. Do you ever think about these things while playing?

  • When I breathe in my spine compresses and when I breathe out, my spine lengthens
  • I am conscious of the space in-between my shoulder blades, and there is no tension there
  • I feel my feet while playing
  • When a difficult passage comes up, I consciously shift my weight to my right foot to make it easier
  • While breathing, I notice whether it is my chest or abdomen moving
  • During times of nervousness (either playing or about to play) I notice what my different symptoms are in all areas of my body, I can feel them, and I accept them instead of ignoring them.
  • Most times while playing, my attention is on my big toe, the back of my knees or noticing if my shoulders are holding excess tension rather than notes and phrases
  • I’m playing, but I’m feeling my feet
  • While playing, I check in with my body and notice where I have pain and am able to connect that pain (or not) to how I play my instrument
  • I can get up and down out of a chair without tensing my neck
  • When I sit to play I’m aware of how my body is balanced between my sit-bones
  • I feel strong/weak in certain areas of my body when I play

Ever thought any of those thoughts? I think of that stuff ALL THE TIME. Whether playing, practicing, preparing to play, weightlifting, driving, etc. As a musician health coach I see it as my job to help other musicians get out of their heads and into their bodies. Meaning that I use several methods to “coach” other musicians into being the best musicians they can be. I teach flute lessons but in these lessons the focus isn’t just on notes and phrases. A lot of the time we focus on body awareness, feeling your feet while playing, understanding how to sit in a chair and get in and out of it, noticing our emotions; how it feels to play with the different emotions and learning how to accept them instead of hide from them (including nervousness!).

If a musician or student complains about playing in pain, I begin to cross into the strength training aspect of my career. After learning how to “check in” with our bodies, I ask them to pinpoint the pain. I might show them some stretches to do before, during and after playing to combat the tightness that might be there.

Among musicians, especially those who have not been taught body awareness, there can be some pretty severe cases of muscle imbalances, and most often these imbalances lead to pain when playing. Most flutists I’ve surveyed complain of pain in and around the shoulder and neck area. A lot of this has to do with not being strong enough to hold our instruments in their proper positions for long amounts of time without compensation. Compensation is what happens when a muscle or body part is too tired or weak to be able to perform its intended function so other assistant muscles start taking over. We call this “synergistic dominance”. For example, if your shoulder and rotator cuff muscles are weak and other muscles are tight (especially your chest muscles), after awhile of playing you might start noticing pain under, around or between your shoulder blades (left, for flutists). The muscles you were asking to hold up your flute are not strong enough to continue, so other muscles like your chest and trapezius muscles have started to take over the job. This pulls on your already weak rhomboids and shoulder girdle which causes you to lean over to take the weight off the shoulder.

Now you are slouching to the right, your spine is out of alignment and your core muscles are not engaged to keep you upright. Most likely they were weak too, or else you would be able to hold up your flute. Now that the core is weak, other muscles of the hips have to take over which can cause your hamstrings to be weak, your hips to hurt, calves to be tight and possibly knees to hurt.

Now you’re a mess. Do you see how the body works together to play the instrument? We didn’t even talk about breathing!!! 🙂

So, here is my question to you. In the still relatively uncharted waters of musician health and strength training, what interests you? As a musician, what would you like to read about? What are you specific health concerns? What kinds of articles do you want to read about that you think might help you? Go outside the box here. Do you want to read about stretches? Weight training? Body Awareness? Travel tips? Overall health and well-being relating to the body and playing? There are a ton of topics, but I want to write about what interests YOU because I want to help YOU.

What interests you?

Feel free to post a comment on my Facebook page, hit me up on Follow fluteanjel on Twitter, leave a message below or take the poll below. Love to hear from you!

Click here to take survey

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