what is timani ?
Timani is a complete functional anatomy method designed for musicians to optimize their practice & performance, by tackling the whole system with the latest scientific research + a combination of somatic practices resulting from the 20 years of practice and research done by Tina Margareta Nilssen, founder of Timani and of the Musicians’ Health and Movement Institute, Oslo.
how does it work
Our body is our first instrument. Playing an instrument and singing require a complex and refined use of the more than 600 muscles in the body. Because of the complexity of the required movements, most musicians experience pain, injury and limitations in technique throughout their career. At the Musician’s Health & Movement Institute, we believe that musicians need to know more about performance related anatomy and movement, preventing many musicians from experiencing the common injuries related to their practice.
By applying the personally tailored exercises, the musician is provided with the necessary help improve their coordination skills. All instructions are anatomy-based for pristine clarity. This will instantly lead to an effortless sense of playing and singing, with increased capacity, energy and improved sound. After just one session, the musician experiences a wider range in sound and a clearer pathway to express the music.
What to expect in a timani session
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It brings detailed awareness on specific areas of the body that are crucial for one's movements in music practice. Tailored knowledge for each instrument.
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Mindful movement within somatic exercises allows new neurons to connect, which helps your brain get out of patterns it may have learned as a response to stress / trauma. New neural pathway formation contributes significantly to your brain's adaptability and is a huge part of the healing process.
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Give you simple & life-changing movements/exercises to do while singing & playing, that support and enhance your performance and overall health.
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A set of skills, tools and movements to immediately start getting tangible results in more groundedness, open the breathing pathways and activating the natural resources of our body.
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If you're not a musician yet still want to know the natural way your body is wanting to sit, stand, walk, operate repetitive movements (even sitting at a desk all day long makes you eligible for a Timani class to get healthy ways to prevent spinal/muscular rigidity over time)
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Expect to be blown away by how just the right alignment saves you hours, days of practice. Sometimes you just need to activate one muscle for everything else to fall back into place.
the 7 pillars
1. relevant anatomy
The musician learns about key muscles for playing and singing, both the names of the muscles as well as their function and how they apply to music-making. One also learns about which muscles normally compensate for the same movement, when the optimal muscle is not being used as it should.
The model used in Timani describes exactly what muscles the musician needs for breathing, stability, and free movement.
The theory is based on the three-part structure developed by Bergmark (1989) where there is a clear scientific understanding of local stabilizers (muscles that provide protection in the joint while moving), global stabilizers (muscles that are meant for low load activity over longer periods of time, such as playing an instrument for hours every day), and global mobilizers (muscles meant for high loads over a short amount of time, such as carrying a heavy chair, but which should relax and provide weight while playing an instrument). New research on the classification of muscles is also taken into consideration and applied to musicians in Timani.
2. Movement Training and Analysis
One learns to recognize body movement in one’s own body as well as how to observe others. You learn to see if the muscles are performing their primary job or if compensatory patterns have occurred. Traditional language such as ”stiff bow arm”, ”too high breathing”, ”relax while playing”, ”sit straight”, etc., are analyzed, anatomically explained, and re-trained in the body through simple but efficient exercises. The most effective coordination is explained in, among others, the scientifically-based movement method for physiotherapists called Kinetic Control7. These are the same principles used in Timani.
3. Connective tissue
The elasticity of the fascia tissue has been shown through recent research to be highly important for healthy movement. In Timani we specifically work on the fascia in order to use its “bouncy” quality, for example when using rapid and repetitive movements for playing and singing. This instantly reduces the effort of muscle use, and prevents us from cramping up and becoming tense and stiff. We also work on the connections that are, for example, from the fingers to the shoulders, or from the feet to the diaphragm, as described in Anatomy Trains by Tom Myers9. This way we can see if the movement restriction is local, or more likely comes as a consequence of a dysfunction somewhere else in the body.
5. push off
This term points to the neurophysiological reflexes that we are born with, which create the natural learning process of locomotion when we are infants. These reflexes were first described and systematized by the child neurologist Vojta in the 1960s13. Similar principles were discovered by neuro-physiotherapist Roswita Brunkow in the 1970s14 and systematized by her successors. This natural push-off from the ground creates our constant situation of defying gravity without useless tension. There are chains of muscles that constantly raise us up from the ground throughout the day. This is a natural but complex interplay that we often ”lose” or “forget” as we grow up in a non-natural environment that includes a sedentary culture of sitting. When we once again start using these muscular chains by “pushing away” from the ground, the natural way of connecting to our instrument and make use of the gravitational forces is gained in both standing and sitting positions.
7. focus
Conscious awareness of the body and mind can help increase focus, both in the practice room and on stage. In Timani we also work on the parts of the nervous system that convey the internal and external sensory stimuli. This can be the listening experience (sense of hearing) or being aware of the fingers touching the keys of the piano (sense of touch); it can be to create awareness of where one is experiencing the musical expression inside of the body (interoception) or awareness of consciousness itself, in order to be in the moment and undistracted by inner commentary when playing music. All the ways of learning are taken into consideration (visual, auditory, tactile, kinaesthetic, intellectual). Musicians also learn relaxation exercises to help the brain process information.
4. Healthy and natural breathing
In Timani we approach breathing through knowing and experiencing the exact anatomy of breathing, the fascial connections of breathing, and the skeletal alignment needed for optimal breathing. We also have so-called primary and secondary breathing muscles; the coordination between these determines the level of efficiency that can be mastered by the student of inspiration (breathing in), and of the air-flow during the expiration phase when playing and singing.
The background of the understanding of breathing in Timani is extensive. It is brought in from many methods as well as science- and musician-related instructions
Serge Paoletti’s studies of the diaphragmatic structures play a huge role in how we teach breathing in Timani.
6. MIND body connection
The Mind-Body connection is often well-known to musicians. Most musicians have experienced the physical reactions that can occur in situations when we are nervous: dry mouth, cold fingers, shaking bow, shallow breathing, and a loss of optimal fine motor skills. This is the so-called fight/flight/freeze response. When this occurs, it is mostly the global mobilizers (see pillar 1) that tense up unnecessarily while the global stabilizers needed for fine motor control shut down. With conscious practice over time, the nervous system can be affected positively. This can prevent an excessive production of adrenaline and cortisol (stress hormones), and therefore create more psychological safety through how the body is used.
Limited TIMANI 1:1 spots
Limited TIMANI 1:1 spots
1 hour. We focus on what you want to work on (breathing, opening the sound, more stability and/or flexibility, balancing the stress response for auditions/performances) please choose what is most important for you. Get a detailed overview of compensatory patterns in your coordination, and specific exercises applied while you play/sing that help you get the sound you seek. The class is recorded so you can rewatch it when you want. Prepare your instrument and wear comfortable clothes.
✺ Frequently asked questions ✺
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Timani helps anyone understand the relationship between their brain and body to improve posture, coordination, and movement efficiency. Whether you're a singer, public speaker, or simply want to move more naturally, Timani can enhance your physical awareness, prevent pain, and promote overall well-being.
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Each session is tailored to your needs, focusing on exercises that improve your posture, movement, breathing, and muscle coordination. You’ll learn practical tools to optimize performance and avoid strain or injury.
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No prior knowledge is required. During the sessions you'll be guided through the basics of anatomy and movement relevant to your needs. You'll need your instrument and comfortable clothes for the sessions.
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By analyzing your posture and movement patterns, Timani helps you identify misalignments and compensatory muscular habits that could lead to injury. You’ll learn how to use your body efficiently, reducing strain and promoting healthier, pain-free playing or singing.
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Many musicians notice improvements after just a one session. The number of sessions depends on your goals and the specific areas you wish to work on. Consistent practice of the exercises will yield the best results over time.
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Yes, Timani’s practical tools help improve focus and reduce performance anxiety by enhancing your awareness of your body, promoting a sense of ease and confidence on stage.