I would venture to say that shoulder problems for accordionists are not only common but if you play for long enough, inevitable!
The principle joint in the shoulder complex, the glenohumeral joint is relatively shallow like a spoon in a saucer and this allows movement in all directions. The mechanics to stop the arm from just falling out of its socket and the joint’s stability relies on the enveloping bands of ligaments, part of the so called rotator cuff. The strength of muscles around also has a stabilising role but pushing and pulling the joint whilst at the same time applying forces at close range with shoulder straps, tending to pull the humeral head out of its home position is inevitably testing the shoulder’s integrity.
Every musical instrument has its own un-natural postural peculiarity, stressing the interface and exposing the design weakness in the human frame. In the league of contortionists, accordionist arguably have an easy life; I don’t know how the fiddlers last the distance. In some areas, thinking of computer keyboards where there’s money to be made, industries have emerged promising to remedy repetitive strain. At least the musicians and most sportsmen is generally focussed on the creative, rising to the challenges with less obsession with the drawbacks.
Regarding posture, received wisdom of traditional accordion teaching would seem to promote tightly harnessing the instrument to the body with added back straps etc. The meritorious underlying principle is to reduce the uncertainty of locating keys in the right hand on a potentially moving target. Realistically with the ravages of age, the cost/benefit ratio of this advice of being trussed up warrants a rethink. In reply to the rigid posturists, I would point out that the accordion is a whole body thing. Moving and breathing with the accordion is part of phrasing and feeling the music. Likewise I venture to add that the ultimate weight remedy of approaching the instrument clamped to a floor stand could be sacrificing some of the vital creative contact with the accordion.
My advice is to find a configuration which allows unrestricted movement of the shoulders. Avoid situations in which the straps to pull forward on the outer part of the shoulder whilst also moving the upper arm. During long practice sessions when shoulders starts aching I find it liberating to hold the instrument with just LH strap to stop it falling on the floor. Inspired by classical guitarists who grip the instrument with legs and body. The exercise of playing accordion seated without RH shoulder strap makes one think about the balance of the accordion, particularly with heavy instruments, and helps to explore the relationship with the accordion.
To all my fellow shoulder degeneratives.... Stick with it!
Brian
