Sitting Posture for Violin: Chair Height, Edge Sitting, and Freedom to Move

When Sitting Is Useful (and When It Isn’t)

Sitting can be a smart choice when you need stability and reduced fatigue: long rehearsals, orchestra seating, practice sessions focused on left-hand accuracy, or when standing causes discomfort. Sitting is not meant to “rest” your upper body onto the chair; it is a different way to balance. The goal is to keep your torso self-supported so your arms and shoulders stay free to move.

A helpful mindset: you are sitting on the chair, not into it. If you collapse, your ribcage sinks, shoulders round, and the violin tends to drift forward or down—then your neck and arms compensate. Good seated posture prevents that chain reaction.

Chair Height: How to Choose It

Chair height affects everything above it. Too low encourages a tucked pelvis and rounded back; too high makes you perch and lose grounded feet. Aim for a height that lets your pelvis sit neutrally and your feet stay stable.

Quick chair-height test

• Feet: both feet can rest flat on the floor without reaching.
• Knees: knees are level with or slightly lower than your hips.
• Hips higher than knees (when possible): this often makes it easier to keep a tall spine without effort.

If your chair is fixed and feels low, you can raise your sitting height with a firm cushion or folded towel (avoid anything squishy that makes you wobble). If the chair is too high and your feet don’t ground, choose a lower chair or use a stable footrest so your feet can be flat and supportive.

Edge Sitting: Why the Front Half Helps

Sitting on the front half of the chair (sometimes called “edge sitting”) reduces the temptation to lean back and makes it easier to keep your spine tall. It also leaves room for your pelvis to make small balancing adjustments while you play.

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• Where to sit: place your sitting bones on the front half of the seat, not on the very edge (avoid feeling like you might slide off).
• What to avoid: leaning into the chair back, which often pulls your shoulders behind your hips and encourages a slumped ribcage.

Feet Grounded: Your Base of Support

Grounded feet give your upper body freedom. If your feet are unstable, your shoulders and neck often tighten to “hold you still.”

Foot placement options

• Balanced and simple: feet about hip-width apart, toes pointing forward or slightly outward.
• For more instrument space: left foot slightly forward, right foot slightly back (small stagger), still flat and grounded.

Keep weight distributed across heel and ball of each foot. Avoid lifting a heel or tucking one foot under the chair; both reduce stability and can twist the pelvis.

Spine Tall Without Stiffness

“Tall spine” does not mean rigid. Think of length through the crown of your head while your ribs stay relaxed. A tall spine helps your arms move without dragging your shoulders upward.

• Pelvis: neutral (not tucked under, not over-arched).
• Ribcage: stacked over the pelvis (not flared up, not collapsed down).
• Head: balanced over the spine (not pushed forward).

A practical cue: imagine your sternum (breastbone) floating up slightly while your shoulders stay heavy and wide.

Avoid Leaning on the Chair Back

Leaning back often causes the violin to feel “far away,” leading to reaching with the arms, craning the neck, or lifting the shoulders. Even if you occasionally touch the chair back between pieces, return to self-support for playing.

If you notice you keep drifting backward, move your hips a little farther forward on the seat and re-check that your feet are flat and active.

Common Seated Issues and Fixes

1) Rounded shoulders

What it looks like: shoulders roll forward, chest collapses, elbows drift inward, bow arm feels restricted.

Fix: sit taller through the spine, then let the shoulder blades rest down and slightly back (not pinched). Check that you are not leaning toward the music stand. A quick reset is one slow shoulder roll up–back–down, then stop with the shoulders relaxed.

2) Crossed legs or hooked feet

What it causes: pelvic twist, uneven weight, and compensations in the spine and shoulders.

Fix: uncross and place both feet flat. If you habitually cross legs, choose a slightly wider foot stance and feel equal weight on both sitting bones.

3) Neck craning toward the stand

What it looks like: chin and head reach forward, upper back rounds, eyes strain.

Fix: bring the stand to you instead of bringing your head to the stand. Place the stand close enough that you can read without leaning, and high enough that your eyes look forward with only a small downward gaze. Keep your head balanced over your spine while your eyes do the work.

Seated Setup Sequence (Step-by-Step)

Use this short sequence before you lift the violin. It builds a stable base and keeps your upper body free.

1. Choose the chair position: sit on the front half of the seat, not touching the backrest.

2. Set chair height: confirm feet can be flat and that hips are level with or slightly higher than knees when possible.

3. Place feet: hip-width apart; optionally stagger left foot slightly forward. Keep both feet fully grounded.

4. Find balanced sitting bones: gently rock a few millimeters forward/back until you feel centered (no collapsing).

5. Stack the torso: pelvis under ribcage, ribcage under head. Let shoulders hang wide and easy.

6. Check head position: head floats over the spine; avoid reaching forward toward the stand.

7. Only then, bring the violin up: keep the torso tall and allow the arms to move without the shoulders hiking.

Movement Check: Confirm Freedom to Move

Before playing, do two quick mobility checks. These should feel easy and balanced; if they feel restricted, adjust your seat position, feet, or stand placement.

Gentle torso rotation (small range)

• Keeping both sitting bones on the chair and both feet flat, rotate your torso a few degrees to the left, then to the right.
• Pass condition: you can rotate smoothly without shifting your hips, lifting a foot, or collapsing your chest.
• If you fail: widen your foot stance slightly, move a bit more onto the front half of the chair, and re-stack your ribcage over your pelvis.

Shoulder rolls (slow and relaxed)

• Roll both shoulders up, back, and down once or twice.
• Pass condition: shoulders move freely while your spine stays tall and your head stays balanced (no chin jutting).
• If you fail: check that you are not leaning on the chair back and that your music stand is not pulling your head forward.