Practice Guides: 2007 Texas All-Area Auditions

Greetings!

This post is directed to Texas High School students who have qualified for All-Area auditions, but much of this advice applies to other auditions, so give it a read!).

Obviously, you already know these etudes, but I hope these practice hints help you give your best performance of these pieces at the audition.

First, a few general comments:

In the final days before this, or any other, competition, remind yourself that a competition is only worth the progress you make in your playing and your approaches to the problems presented. Sometimes we win and sometimes we lose, but our musical, flutistic, and personal growth is a reward we continue to reap after the competition is over. Challenge yourself to improve some aspect of your flute-playing in this last week before the audition.

Review the etude study guides and the latest errata at http://www.tmea.org and predominantly notate any changes in your music. At the time of this post, the most recent changes were September 14.

It is a good idea to demonstrate certain skills in an audition:

• even, focused tone throughout all ranges of the instrument
• good register changes (tone at the end of each note prepares for the next)
• accurate rhythm and large rhythmic structure
• dynamic contrast (if there are none in the chosen passages--make your own)
• good vibrato (begin and end phrases with vibrato engaged)
• fluid, even finger technique (eliminate blips and bumps)

Plan (and mark!) your breaths carefully. If you end up taking an extra one in the audition, don't worry, just make it sound intentional, but be sure to take the next one you planned to get back on track right away.

The judges have heard this music as much as you have, and are probably tired of it, too! In the audition, give a musically inspired performance. Reacquaint yourself with all the things about the music that you originally found interesting and beautiful. Play to please yourself above all--this will create the most convincing audition. Engage your listeners.

Practice Guide for Etude #1: Sigfrid Karg-Elert, Op. 107 #17

Concentrate on even tone and finger technique and good register changes. Try buzzing the phrase shapes, to discourage overblowing for high notes and embouchure collapse for low notes, and to encourage efficient use of breath. Also, practicing with a chopstick in your mouth helps with these things.

"Hit or Hid-Inhales" helps produce clear note starts in good rhythm after breaths.

Review and apply these exercises to all the notes in this etude.

Show the dynamic contrast in m 10-11.

Practice Guide for Etude # 2: Theobald Boehm, Op. 26 #6

The two main things to be sure of in this etude: light, clear articulations and focused tone, especially on low notes.

Practice the etude with double-tongue-stop/fingers ahead, beginning each phrase with a "hit or hid-inhale." Keep breaths rhythmic.

In descending intervals to low notes (especially m 49-54, m 76, m 84-85, and m 98-105) keep the tone clear by insuring that the embouchure does not collapse. Lift the mentalis and zygomatic major muscles of the face to keep the tone clear--practice buzzing these intervals! Chopstick exercise practice is also useful in these places.

Observe the p dynamic contrasts in m 9, m 41-54, and the diminuendo m 102-the end.

Practice Guide for Etude # 3: Joachim Andersen, Op. 21 #10

When we practice the same music for many weeks, our performance can become a "caricature" of itself (in much the way as truth is modified in gossip). Get back to the basics and simplify!

Yes, this IS the "slow, lyrical" etude, but I encourage you to revisit practicing this etude with the metronome to feel the overall rhythmic structure of the piece.

Keep the triplets fluid, without a syncopated feel. Be sure duplets are the correct length.

It is a good idea to simplify the ornamented passages (remove the ornaments, playing a rhythmic outline) a few times, then reinsert them, keeping the direction of the melodic line clear and the tone good on all notes.

Double check the tuning of your middle c#'s and your c# octaves.

In the un poco più mosso, m 26-40, keep the tone focused on all moving notes and be sure the longer rhythms do not rush--keep the vibrato going. Chromatic intervals should be expressive without slowing the rhythm.

Notice the "bow-tie effect" on ascending intervals, matching tone and playing accurate pitches.

Observe breathing, phrasing and dynamic indications.

Play each note with great beauty.

All the best for great practicing and a successful audition!

Catherine

Practice Hints for Honegger's Danse de la Chèvre

Hello,

All the best to my North Carolina High School student subscribers during their final preparations for District auditions.

Good warm-ups for this piece:

• Buzz repeated notes in one sustained breath with vibrato, matching the tone at the beginnings and endings of the buzzed notes.
• Buzz the rhythm of m 4-26, keeping the air speed constant and buzzing throughout each spit buzz, and keeping the tongue wide, while buzzing the exact rhythm of the articulation patterns.
• Chromatic scale exercise.
• Fingers ahead, unevens and double unevens on all the tricky passagework (videos of these exercises posted in the LeGrand Virtual Studio)

Practice Guide

Opening section ( m 1-13)

In passages with slow moving rhythms (m 1-5, 8-10, 62-66) change fingers in a smooth, gentle way to avoid bumps or accents and be sure to vibrate on all notes, avoiding lining up the vibrato with the note starts.

Differentiate between the duplets and triplets, keeping the triplets flowing and unaccented.

Account for ties (m 1, 4, 6, 9, 11, and 12). You might practice tonguing the ties, then removing them, avoiding an accent on the tie.

A general technical consideration in this piece is the use of B-flat fingerings. Carefully consider which B-flat fingering you wish to use in each place (thumb B-flat, lever key, or 1 and 1) and mark indications in your music (it helps to ahve these written in for an audition--in case you lose your concentration. Experiment with using the lever key m 11-13. I actually decided to use the thumb B-flat in this passage until the last B-flat in m 13.

Danse

The obvious issues in m 14-34 and m 49-53 are the rhythm and articulation. This also applies to m 7 and m 60.

Double check your rhythm by inserting a note in the sixteenth rests and subdividing the quarter note into 2 eighth notes. Keep the rhythm steady in m 20-24. Add eighth notes in the eighth rests to double check yourself, and even subdivide all the rhythms into constant tongued sixteenths. The trill in m 23 and the first note of m 26 are often rushed.

Keep your tongue wide and air speed steady at the end of each staccato note, and listen carefully to your tone at the end of each note.

Plus lent
In the plus lent sections (m 35-38 and m 54-57) keep your vibrato going through the repeated tonguings. Crescendo to the grace notes. Listen to be sure pitch is the same on all the repeated notes.

Vif (m 40-48)
Carefully plan your breaths to not interrupt the rhythm and momentum of this section. Fingers ahead and unevens/double unevens are especially helpful in m 47. Work for full, clear tone on each note of this measure. Demonstrating good tone through the register changes is important here. Wide tongue and relaxed upper lip help accomplish this. During your practice of this section, stop frequently and buzz a note to keep the upper lip loose. Also check to see that your head is balanced and mentalis muscle is activated (this helps focus the low notes when you arrive there.

The last note of the piece-- m 66 --is an overtone of the fingered low "C"

Rather than specifically focusing on the audition and winning, see how much progress you can make while practicing. Any contest we enter is really only worth the benefits of the work we do while preparing for it. Sometimes we win, sometimes we don't, but feeling good about our own efforts and progress, and playing beautifully--at least part of the time--is what is important!

All the best,
Catherine


Graphics courtesy of Crystal Cloud Graphics

Jerome Callet Master Superchops DVD

Greetings,

I have just finished watching (for the second time) the new 2-DVD set by Jerome Callet, advocate of the tongue-controlled embouchure and author of " Trumpet Secrets, Volume One."


The DVDs include

• 3 lessons with Jerome
• 6 testimonials, demonstrations, and round table discussion by professionals on trumpet, trombone, French horn and flute (Keith Underwood)
• printouts of images, exercises, and more

It is very interesting to see and hear how each professional has used the information learned from Jerome. Today, I kept hearing reminders about the importance of the lower lip in forming the embouchure-- what I am focusing on right now.

I will continue to share my insights on this resource in coming weeks.

For more information, or to purchase your own copy, visit Jerome's website.

Best,
Catherine

Aralee Dorough, Principal Flutist of the Houston Symphony Speaks on Chopsticks, Buzzing and Finding Your Sound

Greetings,

I just posted a video interview with Aralee Dorough, Principal Flutist of the Houston Symphony, on September 22, 2007 in my public blog.

Aralee talks about:

• benefits of practicing and teaching "buzzing" and "chopstick" (from Keith Underwood)
• embouchure lessons she learned from Robert Willoughby --and from her horse!
• finding and sculpting your tone

Many thanks to Aralee for sharing her experiences and her wisdom. You may visit her at her website, www.araleedorough.com.

All the best,
Catherine

The Bow Tie Effect

Greetings,

It's all a matter of context...


In the never ending search to find words or analogies to help describe good buzzing, I recently hit the jackpot!

'Tis the season of frequent formal parties, and bow ties are a common sight...

When my lips are rolling in well, without tension, and the buzzing embouchure has a flexible, pivoting feel to it, my embouchure FEELS like a bow tie looks. It does not look like a bow tie, but it definitely FEELS like a bow tie looks--center rolled in and sides loose.

These moments are when I have my greatest pitch range in buzzing.

Most students using this image have an immediate improvement in range and clarity in their buzzing.

Let me know how this works for you.

Best,
Catherine

History of Vibrato in Flute Playing

Hello,

These sites are good to bookmark--or just check back here to find them--that's what I'll do now!

A history of the use of vibrato in flute playing, with recorded examples, by John Wion, one of 2007 recipients of the NFA (National Flute Association) Lifetime Achievement Award is posted at his website.

(John's homepage features a snazzy rendition of Godard's Waltz as you read.
Larry Krantz's John Wion's Corner has a list of links to John's articles.)

Marcel Moyse is credited with integrating vibrato style from the operatic singing into flute playing. Some examples of Moyse's playing can be heard at Mr. Kirio Matsuda's website.

It is informative to listen to recordings of flutists (including yourself!) slowed way down to hear the subleties of pitch, dynamic and speed variance. Amazing Slow Downer is a simple-to-use, inexpensive, cross-platform shareware that does the trick.

Enjoy!
Catherine

Flute Repertoire Errata

Greetings,

This very helpful list of errata in common flute repertoire is found at John Wion's website.

John, Thanks so much for this!

Those of you working on Honegger Danse de la Chevre take note of all the notations on this piece!

If a note sounds wrong, sometimes it is!

Catherine

"Chopsticks", "Buzzing," and improved finger dexterity

Hello,

I have found that practicing difficult passages after buzzing or with a chopstick in my mouth, not only helps my lips create better sounding notes and intervals, but also helps my embouchure remain stable and independent and my flute better balanced.

When I remove the chopstick, the difficult passages seem almost effortless, like my flute is floating. Since my embouchure is stable, I don't have to hold the flute to keep it from wiggling about due to migratory tongue or flopping lips.

See if it works for you. Let me know!
Catherine

Keith Underwood Ghost Ranch Interview Video List

Dear subscribers,

Here is the list of all nine of the Keith Underwood Ghost Ranch interview videos and their links on my public blog and the directions for finding my version of the “Chopsticks Exercise”.

I hope you find the list useful.
Catherine


What are the benefits of buzzing?

http://catherinelegrand.blogspot.com/2007/08/video-interview-with-keith-underwood.html


When will we hear improvement from buzzing?

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-2.html


What if our lips get numb?

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-3.html


Please provide a Buzzing 101: Syllabus…

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-4.html


More Buzzing Exercises, Lip Vibrato, and Tuning

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-5.html


Timing and Sequence of Events for a Breath

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-6.html


Tongue-controlled embouchure and Support

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-7.html


On Creating an Open and Supportive Atmosphere

http://catherinelegrand.blogspot.com/2007/10/interview-with-keith-underwood-part-8.html

On Ideal Vibrato Speed

http://catherinelegrand.blogspot.com/2007/10/interview-with-keith-underwood-part-9.html


LEGRAND VERSION OF CHOPSTICK EXERCISE:

Scroll down to see video on Chopsticks on lower right at:

http://www.catherinelegrand.com/

Or:

http://catherinelegrand.blogspot.com/2007/09/chopstick-exercise-practice-bytes.html

Buzzing Hints

Hello,

Here are some buzzing tips that have been helping my students.

Try buzzing with a chopstick under your tongue. This helps teach a wide, forward tongue position and "3-way stop" of the lips and tongue, while developing a happy path for the lips to travel on to create intervals.

Try getting different pitches while buzzing with the chopstick under your tongue. Start out holding the chopstick with both hands (or stay away from breakables!)

Many students who have not been able to get much buzzing resonance, volume, or pitch change have found this to be quite helpful in speeding up the learning curve (learning new habits).

Other students have been finding it useful to whisper "emmm" and continue the exhale with a buzzing sound. This also teaches a wide, forward tongue position and "3-way stop" of the lips and tongue.

Let me know how these ideas work for you!

"Buzzing off" for now,
Catherine

The Right Brain vs Left Brain | The Daily Telegraph

The Right Brain vs Left Brain | The Daily Telegraph

Check out this interesting test! I am more right brained than I realized. Maybe it is because of all the time I spend in the Playground at www.catherinelegrand.com...

Here's to the creative mind!

Catherine

Buzzing and Balance

Greetings,

At the Keith Underwood/Anne Waxman Flute/Alexander Technique Workshop on September 28-30, frequent topics included:

body mapping of the atlas occipital joint versus the jaw
balanced use of the zygomatic major and triangularis muscles

Remember that your atlas occipital joint (where head rests on the spine) is located between your ears--behind your tongue and soft palate. Most of us were allowing either our jaw or our upper back to carry part of the weight of our heads while playing our flutes, rather than allowing the head to actually balance on the atlas occipital joint (despite how much Alexander training we have had).

Allowing the head to balance naturally frees up the masseter (jaw) muscle so that the zygomatic major muscle can have improved function, helping the lip to lift very slightly laterally from the upper edge, across the cheek bone to the jaw bone. I notice that both my buzzing and my flute tone become more resonant (my upper lip vibrates more) when my zygomatic major muscle is activated.

Allowing the head to balance naturally also helps the jaw to be relaxed but not hang open which can cause a somewhat unfocused tone. (This happens when the head pulls forward and down, straining the upper back. I call this condition "turtleneck.")

Balanced use of the zygomatic major and triangularis muscles in the embouchure: the triangularis muscles stabilize the corners of the lower lip and the zygomatic major muscles lift the lip laterally across the cheekbone to the jaw joint. Most of of us were using either the upper or lower pair of muscles more than the other pair. As we adjusted this balance, everyone's buzzing, flute tone, and articulation improved!

I found that when my head/jaw body map was clear, my head was balanced, and I used the zygomatic major muscle in balance with the triangularis, my tongue position was naturally ideal and my embouchure felt organized and very flexible.

Hope you enjoy experimenting with these thoughts!

Feel free to post questions. I will do my best to answer them or to find out the answer for you.

Best,
Catherine

Facial Muscle Quiz

Here is a great, interactive, quiz-style facial muscle diagram.

Facial Muscles

The seemingly obvious omission for flutists is triangularis, but the diagram uses its other name, depressor anguli oris.

In case you have not visited the DataFace website yet, it also has an interactive facial diagram. When you click on a muscles you see a short movie of a man activating that muscle.

For more information on the Alexander Technique and its benefits you may visit these sites:

http://alexandertechnique.com
http://www.alexandercenter.com/
http://www.stat.org.uk/

Do your homework now, so you will be ready for my comments on embouchure, buzzing, and more, from the September 28-30 Keith Underwood/Anne Waxman Flute/Alexander Technique Workshop. Look for them soon!

Best,
Catherine

"Airplanes" and "Chopsticks"

Hello,

Today am publishing new videos to the LeGrand Virtual Studio.

"Airplanes Exercise"(in Category C)

My version of Keith Underwood's "Chopstick Exercise" which helps flutists learn to better organize their embouchures by playing with a chopstick in their mouths. Very weird exercise, with wonderful results! (in Categories B and C)

Practice "Bytes": short examples of using chopsticks and buzzing to improve embouchure function, tone , and breathing in musical excerpts. (under Advanced Lessons)

I use the "Chopstick Exercise" as a "prelude" to teaching buzzing, especially for advanced flutists who are beginner buzzers.

In the video I demonstrate the exercise, along with some buzzing and it's results, in short Practice "Bytes." Todays nibbles include:

* Texas High School All-State Band Flute Etudes:

Joachim Andersen, Op. 21 #10
Sigfrid Karg-Elert, Op. 107, #17
Theobald Boehm, Op. 26, #6

* Honegger’s Dance de la Chèvre (North Carolina High School All-District Piece)

For those of you who can't wait to download the files to watch them, here is the excerpt I am posting on the public blog.


More Practice "Bytes" will be posted in the near future. Send me requests for spots in your repertoire to chew on!

Bon appetit!
Catherine

Galway Technique--Hand Position

Galway Technique--Hand Position

This is a video by Sir James Galway on hand position and finger technique. He emphasizes:

gentle, efficient finger movement
and
the value of legato and good tone production

in developing a good finger technique.

Have a look!

Catherine

About Flutorials™

Hello,

Some of you have asked for more information about the Flutorials portion of the LeGrand Virtual Studio.

These recent video series are in addition to the other video lessons (currently c. 20) on various aspects of fluteplaying

There are currently 2 Flutorials™ series:

"From the Start"
Step-by-step videos for teaching beginning flutists

"Progressive Lessons for Novice Flutists"
video lessons to supplement what the beginner flutist is learning in their flute lessons or band class. They assume the student already knows how to make a sound on the flute, how to assemble the flute, and how to and finger the notes B, A, and G before watching these video lessons. These short lessons simplify songs into easy to learn elements, then combine the elements to form the entire song.

Podcast lessons benefit students by allowing them to repeat each element or part of the video until they have mastered each skill.

Teachers and advanced students might also benefit from watching these videos and remembering how to simplify a song into basic elements. And...you are not likely to hear me play "Hot Cross Buns" anywhere else!

In early Fall I will post the first videos in a new Flutorials™ series for advanced students, and additional lessons in the other 2 series.

Please let me know what other materials and topics would be helpful you would like to find in the Virtual Studio.


Best,
Catherine

Upper Lip: "Suppressed Smile"

Cheshire Cat . here is The Cheshire cat as John Tenniel envisioned it in the 1866 publication of Lewis Carroll's Alice in Wonderland.

A helpful hint for "beginner buzzers": Keith Underwood suggests that the ideal upper lip position for buzzing feels like a suppressed smile. Imagine something is funny and it is not appropriate to laugh. Feel how your upper lip feels like a combination of smirk and and sneer.

He also sometimes refers to the upper lip as part of a "cheshire cat" grin.

Give it a try!

Catherine

Picking up Speed

Hello,

One of the recurring themes in lessons this week is ways to increase tempo in difficult passages.

First things first: check your body balance and hand position. Often, adjusting these things can be a miracle cure for the problem. Even if it does not solve the difficulty, at least you will not be practicing more problems!

In my own practice, I use a variety of exercises, juxtaposing and combining them.

In music (as in life), it is good to have a lot of different ways to work on a problem.

Here are some of my tried and true approaches:

SLOW practice (I mean 10 times slower than the tempo!)
"Butterfingers"
"Fingers Ahead"
"Unevens and Double Unevens"
"Add-a-note" and "Reverse Add-a-Note"
Bursts of Notes
Pyramid form

There are video lessons on "Fingers Ahead" and "Unevens and Double Unevens" posted in the LeGrand Virtual Studio.

SLOW practice should not require explanation, but we all need to be reminded to do it!

"Butterfingers" (on the list of future videos) is a slow practice technique for improving legato and efficiency of fingerings. Touch the surface of all keys all of the time. The key is either closed, or you allow the key to push your finger up, experiencing the resistance of the springs. This results is "gooey" sounding notes, but really helps us get acquainted with our instruments. (This exercise is modified for wind players with ringed keys, ie.oboe or clarinet.)

"Add-a-note" and "Reverse Add-a-Note": Play the first 2 notes of a passage. Play again, adding the third note, Play again adding the 4th note, etc. To reverse, play the last 2 notes of the passage, then the last 3, last 4, etc.

"Bursts of Notes" (on the list of future videos) are small groups of notes--3, 4, 5, 6--whatever units you can play very well up to tempo. In this exercise, play the selected number of notes beginning, in turn, on each note of the passage.
"Reverse Add-a-Note" and "Bursts of Notes" encourage even rhythm and build in confidence and ability to start on any note in a passage--very useful if you lose your concentration in a performance!

"Pyramid form" (on the list of future videos) is an exercise for passages that change direction. Play the 3 notes of the passage where the direction changes, then add one note on each side of the direction changes until you have mastered the passage. Example--C arpeggio:

GCG
EGCGE
CEGCGEC
GCEGCGECG
EGCEGCGECGE
CEGCEGCGECGEC

Hope your practicing is productive! Let me hear from you!

Catherine

Breathing Coordination Website: Carl Stough

Breathing Coordination - Home Page

This page provides 4 photos from the animated video Carl Stough developed after years of research. This animated video which shows the function of the diaphragm and associated movement of the ribs is highly recommended by Keith Underwood.

I suggest having a look at this website while working with the Interview with Keith Underwood, Part 6: Timing and Sequence of Events for a Breath. The website will help you visualize how the sequence of the Breath looks on the inside!


Here is a quote from the website:

"The concept of Breathing CoordinationTM was the result of ten years of medical research started in 1958 by Carl Stough and elaborated by Reece Stough in 1964 for advanced researchers in the international respiratory field. Every physical and emotional problem, to some degree, is the result of an insufficiency of oxygen. The diaphragm works to achieve a maximum exhale. This is necessary in order to maintain a low residual volume of carbon dioxide in the lungs. The diaphragm, which is a primarily involuntary muscle-organ, is the foundation for the entire respiratory system. It affects the two other main systems of the body, the circulatory and nervous systems. The term Breathing Coordination is the name given to the exact way the respiratory system is designed to function at maximum efficiency with minimum effort."

Another page gives information on self-help for developing good breathing coordination and specific help for people with asthma.

I have been told the video was withdrawn from the website pending the settlement of Stough's estate, but this page gets the idea across. If you know someone with a copy of this video, I encourage you to have a look. I certainly hope this great tool eventually reappears on the internet!

Best,
Catherine

LeGrand Virtual Studio Group Subscriptions!

Now available (as requested):

An annual group subscription rate of only $25/per student is now available to the students of any subscriber (private studio instructors, classroom teachers, or ensemble conductors).

If you are a subscriber and wish for your students to have access to these resources, please contact me at groupsubscriptions@catherinelegrand.com for more information.

I hope you and your students will take advantage of this offer!

Catherine

New videos in the LeGrand Virtual Studio

I have just added the following video tutorials for LeGrand Virtual Studio subscribers:

"Fingers Ahead" Exercise

"Miss America" Exercise

In Flutorials™, “From the Start”, a new series (for teachers of beginning flutists):

Episode 1: Two Common Misconceptions about Flute-Playing

Headjoint: First Sounds

Adding the Tongue: “Hit” or “Hid” Inhale Exercise

Physical Orientation to the Flute
Part 1: Balancing and Assembling the Flute

Physical Orientation to the Flute
Part 2: Bringing the Flute to You and Playing “B”

Adding “A” and “G”

Party Favors 201: Embouchure

Best,
Catherine

Catherine interviews Keith Underwood

Greetings!

I have just returned to North Carolina from the Keith Underwood Flute Masterclass at Ghost Ranch, New Mexico, a week filled with tangible learning in an open, warm, and supportive atmosphere. Thanks to Nancy Laupheimer for organizing a great class, and thanks to my classmates for sharing their learning processes.

I am grateful for the information and inspirations I have received from Keith over the past 15 or so years, and I am delighted to share a video interview with Keith filmed on August 18, 2007 at Ghost Ranch.

I have posted the first four segments of the video in the public blog since the interview was a gift from Keith to the world flute community. I am honored to be able to share this information.

Here is the link to the interviews.

Catherine LeGrand interviews Keith Underwood
Ghost Ranch, NM, August 18. 2007

• On Benefits of Buzzing for Flutists
• When will we hear improvement from buzzing?
• What if our lips get numb?
• Please provide a Buzzing 101: Syllabus…

Additional segments coming in September and October!

Catherine LeGrand interviews Keith Underwood
Ghost Ranch, NM, August 18. 2007 (continued)

• More Buzzing Exercises, Lip Vibrato, and Tuning
• Timing and Sequence of Events for a Breath
• Tongue-Controlled Embouchure and Support
• On Ideal Vibrato Speed
• On Creating an Open and Supportive Atmosphere

Sincere best wishes,
Catherine

Where in the World is Catherine LeGrand?

Hello everyone!

I have not dropped off the face of the earth! I am 3 weeks into my month of professional development activites and have had many inspirational experiences and learned a lot during this time away from my studio.

In late July I played Principal Flute in the Grand FinnFest Orchestra in Ashtabula, Ohio. Such interesting, seldom heard music! Kudos to conductor and music director Craig Johnson for this highly successful event.

I was able to squeeze in a family visit with my brother's family in Lansing, MI and perform at his church, Lansing Unitarian Universalist Church before heading up to the Upper Peninsula of Michigan to play Principal Flute in the Superior Festival Orchestra, a position I have held for 14 years.

Many thanks to Sue Thomas, pianist, all the fine folks at Lansing UU, and, to the board of Directors and staff of the Superior String Alliance for their ongoing efforts.

Today I am leaving Albuquerque, NM to go to Keith Underwood's Ghost Ranch Masterclasses after immersing myself in the activites of the annual National Flute Association Convention for the past 4 days. You will be hearing LOTS more about these experiences in coming weeks. Wish you all could have been here!

I always enjoy this summer change in venue, not only to escape the NC heat and humidity, but also to renew friendships and play music with old friends. Working in a different context helps me see myself and my work in a fresh way. Returning to the same place each year, allows me to assess my personal and musical growth since the previous summer. Visiting and working in new places is always exciting, and these experiences bring richness to my teaching and playing.

I hope you are having meaningful and fun experiences this summer, whether new, exciting ones or old favorites.

Look for more posts after August 20.

Sincerely,
Catherine

New video series: Flutorials™

"Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity".
--Charles Mingus

"Flutorials" is a new series of progressive video lessons for novice flutists, intended as supplemental material to enhance what the student is learning in flute lessons or band class.

Lesson 1: "Hot Cross Buns," now posted in the LeGrand Virtual Studio, presumes the student already knows how to make a sound on the headjoint, how to assemble and hold the flute, and how to play the low notes: B, A, and G.

Students are often overwhelmed with a task that seems too large, complicated or, even, amazing, to approach. The video lesson guides the student through some small, manageable steps to learn the complete song.

Teachers, I hope these Flutorials™ help you with your teaching, too! The art of simplifying is one of our most valuable teaching tools!

Look for more Flutorials™ later this week!

Catherine

Feeling "Over-exposed?": Piccolo Fingering Charts

One of my readers asked this week where to locate good fingering charts for the piccolo on the internet. Coincidentally, the topic came up this week in FLUTE LISTSERV as well, making this an extra easy blog entry to write. Thanks to listers for their ideas. you can read their responses at Archives of FLUTE@LISTSERV.SYR.EDU .

One source others mentioned that I have used before is The Woodwind Fingering Guide/Flute.
Be sure to scroll down to the Alternate Fingering Chart for Piccolo. The listed "basic" fingerings for high f-sharp and high g-sharp are actually the ones I use in normal circumstances.

Christine Erlander Beard is a recognized piccolo specialist. Her website listed a number of online sources for piccolo fingerings on the page entitled Pedagogy (that means "teaching").

I second Jennifer Cluff's suggestion on the LISTSERV to wear earplugs when trying out all the high fingerings on piccolo! No joke. Those of you dusting off your marching piccolos, get yourself some good earplugs for your summer practice!

Jennifer's website also has a fingerings page with a vast list of fingering sources and topics for both piccolo and flute.

"A Basic Guide to Fingerings for the Piccolo" by Steven Tanzer is comprehensive and has helped me out in a few difficult situations. This book can be purchased from Van Cott Information Services, Inc.

Hope this helps!
Catherine

Flute Embouchure: A Rather “Square” Subject

For many years I have taught that a good flute embouchure has 4 corners: 2 corners by the upper cheekbones, one by each nostril, and, the 2 corners on the chin, below the lower lip. The location of these muscles forms a square on your face.

The exercise I call “Tongue Sandwich,” activates the Levator labii superioris (Rabbit Face muscle) and Depressor labii inferioris (Lizard face” muscle) at the same time, drawing the lips away from the tongue and encouraging an active embouchure without jaw tension.

Think of your upper and lower teeth as the pieces of bread for your sandwich and the tongue as the very generous serving of your favorite sandwich filling.

(See Dataface website, mentioned in a May post, for illustrations, descriptions and video of these muscles at work.)
http://face-and-emotion.com/dataface/expression/muscles.jsp

I have posted a video of the “Lizard Face” and “Tongue Sandwich” exercises in the LeGrand Virtual Studio for your information and amusement. “Rabbit Face” Exercise video can also be found there.

Here is a Blogger Beta trial of an embedded video. Let me know how this works.


Good Tongue-Controlled Embouchure spit-buzzing technique, as advocated by Jerome Callet and Keith Underwood, creates a rather “boxy” feel in the embouchure—a "box " INSIDE the “square,” creating an active, yet flexible, embouchure.

Spit-buzzing encourages the use of the orbicularis oris muscle (the ring of muscle around the lips) to engage by curling gently inward creating compression of air with the wide, forward tongue.

This is also a type of “sandwich.” Try thinking of it as 3 layers of Tootsie Rolls:

• Top layer: upper lip curling downward (feel with your tongue the thick tube-like band of muscles on the inside of your upper lip).
• The middle layer--the forward, thickened and widened tongue with downward trajectory.
• The lower layer—lower lip raised slightly by the mentalis muscle and curled slightly back over the tongue to support the tongue position.

I hope these ideas are useful.

Hmmm…all this talk of sandwiches...Time for lunch!

Catherine

Alexander Technique with Glenna Batson

On June 30, several studio members participated in an afternoon of individual Alexander Technique lessons with Glenna Batson, PT, MA.

Glenna is an internationally recognized teacher of the Alexander Technique (qualifying in 1988), and is in residence at the Department of Dramatic Arts at the University of North Carolina, Chapel Hill. A graduate of Hahnemann Medical University in Physical Therapy, she received her doctorate in clinical neuroscience in 2006.

I am grateful we had this opportunity to receive her wise guidance, and, also, that I was invited by all concerned to observe and videotape these sessions. I look forward to future opportunities to learn from Glenna.

New Video posting: Glenna and Bruce J. allowed me to post video excerpts from Bruce's lesson, focused on improving his breathing, in the LeGrand Virtual Studio. (I apologize for the moments the camera was not on the tripod...)

http://www.catherinelegrand.com/studio.htm

I hope this info is helpful. Let me hear from you! Feel free to post your blog comments for others to read. We are a small and friendly community.

I had a lesson at my desk with Glenna, who is also an expert in treatment and prevention of Repetitive Strain Injuries, that day. I learned how to use my desk chair to provide constant feedback to keep my spine flexible during the long hours I now spend at the computer producing content for the LeGrand Virtual Studio, and, also, how to approach my computer mouse by leading with the outside of my fingers to reach the mouse without tightening my pectoralis muscles or raising my shoulder. I have lots of opportunity to practice these new ways of thinking. I am doing it right now!

Integrating lessons from the Alexander Technique into daily activities is a great way to improve your music making as you replace old habits of movement with ones that work better.

For more information on the Alexander Technique or to find a teacher in your area visit http://www.alexandertechnique.com/.

Life is a process.

Catherine

Moyse Tone Development Through Interpretation Recording Supplement

Moyse Tone Development Through Interpretation Recording Supplement

This resource provides recorded examples of over 60 of the tone study exercises in Marcel Moyse's Tone Development Through Interpretation book. Many examples are from vintage recordings, including two of my favorite artists, Galli-Curci and Gigli. Recordings of Moyse playing are also included in the the list.

I recommend Moyse's Tone Development Through Interpretation book, published by McGinnis and Marx, as study material for any musician--flutist or NOT--who wishes to improve their range of tonal and expressive possibilities.

Also of interest is John Bailey's "Teaching Moyse's 'Tone Development' Using Operatic Recordings" originally published in the Moyse Society Newsletter, Volume 13, p. 6. Address: c/o Wendy Webb Kumer, 136 Fairfax Rd., Pittsburgh, PA 15221.

For more information about Marcel Moyse and his teaching lease visit http://www.moysesociety.org/.
Enjoy the vintage listening experience!--try to listen past the surface noise of the recordings to hear subtlety of phrase shape and tone.

Catherine

"How teachers can help - Performance Anxiety" from American Music Teacher

How teachers can help - Performance Anxiety American Music Teacher - Find Articles

I have received several emails from teachers asking what they can do to help their students with performance anxiety. This excellent article by Anne Petrovich, published in the December 2003 issue of American Music Teacher, suggests strategies teachers can adopt to become more aware of their students' performance anxiety and to help them better cope with this sometimes disabling condition.

Anne Petrovich, LCSW, Ph.D. licensed in both social work and psychology, is a full-time lecturer in the Department of Social Work Education, California State University, Fresno, maintains a private clinical practice and supervises predoctoral interns at the California School of Professional Psychology, Fresno. A violinist in her spare time, Anne's doctoral dissertation was on "Performance Anxiety in Musicians: teacher Behavior and Sources of Self-Efficacy."

For those of you saying, "Whoa! There's another big word! I don't get this jargon," self-efficacy is simply one's belief in one's own capacity to succeed at tasks. In this case, the student's own belief that he/she can actually perform specific music at a specific time.

Petrovich suggests the following:

• Adequate preparation (This may seem obvious, but specific practice techniques for improving focus in stressful situations can be quite helpful)
• Frequent performance opportunities with positive feedback (I call them "piggy bank" experiences)
• Verbal persuasions (positive affirmations--the more specific, the better)
• Reducing physiological and emotional arousal to manageable levels through various coping skills such as relaxation techniques and breathing exercises.
• Vicarious experience and role models (The masterclass environment is valuable for watching others have anxiety and still perform or learn well. Teachers may also share their own experiences with stage fright and their own coping skills.

However, it is important for teachers (I am reminding myself as I type!) to remember that what works for them may not work for the suffering student and to work creatively with each student find approaches that allow for joyful music making.

The article also emphasizes the need for approaches that improve the value of each performing opportunity for each individual student. Treating performance anxiety is not a one-size-fits-all treatment. Using specific references meaningful to each student reinforces self-efficacy. The more specific the approaches, the more helpful they are.

I have been offering up various resources on this subject in recent weeks so that folks can work on this over the summer when they have fewer stresses and demands on their time.

Best,
Catherine

Transcription for Orchestra of One (Vocalist)

YouTube - Bach Improvisation, Bobby McFerrin
http://www.youtube.com/watch?v=duZhnbjris8

Innovative--Creative--and Amazing

I'll bet Bobby McFerrin never whined, "I caaaaan't..."

More likely, "Wow. How could I..."

Also a good example of a willing and captivated audience.

Smiling,
Catherine

Body Mapping as Preventive Treatment

I often mention how "body mapping" and "correct use" can improve our music- making. Of course, these approaches to movement and self awareness can affect our daily activities and our well-being in general. Avoidance of injury and freedom of movement are major factors of being well and living well.

Scientific Basis of Body Mapping gives the neurological explanation for the concept of the "body map." In this article T. Richard Nichols, Ph.D., Departments of Physiology and Biomedical Engineering at Emory University, emphasizes the importance of correct body maps in the prevention of injury to musicians.

For more information about body mapping please visit http://www.bodymap.org. More articles about applications of body mapping can be found at http://www.bodymap.org/articlestoc.html.

Catherine

Summer Jammin': Adventures in Improvisation

In a May post I encouraged you to try out new activities and approaches this summer. Several of you expressed the desire to work on improvisation or to learn how to play jazz.

Here are some great resources to help you along your way:

Flutist and composer Nathan Zalman has published a free online tutorial for improvisation entitled Unleash Your Inner Flutist! which encourages us to use patterns we already know and put them together in new and interesting ways to express a palette of emotional qualities. He identifies improvisation as a simple three-step process: feel; choose; and, play.

1. Identify a feeling you wish to express—happy, sad, meditative, lonely, peaceful, curious, mischievous, surprised, etc.
2. Choose a vocabulary to embody the feeling—scales, keys, rhythms, or a non-musical inspiration such as a poem or story.
3. Play, allowing the music to come out. When you improvise, there are no mistakes, only ideas, intention and creation.

I attended the workshop Nathan presented for the Raleigh Area Flute Association in November, 2006, and truly enjoyed his creative and well-thought-out presentation. He is living his passion, as he says--a model to us all. You can learn more about Nathan, his interesting life and music at his website.

A good improvisation resource for learning jazz is the Hal Crook Play-Alongs page from the Stan Getz Library at Berklee College of Music. Entries, listed in ascending order of difficulty, include a pdf leadsheet and mp3 accompaniment track . I like "Taught 'em keys" --usually known as "Autumn Leaves."

I am gradually working my way through the DVD teaching series, "this is the Way i do it" by amazingly fluid guitarist John McLaughlin (of Mahavishnu Orchestra fame). I encourage you to visit John's official (and highly creative) new website to search for this boxed set while exploring and enjoying his virtual territory.I encourage you to include improvisation in your daily practice. I enjoy beginning my practice day with an improvisation, acknowledging and expressing my feelings before turning my attention to advancing the art of recreating music created by others.

Try something new every day! Life is waiting to be discovered.
Happy exploring...

Catherine

The Alexander Technique: Use In A Marching Band Setting

This excellent article by Lindsey Richelle Gore addresses the subject of correct use of the body providing physical relief for members of marching bands.

In my experiences as a clinician with marching bands, I have noticed other huge bonuses of correct use (or even improved use!):

• Good body mapping results in economy of motion for more precise and better unified movements-It looks sharp!
• Good body balance allows for better breathing and air efficiency, resulting in better tone and intonation
• Morale of the ensemble quickly rises due to the noticeable improvement

I encourage band directors planning their Fall programs and shows to include Alexander training and reap the benefits.

For more information about the Alexander Technique, how it might help you, or to locate a teacher in your area, please visit: http://alexandertechnique.com/

Happy summer!
Catherine

Muscles That Act On Shoulders, Arms, Wrists and Fingers

Did you ever wonder what muscles get sore or tired if you over-practice? Maybe you can solve the mystery and even eliminate the over-use itself if you understand better how the muscles work.

http://www.getbodysmart.com/ap/muscularsystem/menu/menu.html
This website offers layered drawings, front and back, of rotator cuff and other muscles affecting the shoulder. You can add and remove layers by clicking your mouse. Animations of the muscles in use are also provided. Great body mapping information for shoulders, arms, forearms, wrists and fingers.

Very cool! Check it out!

(Muscles that act on head, face, & neck are due to be published at this site late 2009.)

Catherine

"Spit-buzzing" with Jerome Callet and Csaba Kelemen (Trumpet)

It appears that tongue-controlled embouchure guru (and author of Trumpet secrets, Volume 1) Jerome Callet uploaded this short demo featuring Csaba Kelemen, Associate Principal Trumpet of Dresden Philharmonic Orchestra, Germany, to Google Video on June 14.

Please visit Jerome's website for more information on his teaching and more previews from his soon to be released teaching DVD.

Great stuff!
Catherine

Keith Underwood and Jerome Callet Video

This video of Keith working on Bach Sonata in B Minor, BWV 1030, with tongue-controlled embouchure expert Jerome Callet. The focus of the session is articulating off the top of the tongue.

It appears that Jerome uploaded this to Google video.

Please visit Jerome's website for more information on his teaching and more previews from his soon to be released teaching DVD.

Great stuff!

Catherine

Helen Spielman Performance Anxiety Workshops

Dealing with stage fright in a class setting is ideal since you can practice in front of your classmates! I encourage you to attend one of Helen's workshops--whether before or during the National Flute Association Convention in Albuquerque in August 2007, or at another future workshop.

I attended Helen's workshop "Performance Anxiety from the Inside Out" at the Raleigh Area Flute Association's Flute Fair in November 2006. The information was well-organized and well-presented, sprinkled with personal anecdotes and warm humor. Each attendee went home with some personal strategies for taming their brain chatter.

Her one-hour presentation "Performance Anxiety from Inside Out" will take place at the NFA convention on Thursday August 9 at 3 pm.

In addition, she is giving a full day (10:00 am - 5:00 pm, with one hour break for lunch) pre-convention workshop entitled Performance Anxiety from Inside Out on Wednesday July 8 in a location within walking distance to the convention center.

Learn how to replace negative perceptions and behaviors with affirmative ones that heal and build confidence. If you struggle with stage fright, you can gradually silence the self-defeating patterns that block your music. Learn highly effective tools to transform yourself from a fearful to a joyful and free performer, able to play optimally and let your music soar.

To register for one of Helen's workshops or more information on Performance Anxiety from Inside Out visit Helen's website.

Kudos to Helen increasing public awareness of performance anxiety and possible avenues of relief by presenting workshops on this important subject.

Catherine

More on Overcoming Stage Fright: Jennifer Cluff's Fluteloops

Fluteloops03to05
&
Fluteloops Radio Shows 6 & 7

Wow! A five-segment series by Jennifer Cluff on her Flootloops Radio Shows on overcoming stage fright including interviews with leading authority Michael Goode (author of Stage Fright in Music Performance and Its Relationship to the Unconscious).

Topics discussed include: strategies for avoiding the negative effects of prior bad experiences; ways to overcome the behavior and energies of "psychic bullies"" in ensemble settings; the value of "flow"; and the power of intention in preparation and performance.

Episode 7 is Jennifer's excellent summary of the series and includes references to these additional valuable resources:

William Pleeth (Jacqueline du Pré's teacher) book Cello
reminds us that there is no point in practicing technique if the emotion of the music itself is not our primary intent.

Robert Caldwell: Performer Prepares, a long-term project for overcoming stage fright in workbook form --perhaps a good summer project?

Kenny Werner(jazz pianist): Effortless Mastery: Liberating the Master Musician Within

Thanks to Jennifer Cluff for putting this collection of resources together-- for reminding us we CAN be joyful and free in our music-making and we contribute to the well-being of our colleagues and audiences through our sincere efforts to perform in "flow." Thanks also for the bloopers which wonderfully illustrate the art of graceful recovery.

Catherine

Reposting of "Catherine's Musings" Blog entries here

In response to requests to have all blog entries in one place for Virtual Studio members, I have reposted all posts from the public blog here.

In the future, I will post entries for "Catherine's Musings" also in this blog for your convenience.

Let me know what else I cn do to improve your experience of using the LeGrand Virtual Studio.

Catherine

My New Website

I was prompted by the many questions I receive about my unconventional teaching techniques and exercises to create a website to efficiently share information and video examples with other flutists, wind and brass players, vocalists, and music educators.

The original idea for this website has morphed into a multifaceted site with a variety of free online resources on breathing, music performance and pedagogy, creativity, and flute-playing.

The site is also the new home for http://www.catherinelegrand.com where BreathBuilders and Rebreathing bags can be purchased.




The website publicly introduces the LeGrand Virtual Studio which offers two services via the Internet: 1) LeGrand Virtual Studio Subscription with video and audio podcast lessons, interactive blog and other resources, and 2) live, interactive coaching sessions via the Internet.

The first lessons I taught via Internet were in 2002, and from the very beginning it was a useful way to keep in touch with former students living on the other side of the world. The tools required to use this interactive service have become more widely available and more affordable.



At the website, I also invite you to visit me in the Studio, Classroom, or Concert Hall. The Library hosts numerous free resources, including articles and video demonstrations on using the Breath Builder and Rebreathing Bag, other video and audio podcasts, and useful links.

For a little inspiration visit the Gallery, subscribe to the blog, or spend some time exploring the Playground featuring links to a variety of interactive artistic activities for “kids of all ages.”














Be sure to check out the Musical Infirmary where you can learn about some common physical, mental and musical ailments affecting performance and practice: their symptoms, causes, suggested cures and preventative prescriptions. All with a huge dose of humor!

I hope you find this website useful and FUN and will visit me often in my new virtual space!

Have fun exploring!
Catherine

Flutist Robot #2 - ROBORAMA.info

Let's work on getting that breathing quieter! I wonder if he has heard of a finger breath?

http://www.youtube.com/watch?v=7dLBtpKn47o

Catherine

Flutist Robot - ROBORAMA.info

I wonder how accurate his Body Map is?

http://www.youtube.com/watch?v=6Gap5bNh8Bs

I always considered it a bit rude to wear a hat during a performance, except when performing in costume or marching band.

Can't say much in favor of the robot's embouchure, either.

Enjoy!
Catherine

How to Assemble Your Flute (to avoid repairs)

Younger students who are away from the watchful eye of their teachers for a time this summer would do well to view this video by Jennifer Cluff on assembling the flute.

Hope this helps you avoid getting in bad habits that could damage your instrument, requiring expensive repairs.

Jennifer has posted lots of other useful articles and information at her site. www.jennifercluff.com

Best,
Catherine LeGrand

Roger S. Stevens: Artistic Flute Technique and Study (Embouchure Photos)

http://www.larrykrantz.com/embpic.htm

Artistic Flute Technique and Study
by Roger S. Stevens
Hollywood: Highland Music Company. (1967) pp.14-16
(currently out of print)

This page shows an assortment of embouchures which were found on excellent flutists' faces in the 1960's. The page can be viewed at Larry Krantz's site.

A copy of this book is in my studio library for those of you who might want to have a look at the "genuine article."

This historic document is often mentioned by Keith Underwood in his classes.

I believe it just shows there are a lot of ways to do something well, though I also believe that some ways are easier and more sustainable, long term, than others.

Catherine

Larry Krantz Flute Pages: Little Finger Exercises

Larry Krantz Flute Pages: Little Finger Exercises

Calling all flutists with collapsed or double jointed right pinky fingers!

These short video clips show good right pinky function.

The "Little Finger Circles" Exercise is the equivalent of a "tongue twister" for the right pinky.

Good right pinky function will improve instrument stability and technical facility.

Check it out!
Catherine

What is the Feldenkrais Method®?

"What is the Feldenkrais Method?"

http://www.youtube.com/watch?v=e_i5QuIqcQo&eurl=http%3A%2F%2Fwww.houfeldenkrais.com%2F

Good morning,

I have been talking a lot about the Alexander Technique as a way of exploring the mind-body connection. "AT," as it is commonly called, is not the only good approach to body learning and integration.

I first studied Feldenkrais in Cincinnati in the late 1970's with Fanchon Shur of Growth in Motion and have sporadically attended Feldenkrais Awareness Through Movement Classes since, most recently at the Feldenkrais Center of Houston.

Director of the Feldenkrais Center of Houston, MaryBeth Smith, MM, GCFP, has posted several short audio lessons--"Awareness Breaks."

I have found Feldenkrais helps me slow down my nervous system and pay deep, close attention to my body's wisdom.

I invite you to check it out!

Catherine

Keith Underwood Master Class Videos

BIG NEWS!
Keith gave me the go-ahead to post my "buzzing" lesson at the master class in Barnstable MA on 5.19.07 for you to watch in the Virtual Studio.

Other news:I have begun posting 2 versions of each video, one in Quicktime and one in wmv format. I will update the older postings to include a wmv version in the near future. Please let me know how the videos work for you.

I complied the important highlights of my Keith Underwood class lesson into Part 1 and Part 2, now posted in the Virtual Studio.

Hope this is helpful to everyone.

Technology is amazing...I am writing you from the Columbus, OH airport terminal. I wonder if anyone reads this in an airport...

Let me hear from you. I invite you to share your "buzzing" discoveries and thoughts with me and with others on this blog.

Catherine

DataFace Website

http://face-and-emotion.com/dataface/expression/muscles.jsp

Click on the illustrated facial muscles on this page to see videos of how they function.

One of my favorite sites has returned to the web!

Ponder which muscles you use to play or sing and, also, which ones you could manage not to engage.

Let me hear from you!
Catherine

Mentalis Muscle of the Face

Mentalis Muscle of the Face

This is a great short video clip demonstrating the use of the mentalis muscle of the face.

Its use in forming embouchures is valuable in pairing with the tongue to create compression of air and stability of tone and technique.

The mentalis muscle pushes the lower lip up towards the tongue. Its use can also prevent excessive dropping open of the jaw and/or bending forward to the head.

This is an important muscle for developing good "buzzing" technique, according to Keith Underwood.

Catherine

Alexander Studio London

Reposting of this Alexander Technique chair lesson at it's new url location.
http://www.youtube.com/watch?v=oYDRR0FnKzQ

Catherine

Voice , Whispered Ah, and the Alexander Technique

Voice and the Alexander Technique

This is an excellent article on the "whispered ah."

Flutists, consider that your lips can serve the same function as vocal folds. If they remain relaxed, they vibrate, allowing for more expression and resonance.

Efficient air use improves as woodwind/brasswind players learn not to "overblow", meaning -- not blow too hard.

Practicing buzzing, even for non-brass players, discourages overblowing, and encourages increased focus, ease, and expression.

Try switching off between whispered ah's, playing and buzzing while practicing.

Let me know how this works for you.

Happy trials,
Catherine

More from Keith Underwood Class

Keith demonstrates lip action with his hands while I buzz.








Beatboxing duo.

Barnstable Buzzing with Keith Underwood

May 19, 2007

West Parish Church in Barnstable, MA

I got the feel of it at last! The approving look of Keith Underwood!

Wonderful buzzing classes with Keith on Cape Cod May 18-20. More soon.

Catherine

Arms Rest

Following the dramatic improvements in flute, oboe and clarinet participants during Keith Underwood's April Houston masterclasses when he supported their arms while playing difficult passages (we exert so much unneeded tension to hold up our own arms, rather than allowing our spine to support them), I have been experimenting with holding up my students arms in lessons, also with good results; greater technical facility, easier and longer breaths, and less fatigue overall.

I have been longing for someone to hold my arms when I practice, too, to see what effect it might have for several difficult passages in my current repertoire, but tonight I figured out a great substitute and had to share it with you right away!

I sat in a chair and put another chair facing me in front with a somewhat deflated exercise ball on the seat. It is important for the level of the ball (or stack of pillows) to be at the natural level for your arms as you lean forward slightly, bending from the hip joint with long, straight spine. I adjusted the angle of the chair I was sitting on slightly, so that as I leaned into the ball, my elbows--or the areas just above or below the elbows--were fully supported by the ball at the proper height.

Not only did this exercise achieve the desired results in improved ease, but the consistent, sustained arm support allowed me to identify, then release, the muscles that were tensing unnecessarily. When I took the ball away, I enjoyed almost the same results.

Very exciting! My alignment is even better now than earlier in my practicing day, and my jaw feels very free, also.

As always, never do anything that is uncomfortable when practicing! There is always another way. If it hurts, STOP RIGHT AWAY!

Remember to keep your neck free.

I can hardly wait to try this again tomorrow!

Let me know how this works for you.

Catherine

"aaaaaaaaaaaaah"

At his recent masterclasses in Houston, Keith Underwood worked with several participants on his version of the Alexander Technique "whispered ah"procedure.

This usually began as a way of helping the participant learn to better direct and compress their air through good alignment of the upper back, neck and jaw.

After checking lower body alignment with the Alexander Technique procedure "monkey position", also called "position of mechanical advantage" which flexes all the major lower body joints (see Alexander Technique chair lesson video clip from 4/30 blog entry), Keith’s version of this procedure started with the participant raising the upper lip to expose all the upper teeth and making an "f" sound through the teeth. Then, with knees forward and thinking up the back. moving the jaw a bit forward (without any strain or discomfort), then allowing it to naturally drop open and, finally, whispering "ahhhhhh...."

The feeling I get when working on this is the sinking in of the upper back, head rising, as neck lengthens.

On a particularly easy attempt, it feels as if my head is the sun at dawn, rising above the horizon of my shoulders.

Keith also worked with participants to improve air speed by "buzzing the upper lip and surface area of the tongue together.

I have been experimenting with following a (Keith's version of the) "whispered ah," with touching the front edge of my tongue to the back of my lipline (inside lower lip) while lifting my upper lip into the "f" postion, then bringing the exposed underside of my lifted upper lip down to the surface of my tongue to create a buzz as I exhale. It feels a bit like I am squeezing the surface area of my tongue with my upper lip, while maintaining the relaxed position of my tongue in a downward sloping angle touching the back of my lower lip.

This action can be repeated multiple times in one breath, also adding a whispered "ehhhh" while positioning the upper lip. I call this the "eh-puh" exercise.

Give it a try!
Catherine

Life on the Drawing Board

When I wake each morning, I pretend I know nothing.

The world is waiting to be discovered...again and again...

More about the day I took this photo.



The academic year is winding down and I am looking forward to having time to reinvent my playing, once again.

To assume I know everything is to automatically limit myself, and exploration is a precursor to discovery.

Those of you know me personally, know that I have an enormous repertoire of ways to work on things--to work on that difficult passage or to view a problem—and that I find great joy in new insights and discoveries.

As I allow myself to try a new way of doing something or to immerse myself in a new context or challenge, whether it be cultural (travel to an exotic place), work-related (music festival or new performance venue or repertoire) or home surroundings (even rearranging the furniture), I learn new things about myself; what motivates me and what fulfills me, and how I can best inspire others to discover their best selves, both as individuals and as artists.

I invite you to try out some new ideas this summer, whether in your music-making, or in your life. Check out the Library portion of my website for some inspiring resources, and visit the Playground for fun, creative play to encourage connecting your thoughts in new ways.

Life (as is art) is a process.

Happy exploration! I welcome hearing about your discoveries.
Catherine

How It's Made - Flute

I am often asked why flutes cost so much. This five-minute documentary on how a flute is made shows the steps which go into making a flute by hand.

http://www.youtube.com/watch?v=DHSu0trGkRg

The prices they mention in the video are for a top-end handmade flute. Hand craftsmanship allows for the ultimate attention to every detail in how the flute works, so, in general, the more hand finishing a flute has (especially important is the headjoint), the better it plays.

The factory appears to be the Brannen Bros. factory in Boston, though I cannot make out the engraving on the flute. I played a custom-made Brannen, a beautifully crafted instrument, for about a year in the 1990's.

FYI: I have played on handmade old scale Powell flutes (made in 1971 and 1940) with a David Williams silver headjoint for about 12 years now. I love the many expressive possibilities this combination offers.

Hope you find the video enlightening.
Catherine

Alexander Studio London

The video can now be found here:
YouTube - Alexander Studio London

Many of you have been asking about what an Alexander lesson is like. Frequently, the first Alexander lesson features rising from and sitting on a chair. This is a short clip demonstrating a "chair lesson" taught by Anthony Kinsley, an Alexander Teacher at The Alexander Studio in London, England. Notice how the student's spine elongates as she raises and lowers into the chair, preserving the balance of her head on her spine.
Wow! I feel taller just watching!

Catherine

Hermeto Pascoal - Música da Lagoa

Brazilian musician, Hermeto Pascoal, and his ensemble prove that music is everywhere in this piece made for Brazilian television. Hermeto became internationally famous after an appearance on a Miles Davis album in 1971. Check out Hermeto's "fluid" technique! The bottle backup players could use some embouchure help...

DON'T TRY THIS AT HOME!
Catherine

You can visit his website:
http://www.hermetopascoalealinemorena.com.br/english/abertura.asp

More about Hermeto Pascoal:
http://en.wikipedia.org/wiki/Hermeto_Pascoal

Non-Pirated Free Sheet Music Download Sites: Play Along with Julius

I had a thought yesterday. Why not play along, imitating physical gestures, while watching the Google Video of Julius Baker playing Brandenburg 5?

Gosh, I don't have this part memorized...

Hmmmm...I wonder if there are any public domain online Bach Brandenburg 5 scores...

Eureka! My treasure hunt was successful.

Later today you will find a folder of complete score and flute part from Movement 3 of Brandenburg 5 in the Articles/Documents list in the Virtual Studio. The folder is compiled from results of a multi site search. Music found at these sites is free to download, print out, perform and distribute.

• Mutopia Project
• Werner Icking Music Archive
• Gutenberg: The Sheet Music Project
• The Choral Public Domain Library
• The International Music Score Library Project

Links lists of other free legal music downloads:

• http://icking-music-archive.org/oth_mus_archives.php
• http://dmoz.org/Arts/Music/Resources/Downloadable_Music_Sheets/

Hope you find some treasures there! Please share your discoveries.


Happy Hunting!
Catherine

Keith Underwood's favorite weekly video

Here it is!

The video Keith Underwood raved about all week in his classes.


http://video.google.com/videoplay?docid=-2626723245082747523&q=glenn+gould+brandenburg+5

Notice, among other interesting details, how Baker phases to the left, and moves into his breaths--to the left. Also how he stands with his flute in his right hand with his left shoulder relaxed, then brings the flute to himself, adding the left hand just before playing. Cool stuff.

Enjoy!

Check back frequently in the next few days for more inspirational tips from the classes I attended in Houston this week.
Catherine

Patricia George's "Flute Spa"

On Sunday, April 15, at Meredith College, Raleigh Area Flute Association hosted Patricia George, Professor of Flute at Brigham Young University, to present her workshop , "Flute Spa," 3 solid hours of teaching jam packed with useful exercises, thoughts to ponder, and stories about the legacy and icons of flute playing.

I found almost everything she said meshed with my experiences as both flutist and teacher, and ignited my own creative thought process. With her permission, I am posting the useful booklet from the clinic as a pdf in the Library on my website, www.catherinelegrand.com. I hope you find it inspiring.

In this document you will find:

• Warm up exercises and routines
• Body Mapping Check List and images reprinted with permission from Barbara Conable's Book, What Every Musician Needs to Know About the Body, published by Andover Press (Amazon Link in Library).
• "Octave Variations" (quick thoughts to remember high note fingerings)
• "Short Scales" (a quick tour of the high octave of the flute moving through scales in the circle of fifths)-SUPER!
• Useful pattern variations for practicing scales, including advocacy of "chunking" groups of notes in order to learn patterns faster (less practice time) in short, manageable sections. (I call these "bursts of notes".)
• The "Flute Spa" menu concludes with Patricia's 2-page "Ideas on Phrasing 2007" which simplifies the vast, comprehensive subjects of phrasing and expression into well-explained individual elements.

Thanks for reminding us that practicing is a joyful process, one in which we can experience and celebrate measurable improvement!

I highly recommend attending a class with Patricia George.

Also, check out the article:
"Using the 17 Big Daily Exercises for Flute by Taffanel and Gaubert, Published by Leduc" By Patricia George

Happy Practicing!
Catherine