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
Thursday, May 31, 2007
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
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
Friday, May 25, 2007
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
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
Sunday, May 13, 2007
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
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
Thursday, May 10, 2007
"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
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
Monday, May 7, 2007
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
Tuesday, May 1, 2007
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.
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
http://www.youtube.com/watch?v=DHSu0trGkRgThe 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
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