Stough Method of Breathing Coordination

Greetings,

I recently came across websites for 2 musicians who are practicioners of Carl Stough's Method of Breathing Coordination.

Practitioner of the Stough Method of Breathing Coordination for over 35 years and operatic soprano Karen Saillant Bygott, MMus, published an article, Breath: Your Life Depends on It, in the Winter 2002 edition of the Price-Pottenger Nutrition Foundation Journal. This article, available online at her website, explains the Stough Method of Breathing Coordination and how it can help you.

Steven Flam's Breathing Rx website offers information about Breathing Coordination and downloadable learning products for singers who wish to learn breathing coordination.

Flam states several things that I have have known and taught for a very long time.

"COORDINATED BREATHING INCLUDES:

* Not holding the breath.
* Breathing never stops.
* As soon as you finish inhaling, you start exhaling.
* The diaphragm is in constant motion.
* The motion is natural and unforced.
* An unimpeded wave of expansion starting with the lower abdomen and spreads like a wave upward toward the head.
* An exhale is the contracting of the rib cage in a wave, starting in the upper chest and spreading downward toward the feet."

He offers a free monthly teleseminar teaching 2 techniques including Basic Diaphragm release. Next time I am free at that time on Monday I'll call in.

Flam offers for sale 2 downloadable products for sale targeting singers (though I am sure they would be of use to wind and brass players):

A Guide to Breathing Coordination
E-Workbook: Breathing Rx for Singing-90 Days to Vocal Support Mastery

If anyone has used these materials, please share your experience with us here in the comments. Thanks!

Best,
Catherine

A "qui" to better tone and articulation

Greetings,

I remember being told by several teachers to help create evenness in double tongued passages by practicing a passage with all the articulations on the "fore syllable" and then with all articulations on the "back syllable."

When practicing on the (not-so-"back") syllable "key" or, better, pronounced with a French accent as "qui" there is the huge added benefit of excellent positioning of the tongue and the upper lip for maximum tonal resonance and flexibility in addition to articulation ease. The more I practice EVERYTHING with a "qui" syllable, the better my tone sounds in general.

Please let me know how this works for you!

Best,
Catherine

Exploring the "Twirlability" of the Flute

No, I don't mean what teenage band students do when they are pretending their flutes are batons. YIKES!

I am referring to flexibility gained by using the fingers in an extended motion while playing the flute or another keyed or valved instrument.

In Keith Underwoods's October masterclasses in NYC, he encouraged performers to engage their hands while practicing (as in the classic Alexander Technique back of chair exercise) and to avoid having their fingers be too "smooshy" or rounded in an inflexible way, but rather to fully extend fingers when completing a fingering, moving them in a darting motion--sort of stretching them out, fully extended, after playing a note. The results after practicing a difficult passage in this way were amazing for several performers. Not only was the tone more focused and fuller, but fingerings were more even, with noticeably better rhythm.

At other times Keith has referred to related finger technique concepts as "tai chi fingers", "spideyfingers", and "roboflute."

During this class, to improve the sound on old Powells he also encouraged moving the right thumb somewhat closer to the footjoint--I tried it and it's true! My tone was more focused, yet fuller when I did this on my vintage Powell. It also improved the flexibilty of my fingerings.

Please let me know how these ideas work for you!

Best,
Catherine

Exploring Flute Tone Colors and Dynamics: "Forward, Neutral, and Reverse" and the "Imaginary Headjoint Exercise"

Greetings,

During Keith Underwood's recent class in NYC, he spent a lot of time with several students exploring a greater variety of tone colors and dynamics--something we can all benefit from working on!

In addition to further exploring the idea of embouchure hole coverage variance, or "Red, Blue and Yellow" sounds as he called it last summer and "Forward, Neutral, and Reverse" as he referred to in October, he helped performers experience this variance of embouchure hole coverage by practicing an "Imaginary Flute Headjoint" Exercise.

To play louder or with a more intense tone, imagine you are playing into a headjoint that is in front of your actual headjoint. To play more quietly or with a more diffuse tone, imagine playing into a headjoint that is behind your actual headjoint.

Wow! Amazing results. Please let me know how this works for you.

All the best,
Catherine

TubeSock ROCKS!

Greetings,

At the recent Keith Underwood/Anne Waxman flute/Alexander Technique masterclass in New York City, Keith suggested downloading the shareware ($15) TubeSock for saving internet videos in ipod or iphone format. I finally got around to this and it works fantastically!

If you are not convinced yet, you can download trial software which will convert the first 30 seconds of any video so you can see how the software works before buying it. When you purchase and register they send a code in the email which unlocks the software. It is simple to use and works well.

Now all my favorite YouTubes will join the videos from my website for easy access in lessons and while traveling. Technology is a good thing!

Best,
Catherine

Helen Plays Flute Again!

Dear readers,

I am sure that those of you who knew Roland Lietzenmayer will be delighted (as am I) to know that Roland's daughter Helen (the delightful younger flutist in the YouTube Chopstick Duo video)is playing flute again.

Helen's Mother sent me these photos taken last weekend to share with you.


Best,
Catherine

Sousa Instrumental Parts Online

Greetings,

For those of you "band folks" out there, here is a link to the instrumental parts of the works of John Philip Sousa at the Library of Congress.

I hope you find this useful.

Best,
Catherine

Sheet Music played in "Chopstick Duo' Video

Hello,

Several readers asked what piece is played by Roland and Helen in this video.

Brigitte, Roland's widow, supplied the following info:

Hören, lesen & spielen
1 Duo - buch
Verlag de Haske
Nr.11 Die Parade von Jacob de Haan

They purchased the book through Amazon.de

Also, Helen is playing flute again!

Best,
Catherine

Happy Halloween 2008!

Happy Halloween!

Check out the Halloween 2008 post of my public blog.

Enjoy,
Catherine

More from Pavorotti

Greetings,

In the Pavorotti masterclass YouTube video, http://www.youtube.com/watch?v=uo6dDQiBGyI, he talks about how vocal tone is created by keeping the vocal cords in a position of rest, vibrating in the middle, allowing for easier navigation of intervals, both descending and ascending.

I interpret this to mean... encouraging good head position and avoiding unneeded use of muscles in the neck and throat so that the cords can continue to vibrate freely through the interval. Of course, the same concepts are applicable to wind and brass instruments for smoother, easier register changes.

When Pavorotti says,"jumping down, jumping down to the other sound...like an animal," I picture a cougar leaping from a rock, using its entire body in an efficient and beautiful movement.

It is useful to understand exactly where the vocal chords are located, and exactly what they do. If you are interested, watch
Video Stroboscopy of the Vocal Cords: http://www.youtube.com/watch?v=ajbcJiYhFKY

Famous character actor Mel Blanc’s vocal cords in action doing some of his moved loved cartoon characters:
http://www.youtube.com/watch?v=ejVQEFbIfmI


I hope this helps your understanding of vocal cord function and good use of throat and neck muscles.

Catherine

An Alexander Technique Tip from watching Pavorotti

Greetings,

I have just returned from the NYC Masterclass with Keith Underwood and Anne Waxman, Alexander Teacher. This was one of the very best classes I have ever attended. I will share many things with you about this experience, but today I will just start by directing you to a video Keith showed us at the beginning of class.

In this YouTube video Pavorotti talks in a masterclass about "covered sound vs. white sound: http://www.youtube.com/watch?v=uo6dDQiBGyI

At about : 40 he sings an F-sharp arpeggio in "white sound" and says of this tone, "I suspect a strangle." You can actually see his neck shorten. He then sings with "covered sound" and you can see his head rise above his torso with free AO joint. Amazing sound and clearly visible AT clue.

Also notice the minimal effort he seems to use in making this excellent sound.

The entire video is interesting, and I will discuss a couple more items in the video in the next installment.


Cheers,
Catherine

Chopstick: Take 2

Greetings,

About three weeks ago, I was practicing my buzzing while driving (Yes, I buzz in my car. It's great to be warmed up already when I get to the university or a rehearsal!) and I noticed that my upper lip and tongue were in a great relationship, rather like a ballroom dancing partners responding to slight pressure and gesture from the other.

Then I started thinking about the Chopstick Exercise, and it "hit me" to try the Chopstick Exercise, emphasizing the relationship between the upper lip and the tongue with the chopstick on TOP of the tongue!

I did not post about this immediately because I wanted to test out the effects of doing this over time before suggesting it to you.

My experience is that working this way a few minutes a day helps me to lift my upper lip--in fact, to lift my entire embouchure, activating the zygomatic major muscle, encouraging the tongue to stay wide, and allowing for much flexibility with the center of the lips.

When doing this exercise, please remember to keep the tongue in relationship with the upper lip. The benefit seems to stem from doing it with this focus. I suggest starting out by buzzing with the chopstick in this position.

Try it for yourself!
Please let me know how it works for you.

Catherine

Susan Maclagan's Notes on Greg Patillo's Bearboxing class at NFA

Greetings,

Susan Maclagan has graciously permitted me to post her notes from Greg Patillo's beatboxing class at NFA in case you did not see them on the lists or in case you deleted them before you realized how valuable they are!

Hi Catherine,

I'm so glad that you enjoyed my notes. Thanks very much for saying so. And I really like how you took them to another level, so now I'm learning from you!! :)

I'd like to share my beatboxing notes with others who read your blog, but who might not be on a flute list:

NFA Convention Notes: Beatboxing

As usual, I had a super time at the flute convention, or Planet Flute as a friend likes to call it. :) The first thing that I want to tell you about is flute beatboxing with Greg Pattillo. I thought he was great when I heard him play on Youtube, but in person he was awesome! (For those of you who haven't heard him play, a google search will bring up many of his videos.) At the flute convention he gave a lecture: How to Beatbox, and Other Uses for the Flute. After the lecture he performed with his group Project (Eric Stephenson on cello, Peter Seymour on double bass). The group did a terrific job of entertaining the audience and got a standing ovation at the end of their performance. Greg commented that they had to do arrangements of pieces for other instruments (e.g., Tchaikovskys Nutcracker Sweet and a version of Ian Andersen's version of Bachs Bourree) and also compose their own music as there isnt much literature for flute, cello and double bass (hint.hint..to any composers on this list! :). Project also gave a terrific performance in the final gala concert on Sunday.

HOW TO BEATBOX My comments will be between [ and ].

There is no right or wrong way to beatbox.

How does it sound?
-Like a rhythm section (or human metronome) going on behind a melody.

Sound #1 (no flute):
-Mouth the syllable keh. [There is an air sound at the end of this syllable. Slightly extend its length and increase its loudness so that it has more importance than when mouthing keh normally. I get a better sound when I say the syllable simultaneously with an abdomen kick.] Change the pitch of the keh if desired.

Points to keep in mind:
-The more you force, the less sound you get.
-Make sure that your mouth is open for keh. (i.e, don't use a flute embouchure).
[I get a better sound if my mouth isn't too open. Best to experiment.]

Exercise with flute:
While counting 1 2 3 4 in your head, play a normal note on counts 1 and 3 and sound keh on the back beats (i.e. 2 and 4). You can do this with any tune.
Note: When you play this way, there is no competition between the rhythm sound and the flute sound. You can, however, do both sounds at the same time, but you will need more air if you do this.

------------------------------
Sound #2

Greg uses the following syllables when he plays:
t, k, ts, ks, sh, ch, ss, f.

Exercise:
Start with a good breath and then mouth any of these syllables and as described in Sound #1. Breathe between EVERY syllable and have the air come out noisily after you say each one. Once you get going, take shallow breaths.
#2. Repeat exercise #1, but this time mouth the syllables with an easy rhythm. For example, mouth
s, s, s, k, k in the rhythm: eighth-eighth quarter quarter quarter.
------------------------------
Sound #3

You can inhale sounds too.
Points to keep in mind:
-You can't start with a deep breath.
-Breathe lots and make an airy sound.
-[Do not be discouraged with the f sound.] It is hard to inhale this sound.
-----------------------------
Sound #4:

Mouth hah, ta, hah.
BREATHE
Repeat several times.
--------------------------
Sound #5: Shuffle breathing.

Mouth ha ta, BREATHE
ha ta BREATHE
ha ta BREATHE
---------------------------
Sound #6: For rhythm.

From a closed position, make a buh or puh sound with your lips (or alternate between these two sounds). Aim for a tomato-hitting-the-wall sort of sound [or champagne cork.]
----------------------------
Sound #7:

Step 1:
Mouth the word oot (of boot); BREATHE; ss; BREATHE; cats BREATHE; ss BREATHE
Remember to end each syllable with an airy sound.
Step 2:
Play A1 B1 C2 B1 A1 to the rhythm:
quarter eighth-eighth quarter eighth-eighth quarter eighth-eighth quarter quarter
Step 3:
-when you single tongue, don't breathe in between notes;
-[find phrases in language with good sounds and use these in beatboxing];
-listen to Cuban music or drums for ideas of sounds to use;
-beatboxing can be done with classical tunes too. Greg mentioned that hes able to do what he does because of his solid classical training.

At the end of the how-to session, Greg and his group performed:
-a Charlie Parker tune with the rhythm section on the flute and the tune on the cello;
-Sweet Pea with flute, string bass and cello. The stringed instrumentalists got into the rhythmic action by hitting the instrument, etc.
-Bees and the Birds (a version of the Bumblebee by Rimsky-Korsakov), followed by Peter and the Wolf.

Greg has beat-boxed for five years.

Best wishes,
Susan Maclagan

Now you have all the info you need--go for it!

Thanks, Susan!

Best,
Catherine

Daphnis and Chloe Beatbox

Greetings,

Yesterday in my studio masterclass, I shared beatbox basics with my students in our warmup.

Later in the class, we were inspired to accompany as a beatbox ensemble for each student to perform the Daphnis solo (It sounded better than my feeble rendition of the piano reduction of the orchestral score from Kyril Magg's Accompanied Orchestral Studies, Volume 7, LEAF Productions.)

I'll show you what I mean in Standard Beatbox Notation or SBN--yes, there is such a thing! See this great article with complete explanations and mp3's of the sounds:
http://www.humanbeatbox.com/tips/p2_articleid/231

[b t _ t] [b t _ t]

What fun, AND how practical that each had a chance to be both accompaniment and soloist.

Also, after beatboxing the accompaniment, their high notes were even clearer, unrestricted, and more beautiful. How cool is that?!

But I couldn't quite wrap my brain around the idea yet of playing that solo while beatboxing...

hmmm...
Off to try it out.

Catherine

Beatboxing flute loops LIBERTANGO

Here is another terrific flute beatboxer, Mathieu Schneider.

In this video, Schneider records each track, then combines them with live playing in an interesting way for a terrific performance of Piazzolla's Libertango.

http://www.youtube.com/watch?v=_iXpJ3YZTLE

Wow!

I hope a composer or arranger writes a piece for beatboxing flute choir soon!

Enjoy!
Catherine

Flutistic Advantages of Beatboxing

Hello,

Since my return from the NFA Convention, I have been including a bit of beatboxing in my daily practice routine, and I am beginning to include it in lessons and studio masterclasses because of the unexpected benefits I have experienced!

Thanks to Greg Patillo's informative class at the NFA convention and Susan Maclagan's copious notes from the class which she posted on the flute lists, at last I have a real plan to learn this skill and integrate it into my playing.

These are the unexpected benefits I have noticed so far:

Relaxed embouchure: it is impossible to over tighten lips when beatboxing.

Ingrained rhythmic pulse: try this with your students who have rhythmic changes. They learn to breathe in rhythm and to account for each subdivision of longer notes by assigning a syllable to each part of the beat.

It's really fun!

For those who want to learn about the history of beatboxing, check out these articles (There's even a picture of an original beatbox!)

http://www.humanbeatbox.com/history/p2_articleid/27
http://www.humanbeatbox.com/plugins/p2_news/printarticle.php?p2_articleid=28
http://en.wikipedia.org/wiki/Beatboxing

For more about Greg Patillo and to hear and see his playing visit Greg's Myspace.

More about beatboxing to come!

Best,
Catherine

More wisdom from the “kitchen table"

Greetings,

This is another inspiration from "Kitchen Table Wisdom: Stories That Heal" by Rachel Naomi Remen, M.D., published by Riverhead Books, New York.

Regarding intention, she writes:

“When we pray, we stop trying to control like and remember that we belong to life. It is an opportunity to experience humility and recognize grace.

Sometimes the most powerful prayers are also the most simple. …

May we be helped to do here whatever is most right…This traditional American Indian prayer is a powerful way of embracing life, finding a home in any outcome, and remembering that there may be reasons beyond reasons.”

I believe intention is the most powerful component in teaching. I am conscious that my words can act as a catalyst for the musical and personal growth of each student, in ways I cannot imagine, often without my knowledge.

My intention is always to do no harm. I begin each lesson with the hope that my words are the “most right” for that particular student to hear on that particular day.

I felt inspired to share these thoughts with you today. I know they are the “most right” words for someone who will read them.

Best,
Catherine

"ENDBEGINNINGS"

Greetings,

One of the books on my summer reading list is Kitchen Table Wisdom: Stories That Heal by Rachel Naomi Remen, M.D., published by Riverhead Books, New York. The author is an oncologist/psychologist who helps patients through the processes and opportunities of healing and growth that can present themsleves during treatment and recovery from serious illness.

Don't worry--as far as I know I am quite healthy, but I am close to several people who are currently in this situation. In similar past situations, I often did not have a framework for knowing how to effectively help with this process.

This book contains many short, inspiring, true stories imbued with practical wisdom --yes, even for musicians!
So much for the intro.

I was reading chapters from this book between naps on a recent flight and the following words hit home:

I was thirty-five years old before I understood that there is no ending without a beginning. That beginnings and endings are always right up there against each other. Nothing ever ends without something else beginning or begins without something else ending. Perhaps this would be easier to remember if we had a word for it. Something like "endbegin," or "beginend."

Brilliant! Think how this applies to articulation, both single tonguing and double tonguing...

Your philosopher/flutist,
Catherine

Catherine at NFA Convention

Greetings,

I will be at the convention in Kansas City.
If you would like to schedule a coaching or a face-to face visit, please let me know.

Best,
Catherine

"The Primary Colors of Flute Playing"

Hello,

Keith Underwood has recently been talking about creating "Red," "Blue," and "Yellow" tone colors on the flute by using the depressor labii inferioris muscle of the lower lip (pouting muscle) to control the coverage of the embouchure plate, changing both the dynamic and the "color" of the tone.

"Red" notes have the most coverage of the embouchure hole with the lower lip creating an intense, strong, focused tone.

"Blue" notes have moderate coverage of the lip plate with a slightly more open, mellow tone.

For "Yellow" notes the muscle contracts the lip back off the lip plate somewhat creating a more diffuse, pale tone.

And don't just think of this as a phrase-by-phrase experience. Try using the "red" sound to emphasize notes in a phrase, such as the structural notes in a passage--scale outline or important harmonic notes.

Wow! Amazing musical results...
Look for some video examples later this month.

Please let me know how "The Primary Colors of Flute Playing" work for you!

Enjoy,
Catherine

The Moldau

For those of you working on Smetana's Moldau for an audition or performance or for those who have played it many times, a little inspiration of the visual sort--the river flowing through the lovely city of Prague.

Enjoy!

Catherine

How to Have "Just Ducky" Tonguing

Hello,

You probably guessed it...this is Keith's latest on tongue-controlled embouchure.

It always fascinates me that when I have a long Keith hiatus (this last one was October 2007-June 2008) my own process parallels that of my mentor.

I have noticed in recent months that my tongue contact area includes a place of contact between my upper molars and the surface area of my tongue.

From this place my tongue rests in a slightly downward trajectory onto my lower teeth, with the surface area of my tongue still touching both lips across the front of my mouth when I play.

I had been noticing that my double tonguing was even more stable with the tongue somewhat higher in the back and that the 2nd syllable of the double-tonguing felt close to the duh, but in front!

I thought, "The "back" tonguing is in the front. hmmmm. A bit confusing."

Then, in the recent Cape Cod classes,Keith described his new tonguing syllable as "duh." Then he went on to say that his double tongue syllable is actually even farther forward than the duh...like a "Key"

So, we called it "ducky tonguing!"

It felt great to hear Keith express so precisely and enthusiastically the same things I had been experiencing in recent months. Whew! What a relief.

"Key" is a brighter sounding syllable than "kuh" or "guh" and helps keep my tone more even and the sound clearer on the second syllable.

It also helps keep my embouchure stable and not too open in the front. This really saves air!

This tonguing approach also helps me get my rhythmic "ducks in a row." creating very crisp and rhythmic articulations.

All the best,
Catherine

The latest from Keith at the Cape

Greetings,

I recently attended several days of masterclasses with Keith Underwood on Cape Cod, MA.

Not only was it great to get a huge dose of Keith's latest thoughts, but it was wonderful to reconnect with previous "Keith class" attendees and to meet more nice folks.

David and Gail Williams stopped by one day to let folks try their latest equipment andto visit. Great to see them, also!

In the next few days, I will post my thoughts on the info I have been working with from the classes.

Topics will include

How to have "Just Ducky" Tonguing
The Primary Colors of Flute Tone (Red, Blue and Yellow)

Now that I have successfully completed moving both my home and my studio, the posts will come fast and furious for the rest of the summer.

As always, let me know if there is something specific you would like to know more about.


Best,
Catherine

Building Blocks: Right Thumb Position

Greetings,

In today's video I explain the use of foam blocks to help find the ideal, most balanced, position for the right thumb when playing the flute.

Best,
Catherine

Chopstick and Tonguing

Greetings,

This video is a response to a subscriber request for more specific information about how to tongue with a chopstick in the mouth.

Please let me know if there is a specific topic you would like me to post a blog article or video about.

All the best,
Catherine

Let your toes give you a helping hand...

Greetings,

This video shows the use of an unexpected practice prop--a pedicure separator.

These medium density foam objects are perfectly designed to keep phalanges from cramping up.

For many years, I have found this to be a useful method for helping students experience a relaxed, open right hand position.

Inexpensive, and they come in fun colors!

Best,
Catherine

Celebrate Your Articulation!

Greetings,

This video demonstrates one of my all-time favorite ways to experience the feeling of good breath support, without overblowing, and is especially useful for learning to articulate with an evenly supported tone.

For more detailed descriptions of ways to use a party favor to increase awareness while practicing, have a look at these videos in the LeGrand Virtual Studio:

Episode 1: Two Common Misconceptions about Flute-Playing
Party Favors 201: Embouchure

Most importantly--HAVE FUN with your practicing! Let it be a joyful journey.

Best,
Catherine

Update on "Uplifting" Embouchure Practice Technique

Wow!

After practicing with the bandage strips on my face this morning, I decided to leave them on for a while to see how being aware of these facial muscles affected how I went about other activities (I did not venture outside with my bandage "whiskers", though I don't think of myself as being allergic to being conspicuous.

What I noticed is that being aware of these muscles improved my head balance and shoulder use while doing these varied tasks:
using the computer (typing, looking at the monitor, using the mouse)

writing on the desk
talking
listening
washing dishes
folding clothes
vacuuming
cooking

I admit I did not keep them on while eating...

The big message for me today is the reminder of a lesson learned from my study of the Alexander Technique -- we are always "practicing!"

Best,
Catherine

"Uplifting" Embouchure Practice Technique

Hello,

In this video, I share with you my discovery of the week, a simple way of increasing your awareness of the use of your upper lip while practicing!

I found this to be enlightening during my own practice, and each student who tried it in their weekly lesson found it helpful in identifying the action of the zygomatic major and caninus muscles of the face.

To better understand the location and function of these muscles, I suggest you visit the interactive Dataface website.

Let me know how this idea works for you!

Catherine

"Noodling around": using pool noodles to increase awareness

Greetings,

I recently had the good fortune to attend an all day workshop with Lea Pearson, author of "Body Mapping for Flutists," sponsored by the Raleigh Area Flute Association.

Lea shared many great ideas for improving our awareness and body use while playing the flute. I truly enjoyed our interactions, and have found that her ideas have inspired some new ones from me.

This video shares one of Lea's ideas for using a pool noodle to increase awareness, together with a couple of my own variations.

Thanks, Lea, for the inspiration!

You can read more about Lea and her inventive ideas at her website:

Her excellent book is published by GIA.

I strongly recommend her book and her workshops.


Best,
Catherine

Amy Porter performs Georges Hue Fantasie

Greetings,

Several of you mentioned you are working on this piece.
This is a lovely, live performance of the Hüe Fantasie by flutist, Amy Porter.

http://www.youtube.com/watch?v=_iXpJ3YZTLE

Enjoy!

Catherine

"Whistle" Tones and William Kincaid

Greetings,

I studied in Philadelphia for several years with Kincaid "descendant" Loren Lind of the Philadelphia Orchestra.

“Notes on Flute Performance” by William Kincaid (a mimeographed relic from my days in Philadelphia) is posted in pdf form in the ARTICLES AND DOCUMENTS SECTION of the LeGrand Virtual Studio.

This document contains much insightful information -- in Kincaid's own words! I encourage you to download this document and savor the words in small doses over many days and years.

On page 2 of the document. “Notes on Flute Performance” by William Kincaid (a mimeographed relic from my days in Philadelphia) Kincaid writes:

“Learn to play, “whistle, “ or flagolet tones over low “C” and “B”. Select one and sustain it; it is excellent for breath control, embouchure, and placement. “

Over the years, I have found the benefits of this exercise for most students to be:
• Steady breath control
• Embouchure sensitivity
• Ear training

For me, the primary initial benefit was learning not to overblow.

Best,
Catherine

"Uplifting" Thoughts

Hello,

Tonight when I was practicing (interspersing buzzing with playing my flute) I once again noticed that my tone and articulation were noticeably clearer when my embouchure felt more related to the upper part of my head (skull) rather than the lower part (jaw.)

In his Master Superchops DVD, Jerome Callet describes a good spit-buzzing embouchure as akin to licking an ice cream cone. This analogy well describes the feeling I wrote about in my May 3 post.

If the corners of the upper lip are lifted, then there is more room for the surface area of the tongue to come into contact with the inside of the upper lip, creating efficient compression of air.

Three useful warmup exercise videos for the upper lip are posted in the LeGrand Virtual Studio, Category B:

• "Rabbit Face" Exercise
• "Tongue Sandwich" Exercise
• "Miss America" Exercise

Happy practicing!

Catherine

Skull/Jaw "Mapping" and Lifted Embouchure

Greetings,

This past week I have had some seemingly simple, yet profound realizations.

When "mapping" the skull/jaw relationship, it is useful to remember that the jaw is an appendage of the skull, much as an arm or leg is an appendage to the torso.

While reaching around your face with your hand and pressing gently just under the cheek bones, imagine your tongue as related to your skull, rather than your jaw. This helps activate the zygomatic major and caninus muscles, lifting the embouchure and keeping the upper lip flexible.

Another approach to feeling this relationship:
If you place a finger on each side of the upper lip, just inside the corners, gently pressing upward with your fingers, then relax your entire face to be supported by the upward pressing fingers, you can feel many muscles of the face and head relax as the upper lift is lifted and remains soft and flexible. Wow!

This is a great position for buzzing, leaving lots of room for the tongue.

it is a good idea to also activate the triangularis muscle slightly to stabilize the lower lip.

A good interactive webpage for understanding the function of the facial muscles is found here. This wonderful website created by Joseph C. Hager, Ph.D., has many detailed illustrations of the anatomy of skeletal and muscular structures of the head and face.

I invite you to post your insights and questions as always.

Best,
Catherine

"Stressed for Success: Make stage fright and audition anxiety work for, not against you"

All Things Strings:Practical Musician
(Illustration by Kelly Doren)

Here is another good article (excerpted from Strings magazine, October 2003, No. 113) on channeling the energy from stage fright.

Try out these ideas during your next audition or concert!

Best,
Catherine

The King's Singers at 2008 TMEA Convention

Wednesday, February 13, 2008
8:00 p.m.
Concert: The King’s Singers

Thursday, Feb 14, 2008
12:30-1:00 p.m.

Vocal Techniques of the King’s Singers
Clinicians: David Hurley, Robin Tyson, Paul Phoenix, Philip Lawson. Christopher Gabbitas

The King’s Singers , celebrating a long tradition in their 40th anniversary year, are appearing during this current U.S. tour without bass Stephen Connolly, whose family had a recent bereavement. This 6 member, a cappella men’s group, sings many arrangements created specifically for their unique ensemble of 2 countertenors, tenor, 2 baritones and bass. The marvelous concert on Wednesday, February 13, was only the 2nd performance of a program decided upon by the group just before embarking on the tour, when it was apparent that their bass would not be able to join them.

In the Thursday clinic, the group members discussed the processes of deciding on and adjusting to a new program of music in their repertoire that would work without the usual bass voice of Stephen Connolly. Since their sound is built from the bass pitch up, this required adjustments for everyone. They approached this task together, with a sense of openness and creativity, and found this adversity to be a true bonding experience. This not only required changes in planned repertoire for the tour to works, but rearrangements of works which could be adjusted for the five remaining vocalists, and, also, in parts sung--Christopher usually assumed the bass role, but even countertenor Robin took on the low role in one arrangement! Wow! Such flexibility! Each vocalist commented on making large tonal adjustments to create good blend with the new demands on the ensemble.

The King’s Singers formula for success:
They describe their job as 80% listening and 20% singing.
• On unified vowel sounds: “exhale the air”—without pushing
• On vibrato: in block harmonies vibrato is used as a color, not as a given. We use a variety of vibrato styles.

Q: How to teach someone how NOT to use vibrato when singing?
A: Insist they not imitate others, but rather find their own voice.. In classical singing, vibrato is a result of a well-trained classical voice. Mature sound for young students is a bad idea. Let them find their own voices…

The King’s Singers report that they spend a lot of effort on developing mental flexibility, and actively work on converging the right left hemispheres of the brain, advocating the use of “Brain Gym” techniques.

Kudos to this ensemble for their successful efforts to perform a concert of the highest quality under difficult circumstances! Thanks also for being such great role models for musicians of all ages and levels.

Sincerely,
Catherine

Sir James Galway at the Texas Music Educators Association Convention

I had the pleasure of meeting Sir James Galway after an "informal conversation session" at the Texas Music Educators Association Convention yesterday.

He delighted the many attendees with his witty responses, personal stories, and opinions and advice in response to questions on flutes, recording, warm-up routines, and flute pedagogy.

Here are a few of the things I learned:

• Sir James uses top-of-the-line Neumann microphones for all of his audio and video recording.
• In response to a question of maintaining physical flexibility, Sir James proudly announced his age, 68, and suggested shoulder stretches for range of motion, forearm and hand self-massage, and, when nothing else works… just keep playing and enjoy the music!
• He practices studies regularly from the Moyse’s De la Sonorité and advocates practicing scales and patterns always with the best tone and musical expression and style. He pointed out an obvious, but seldom considered, fact: if you practice scales and patterns in a boring, unmusical, way, not only is practicing boring, but you are actually practicing to play boring and unmusical music (music is largely created from these patterns)!
• He also advocates practice of the Boehm Caprices and Andersen Etudes, in particular, to develop a fluid technique and legato while maintaining tone and musical expression.

I encourage you to join to Sir James online forum, Galway Flute Chat (Yahoo group) and to watch the videos posted at http://www.thegalwaynetwork.com/ for access to Sir James’ teaching and thoughts.

Many thanks to Sir James for reminding us that joy and expression give meaning to music-making--and to life!


I also attended the fine Valentine’s Day evening concert performance by Sir James and Lady Jeanne Galway with the San Antonio Symphony. They performed the Cimarosa Concerto in G Major for 2 Flutes and a lively encore, an arrangement of “Rondo Alla Turca” from the Mozart Piano Sonata, K. 331. They clearly had great fun together on stage!

After intermission, Sir James performed “The Pied Piper Fantasy” by John Corigliano, attired in festive costume and joined by dozens of local young flutists performing with Sir James while parading on stage and following him out of the theater. Quite a spectacle!

Sir James’ final encore, Badinerie from the J.S. Bach Suite in B Minor, BWV 1067, brilliantly played, was a rousing ending to an evening celebrating the love of music-making and flute-playing—perfect for Valentine’s Day.

I will post more notes from other clinics and events I attended at the TMEA Convention later this week in the LeGrand Virtual Studio.

Best,
Catherine

Happy Valentine's Day!

Valentine's Greetings from Catherine

Using the Breath Builder to Improve Vibrato

Greetings,

This exercise is based on my notes from the Keith Underwood Ghost Ranch Masterclass, Tuesday, August 14, 2007. Quotes are Keith’s words. Parentheses are my thoughts and additions.

“Blow from your mouth.”

1. Move the air in and out of the BB smoothly: 4 beats exhale, 4 beats inhale, at c. 90 to the quarter note. Exhale low to high (mouth last).

2. Repeat above exercise while moving flute up and down at side (Ribs change position, rotating on individual paths, facilitating breathing). Move 4 beats up while inhaling, 4 beats down while exhaling. (Right lung is larger, so it is most effective if BB is in left hand, flute in right.)

3. Repeat the exercise adding vibrato on the exhales, about 4 pulses per beat as per Keith (I do c. 5).

This is about not running out of air faster when using the vibrato…and about NOT having an AIR vibrato (no WA-WA WA-WA!!!)

“Let the ribs be much higher up…”

4. Repeat the exercise covering the large whole. First without, then with, vibrato.

5. Repeat the exercise covering the large whole plus a small hole. First without, then with, vibrato. (Uncover at beginning to inhale, cover as beginning to blow, changing at the exact moment of air direction change).

(Some people find it easier to cover a hole—perhaps they are used to resistance?)

Now play your flute and enjoy the differences!

Best,
Catherine

A Great Flute Embouchure (according to Keith Underwood)

Greetings,

Last summer in a Ghost Ranch class Keith mentioned that an ideal flute embouchure was a combination of the facial features of two late night hosts:

Jay Leno on the bottom (lower lip lifted above lower teeth and tongue)












and


David Letterman on the top (zygomatic major muscle activated and air sizzling through the slit in the front teeth)




I have found this to be an enormously helpful image.
Let me know if it helps you!

As my chopstick and buzzing exercises have improved, my embouchure has actually begun to take on this appearance.


Best,
Catherine

Tips for Chopstick Users

Greetings,

Re. chopstick use: I don't mean for eating in Asian restaurants!

For tips on eating with chopsticks, check here:
http://www.wikihow.com/Eat-With-Chopsticks

I am referring to practicng with a chopstick in the mouth as a means of efficiently learning good muscle movement and balance for flute embouchure.

I have posted a video, "Tips for Chopstick Users" in the VIDEO, Category C section, of the LeGrand Virtual Studio.

Please post your questions or comments.

Hope this helps!

Catherine

“De la bourdonnement” (buzzing)

Greetings,

I posted a video explanation of my new exercise, “De la bourdonnement”: using materials from "De la Sonorite" by Marcel Moyse in combination with "buzzing" to increase embouchure flexibility and increase resonance in the VIDEO, Category C section, of the LeGrand Virtual Studio.

Though "De la Sonorite" by Marcel Moyse is a flutist's tone study book, this approach will have benefits for any wind or brass player.

Let me know how this works for you!
Catherine

Video Demonstration of Chromatic Exercise

Greetings,

As requested, I have posted a brief video demonstration of the Chromatic Exercise I posted in the Articles and Documents area earlier this week . Hope this helps!

Yes, it IS me...don't be shocked. I got my hair cut since the last posted video.

Best,
Catherine

Chromatic Exercise

Hello,

Did you ever notice that your chromatic scale is wonderful starting on one pitch, but chromatic scales starting on another pitch or chromatic passages of irregular length in your music are uneven?

I have posted an outline of my Chromatic Exercises in the Articles/Documents section of the LeGrand Virtual Studio.

This exercise will cure that problem!

Soon, you will notice improved evenness in your technical passages, and probably an improved hand position, too!

Best practiced without looking at anything. Use both your ears and both your eyes, and concentrate on good body position and hand postion while working on these exercises.


Best,
Catherine

Flute Duo Chopstick Exercise

Bravo to both members of this duo who have studied the buzzing and chopstick via Skype and ichat.

Wow! What impovement!

Congratulations! Catherine

This video has been reposted under a different account name.

http://www.youtube.com/watch?v=3RA4sNwZv_k

Many thanks to Roland's family for reposting many of his flute videos, especially the duos with Helen Milena.

Catherine 7.17.10

Catherine's New Year's Buzzing Challenge

Happy New Year!

Wish I had practiced more, but...oh well, here it is! Tomorrow, time to practice a new tune.

The blue lights got aimed the wrong way while recording (thought you would want to know I am not actually green today.)

All the best in the New Year,
Catherine