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
Sunday, November 30, 2008
Sunday, November 23, 2008
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
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
Saturday, November 22, 2008
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
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
Friday, November 21, 2008
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
Sunday, November 16, 2008
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:
Also, Helen is playing flute again!
Best,
Catherine
Several readers asked what piece is played by Roland and Helen in this video.
Brigitte, Roland's widow, supplied the following info:
Hören, lesen & spielenThey purchased the book through Amazon.de
1 Duo - buch
Verlag de Haske
Nr.11 Die Parade von Jacob de Haan
Also, Helen is playing flute again!
Best,
Catherine
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