Greetings,
It's almost time for Curtains up on the New Year!
Try thinking of your upper lip as a theatre curtain raising --straight across, not curved to follow your teeth. Your upper lip will feel really wide, but the effect is to expose more of the underneath of your upper lip increasing resonance and flexibility. When your lip descends to play, feel how wide your tongue and lips are and be aware of he surface area of your tongue.
Take a deep breath as the curtain goes up, then play as the curtain descends:-) On with the show!
Best,
Catherine
Wednesday, December 14, 2011
Saturday, November 19, 2011
Above the Equator
Greetings,
This Fall I have been thinking a lot about what happens in our embouchures "above the equator." Just thinking about your tongue as the mid-line in your mouth causes the zygomatic major muscle to activate, freeing up the corners of the lips. It also brings the focus of attention to the front of the mouth, where the lips, tongue and upper teeth meet. A greet formula for terrific tonguing and increased resonance!
Best,
Catherine
Friday, November 18, 2011
My notes on Keith Underwood Masterclass 10.21.11
Keith was blown away when listening to Rampal recordings in his youth. Each note was so clear. (Rampal, Baker, Hubert Laws. Watching YouTubes, can always see their tongues). When trying to duplicate this, Keith realized that there was not always enough time to put tongue between lips.
TONGUE POSITION AND USE
• Use TOP of TIP of tongue
• Tongue feels parallel to upper lip.
• Tongue is in curved over position.
• Tongue is NOT pointy
• Top of tongue touches back of upper lip
• Tongue off back of upper lip.
“Pop” exercise
• Make a “pop” sound--hollow sound.
• Feel the “pinch” between the top of your tongue and the back of your upper lip.
• Try doing it without any air., then back to tonguing on your flute.
• Listen to Rampal Telemann Fantasies—lots of ping in tonguing.
DOUBLE TONGUING
• In double tonguing, when the tongue is too straight it moves back and forth and gets in the airstream, creating airy tone.
• Concentrate on release of the note rather than the impact. [YES!]
• Create resonance in mouth --“Rampal is kind of like a flute beat boxer.”
• Find the balance point from the hollow sound
• Practice scales: make pop sound first--don’t play. Single tongue up then double tongue down. Then play the same pattern on your flute.
Some of Keith’s favorite recordings
• Rampal Telemann Fantasies--all
• Rampals’ Greatest Hits Gossec Gavotte.
(We practiced opening phrases of this piece.)
“Separate you from your air.”
Back to double tonguing:
When in that “pop” position, make a “ku” sound.
(We practiced Carnival of Animals with just pop sounds. then added double tonguing. then sound)
Practice F scale single tonguing off back of upper lip.
• Not too much air. First on T’s, then Ku’s. Like saying “cue” or “cute.”
• Tongue is in a rolled over position.
• Go back and forth using first pop sound, then playing.
Q: Why does double tonguing ruin the sound?
A: Tongue is changing position, changing direction of air.
Sal Amato--Keith’s teacher—had resonant double tonguing like in Piston mvt 3.
Creating stability in sound--tongue rocks while in a forward position.
• Try emphasizing the Ku.
• Try to not feel angles changing as go up an down double-tongued scales
•
Halloween Double Tonguing (Keith’s October treat!)
Feels like it goes up in your head. Makes a spooky sound. [Think how this involves the cranial muscles. I think of this as ‘above the equator.’]
HANDS
• Pay attention to how your hands feel when your fingers are up.
• Left hand--Play an A. Then move G finger back and forth.
• Right hand. Put at your side, then lift hand and look at the natural shape of your fingers.
Mozart D Major Concerto 1st movement
• 2nd theme—needs Ping in sound.
• Don’t allow tongue to move move back and blow harder [this is because the space is bigger so to keep pitch same has to blow harder--this causes the lips to open which causes more airy tone—vicious cycle]
• I want to hear the top of the tongue touching the back of the upper lip.
• Try reaching out the tongue when breathing. This opens the throat. [YES! Stick that tongue out when inhaling to get the feeling!]
• Hubert Laws playing amazing grace VIDEO-watch his tongue come out when he breathes.
The performer applied this to Mozart to good result.
Also demonstrated her newly acquired buzzing skills.
• When buzzing, blow most of air out. so can’t help with air.
• Buzzed D scale, then buzzed D scale with Vibrato. Scale sound lots better.
• Now Bach C Major mvt 2.
• Buzz double tonguing--don’t worry about the pitches.
• When you want to get louder squeeze the air [between back of upper lip and top of tongue. Also for accented notes. [Great for controlling phrase shape.]
Taffanel-Gaubert #1
(Baker used to practice this with breath attacks.)
• Had student do 4 note tone study with measured vibrato on each notes, plus repeat in 1 breath [a usual exercise I teach. Example: b, b-flat, a , a-flat, b, b-flat, a , a-flat]
• Now student tries “womping on T-G #1. quarter note=86.
• Womping style. Then matches sound while double tonguing, first slow, then fast.
• Keith says to cover more of embouchure hole with lower lip
Now back to VIBRATO
• No “Beavis and Butthead” vibrato.
• Keith’s sounds more “Wow, Wow”. Underneath side of the vibrato is flatter.
• Use Amazing Slow Downer on ipad or iphone [I DO THAT often].
• Example: Baker playing movement 1 of Bach E Major Sonata
• Listen to pitch variation.
Vibrato Exercise:
• 3 times slow then to a regular vibrato.
• [I think this has to do also with the tongue position, in addition to the coverage of the embouchure hole.]
• Touch base with both the high and low sounds in the vibrato.
Baker, lots of pitch change, but no volume change. Sounds violinistic.
Slow downs:
• Nyfenger recorded Baker on reel to reel and slowed it down. Then Keith slowed down, too. Compared.
• Amazing Slow Downer now also available on ipad or iphone. Some free apps do this, too: Slow Down Music and Tempo Slow.
• Baker took 78’s of Heifetz recordings and slowed down to count number of pulses of vibrato.
Enesco-part 2, the double tongued section.
• “Womping” exercise on every other note. Then on to the descending 16th notes. [I hear this as a way of teaching stable tongue position, together with covering the embouchure hole the correct amount. I have been teaching rabbit faces on descending patterns for years.]
• On descending slurred arpeggi, choose not to womp, so keep tone in the richer zone.
• Passage starting on high A-flat. Use tukeeyukeeyukee. Keith calls this “Yucky tonguing.”
Double tounguing patterns
(Taffanel-Gaubert #4)
1. slur 3, tongue 1: double tongued t--k, then back to dt
2. tongue 1, slur 3; double tongue tk--, then back to dt
3. .tu kee-yu-ka
4.tykeeyukee, then back to all double tongued.
Try Carnival of the Animals with all these patterns
[Also try on Bach C Major 2nd mvt]
Ta--aa-ka
on each note of T-G #4
If Kuu syllable is really forward then no need to start single pickups with T.
Definition in Slurs
• Womping T-G #1 again
• Then back to the descending chromatic passage in the music
• [Now rhythm is clearer--structural notes have deeper resonance]
• Again, in descending slurred patterns, try womping certain notes to create more resonance and better rhythm. Keith wants to hear more than just fingers.
• Try with NO tonguing.
William Tell Overture
• Slow down vibrato.
• Underside of the pitch is important in the vibrato.
• Try going to higher and lower side.
• (When playing treacherous high notes, look for the lower side of the vibrato. You can make much more diminuendo. Examples: end of Enesco slow movement or opening of Leonore #3 Overture.)
• Halloween tonguing in the 16th notes.
• Very bouncy (like a ping pong ball), but structurally beautiful.
• Use less air! Take fewer breaths!
• If you know your throat is grabbing, but you can’t get rid of it, then
• use the right part of tongue on back of upper lip, and the rest of your tongue goes into a really good position.
Keith’s favorite current flutist is Bart Kuijken.
Listen to his Bach G minor Sonata
VIBRATO EXERCISES
• 6 pulses at quarter note=56
• 5pulses at 68
• 4 at 92
• 3 at 124
• Change number pulses. Make it a game! Call out numbers.
• Speed of vibrato is the same, but the note length changes.
• Keep vibrato going in all dynamics.
Cornelius Reid vocal teacher until age 96...until the day before he died.
His Schirmer Book: Bel Canto Principles and Practices says:
When body is poised the right way, the vibrato will be the right speed.
[I am currently reading this book and others by Cornelius Reid. Look for posts about these writings in coming months.]
END OF CLASS.
TONGUE POSITION AND USE
• Use TOP of TIP of tongue
• Tongue feels parallel to upper lip.
• Tongue is in curved over position.
• Tongue is NOT pointy
• Top of tongue touches back of upper lip
• Tongue off back of upper lip.
“Pop” exercise
• Make a “pop” sound--hollow sound.
• Feel the “pinch” between the top of your tongue and the back of your upper lip.
• Try doing it without any air., then back to tonguing on your flute.
• Listen to Rampal Telemann Fantasies—lots of ping in tonguing.
DOUBLE TONGUING
• In double tonguing, when the tongue is too straight it moves back and forth and gets in the airstream, creating airy tone.
• Concentrate on release of the note rather than the impact. [YES!]
• Create resonance in mouth --“Rampal is kind of like a flute beat boxer.”
• Find the balance point from the hollow sound
• Practice scales: make pop sound first--don’t play. Single tongue up then double tongue down. Then play the same pattern on your flute.
Some of Keith’s favorite recordings
• Rampal Telemann Fantasies--all
• Rampals’ Greatest Hits Gossec Gavotte.
(We practiced opening phrases of this piece.)
“Separate you from your air.”
Back to double tonguing:
When in that “pop” position, make a “ku” sound.
(We practiced Carnival of Animals with just pop sounds. then added double tonguing. then sound)
Practice F scale single tonguing off back of upper lip.
• Not too much air. First on T’s, then Ku’s. Like saying “cue” or “cute.”
• Tongue is in a rolled over position.
• Go back and forth using first pop sound, then playing.
Q: Why does double tonguing ruin the sound?
A: Tongue is changing position, changing direction of air.
Sal Amato--Keith’s teacher—had resonant double tonguing like in Piston mvt 3.
Creating stability in sound--tongue rocks while in a forward position.
• Try emphasizing the Ku.
• Try to not feel angles changing as go up an down double-tongued scales
•
Halloween Double Tonguing (Keith’s October treat!)
Feels like it goes up in your head. Makes a spooky sound. [Think how this involves the cranial muscles. I think of this as ‘above the equator.’]
HANDS
• Pay attention to how your hands feel when your fingers are up.
• Left hand--Play an A. Then move G finger back and forth.
• Right hand. Put at your side, then lift hand and look at the natural shape of your fingers.
Mozart D Major Concerto 1st movement
• 2nd theme—needs Ping in sound.
• Don’t allow tongue to move move back and blow harder [this is because the space is bigger so to keep pitch same has to blow harder--this causes the lips to open which causes more airy tone—vicious cycle]
• I want to hear the top of the tongue touching the back of the upper lip.
• Try reaching out the tongue when breathing. This opens the throat. [YES! Stick that tongue out when inhaling to get the feeling!]
• Hubert Laws playing amazing grace VIDEO-watch his tongue come out when he breathes.
The performer applied this to Mozart to good result.
Also demonstrated her newly acquired buzzing skills.
• When buzzing, blow most of air out. so can’t help with air.
• Buzzed D scale, then buzzed D scale with Vibrato. Scale sound lots better.
• Now Bach C Major mvt 2.
• Buzz double tonguing--don’t worry about the pitches.
• When you want to get louder squeeze the air [between back of upper lip and top of tongue. Also for accented notes. [Great for controlling phrase shape.]
Taffanel-Gaubert #1
(Baker used to practice this with breath attacks.)
• Had student do 4 note tone study with measured vibrato on each notes, plus repeat in 1 breath [a usual exercise I teach. Example: b, b-flat, a , a-flat, b, b-flat, a , a-flat]
• Now student tries “womping on T-G #1. quarter note=86.
• Womping style. Then matches sound while double tonguing, first slow, then fast.
• Keith says to cover more of embouchure hole with lower lip
Now back to VIBRATO
• No “Beavis and Butthead” vibrato.
• Keith’s sounds more “Wow, Wow”. Underneath side of the vibrato is flatter.
• Use Amazing Slow Downer on ipad or iphone [I DO THAT often].
• Example: Baker playing movement 1 of Bach E Major Sonata
• Listen to pitch variation.
Vibrato Exercise:
• 3 times slow then to a regular vibrato.
• [I think this has to do also with the tongue position, in addition to the coverage of the embouchure hole.]
• Touch base with both the high and low sounds in the vibrato.
Baker, lots of pitch change, but no volume change. Sounds violinistic.
Slow downs:
• Nyfenger recorded Baker on reel to reel and slowed it down. Then Keith slowed down, too. Compared.
• Amazing Slow Downer now also available on ipad or iphone. Some free apps do this, too: Slow Down Music and Tempo Slow.
• Baker took 78’s of Heifetz recordings and slowed down to count number of pulses of vibrato.
Enesco-part 2, the double tongued section.
• “Womping” exercise on every other note. Then on to the descending 16th notes. [I hear this as a way of teaching stable tongue position, together with covering the embouchure hole the correct amount. I have been teaching rabbit faces on descending patterns for years.]
• On descending slurred arpeggi, choose not to womp, so keep tone in the richer zone.
• Passage starting on high A-flat. Use tukeeyukeeyukee. Keith calls this “Yucky tonguing.”
Double tounguing patterns
(Taffanel-Gaubert #4)
1. slur 3, tongue 1: double tongued t--k, then back to dt
2. tongue 1, slur 3; double tongue tk--, then back to dt
3. .tu kee-yu-ka
4.tykeeyukee, then back to all double tongued.
Try Carnival of the Animals with all these patterns
[Also try on Bach C Major 2nd mvt]
Ta--aa-ka
on each note of T-G #4
If Kuu syllable is really forward then no need to start single pickups with T.
Definition in Slurs
• Womping T-G #1 again
• Then back to the descending chromatic passage in the music
• [Now rhythm is clearer--structural notes have deeper resonance]
• Again, in descending slurred patterns, try womping certain notes to create more resonance and better rhythm. Keith wants to hear more than just fingers.
• Try with NO tonguing.
William Tell Overture
• Slow down vibrato.
• Underside of the pitch is important in the vibrato.
• Try going to higher and lower side.
• (When playing treacherous high notes, look for the lower side of the vibrato. You can make much more diminuendo. Examples: end of Enesco slow movement or opening of Leonore #3 Overture.)
• Halloween tonguing in the 16th notes.
• Very bouncy (like a ping pong ball), but structurally beautiful.
• Use less air! Take fewer breaths!
• If you know your throat is grabbing, but you can’t get rid of it, then
• use the right part of tongue on back of upper lip, and the rest of your tongue goes into a really good position.
Keith’s favorite current flutist is Bart Kuijken.
Listen to his Bach G minor Sonata
VIBRATO EXERCISES
• 6 pulses at quarter note=56
• 5pulses at 68
• 4 at 92
• 3 at 124
• Change number pulses. Make it a game! Call out numbers.
• Speed of vibrato is the same, but the note length changes.
• Keep vibrato going in all dynamics.
Cornelius Reid vocal teacher until age 96...until the day before he died.
His Schirmer Book: Bel Canto Principles and Practices says:
When body is poised the right way, the vibrato will be the right speed.
[I am currently reading this book and others by Cornelius Reid. Look for posts about these writings in coming months.]
END OF CLASS.
Lower lip flexibility: "Airplanes" exercise
Greetings,
Reposting of an older video by request.
Catherine
Reposting of an older video by request.
Catherine
Saturday, October 29, 2011
Facial Muscles Interactive Website Link
I am reposting this link, so you won't have to dig through the archives for it. Click on the muscle to watch a video of its function.
Assignment: Are you using muscles you don't need when you play or sing? Learn to use only the muscles you need. Be efficient...
Catherine
Saturday, October 22, 2011
My notes from Keith Underwood masterclass 9.9.2011
My notes from Keith Underwood masterclass 9.9.2011
“What I did on my summer vacation”
Quotes from Keith: “quote from Keith”
My comments: [my comments]
GENERAL COMMENTS:
• Lower lip can have a stabilizing function
• Lower lip can have an upward “fuuuhhhh”--eeling” (feeling with a lip sensation of “fuuuhhhh”) [This is similar to what I call “surf noises.”]
• Feel the vibrato more on your lower lip.
• Try to not shove neck forward. [I call that, “turtleneck”]
• Try to not lose compression of upper lip while using lower lip to stabilize embouchure.
BRAHMS 4 SOLO
• Keith says to roll headjoint in a little, so you can roll out with hands [Where have you heard THIS before?]
• When going to high notes, roll flute out more with hands.
• When keys roll back, the right little finger collapses, causing technical issues.
• When keys roll in, you play on tips of fingers--so roll out so play on PADS of fingers.
• Be sure to roll the flute just with hands, so not changing torso position.
• It changes the embouchure when the flute rolls out, adding cushion to the sound!
When doing this well --headjoint in, flute out --helps high notes.
Keith says: “Show me the keys”--don’t bend over the flute.
Also with note releases--head in same position, flexible with wrists and fingers.
B-flat fingerings
• Keith reminded us of the Importance of teaching all 3 b-flat fingerings.
• LEVER!!! Use the Lever! (in Griffes poem--numerous spots--and in Brahms 4 solo near end)
Cat Back
• Don’t shove neck into the flute--cuts off sound in throat and tightens back. Step backwards as playing high note. Now mentally step backwards while playing the high note in each phrase. Keith calls this “Cat Back.” Climb up behind the flute...
• (Try this on Dvorak 8 solo, too.)
• Cat Back takes pressure off the high notes and makes them ring more.
• Feel vibrato more in embouchure so you don’t blow lips apart.
CLASS EXERCISE: CAT BACK
• G scale: 1 octave at a time, ascending stepwise.
• Thumbs more on the back of the flute, not sticking out in front
• Right elbow not dropped.
• Float right wrist and elbow then “head down slightly--neck back.”
• Much fuller, “ringier” tone as climb open up neck and back--CAT BACK
• “Show me your keys!” [Sound familiar?]
• Climbing like cat back while breathing in--more air in faster!
VIBRATO
• Use slow downer on iphone for vibrato analysis. Check for numbers of vibrato pulses. Keith suggests listening to: Baker Daphnis; Galway Salome’s Dance Till (and Rossini overtures) Berlin with Von Karajan conducting.
• Julius Baker slowed down Heifitz recordings to learn how to play vibrato!
• Bakers headjoint was turned way in. He said he then turned out more with his hands.
• Get lower lip up into teeth to create that kind of vibrato.
TONGUING
• If tongue somewhat with left side of tongue--makes tonguing more clean.
• He feels like he blowing from the right, opens up right side of body. [Lots more on this topic in previous Keith class notes].
ON THUMBS
• If too much pressure on thumb, wrist could be up higher helps with low note stability
• “People miss low notes because there is too much pressure with right thumb” [HUGE comment]
• Keith is not a fan of bent left thumb. This is a bent thumb.
Tom Nyfenger made Keith unbend his thumb. This is a straight thumb.
• Keith places the top of the left thumb higher than the thumb key.
• Rampal used B-flat thumb key on Prokofiev slow movement. [This requires LOTS of switching thumb keys and no dependence on left thumb for balancing the flute] Helps the left hand not push up into the lip.
ON FINGER BREATHS
• The FInger Breath causes the tongue to be more forward.
• Allows for quicker, unstressed breaths. Good For Midsummer Night’s Dream Scherzo and fast solo in Leonore #3 Overture.
• Wavy-sounding inhale Finger Breaths: wave tongue and bring forward in mouth while inhaling during a Finger Breath This helps keep the tongue arch and be stable.[These are GREAT for creating a richer tone and teaching the tongue to be more forward while playing] Try this on TG 13 [Helps keep tone resonant throughout entire range.]Also on tonguing at end of Martin Ballade cadenza.
• FInger Breath while inhaling the tonguing during a FInger Breath, then play the phrase with that air.
• RAISE OTHER HAND while doing finger breath. Finger Breath while making hollow sound[I like to raise my right arm and hold flute in left--try it!]
• (Wonderful Alexander Technique teacher Anne Waxman calls “Cat Back”
“curling.”)Try “curling” slowly during a Finger Breath. The pitch stays low which is better for flute playing.
Open up BEHIND the sound...
Keith reminded us of the Pavorotti teaching video talking about covered sound.
http://www.youtube.com/watch?v=uo6dDQiBGyI
Bach B minor
• Movement 1 is fantastic for practicing Cat Back on ascending intervals.
• Use of monkey position to leap around like a frog while playing --WOW! what a difference. [deepens flexation at hip joints and ankles, freeing up spine and breathing.]
END
“What I did on my summer vacation”
Quotes from Keith: “quote from Keith”
My comments: [my comments]
GENERAL COMMENTS:
• Lower lip can have a stabilizing function
• Lower lip can have an upward “fuuuhhhh”--eeling” (feeling with a lip sensation of “fuuuhhhh”) [This is similar to what I call “surf noises.”]
• Feel the vibrato more on your lower lip.
• Try to not shove neck forward. [I call that, “turtleneck”]
• Try to not lose compression of upper lip while using lower lip to stabilize embouchure.
BRAHMS 4 SOLO
• Keith says to roll headjoint in a little, so you can roll out with hands [Where have you heard THIS before?]
• When going to high notes, roll flute out more with hands.
• When keys roll back, the right little finger collapses, causing technical issues.
• When keys roll in, you play on tips of fingers--so roll out so play on PADS of fingers.
• Be sure to roll the flute just with hands, so not changing torso position.
• It changes the embouchure when the flute rolls out, adding cushion to the sound!
When doing this well --headjoint in, flute out --helps high notes.
Keith says: “Show me the keys”--don’t bend over the flute.
Also with note releases--head in same position, flexible with wrists and fingers.
B-flat fingerings
• Keith reminded us of the Importance of teaching all 3 b-flat fingerings.
• LEVER!!! Use the Lever! (in Griffes poem--numerous spots--and in Brahms 4 solo near end)
• Don’t shove neck into the flute--cuts off sound in throat and tightens back. Step backwards as playing high note. Now mentally step backwards while playing the high note in each phrase. Keith calls this “Cat Back.” Climb up behind the flute...
• (Try this on Dvorak 8 solo, too.)
• Cat Back takes pressure off the high notes and makes them ring more.
• Feel vibrato more in embouchure so you don’t blow lips apart.
CLASS EXERCISE: CAT BACK
• G scale: 1 octave at a time, ascending stepwise.
• Thumbs more on the back of the flute, not sticking out in front
• Right elbow not dropped.
• Float right wrist and elbow then “head down slightly--neck back.”
• Much fuller, “ringier” tone as climb open up neck and back--CAT BACK
• “Show me your keys!” [Sound familiar?]
• Climbing like cat back while breathing in--more air in faster!
VIBRATO
• Use slow downer on iphone for vibrato analysis. Check for numbers of vibrato pulses. Keith suggests listening to: Baker Daphnis; Galway Salome’s Dance Till (and Rossini overtures) Berlin with Von Karajan conducting.
• Julius Baker slowed down Heifitz recordings to learn how to play vibrato!
• Bakers headjoint was turned way in. He said he then turned out more with his hands.
• Get lower lip up into teeth to create that kind of vibrato.
TONGUING
• If tongue somewhat with left side of tongue--makes tonguing more clean.
• He feels like he blowing from the right, opens up right side of body. [Lots more on this topic in previous Keith class notes].
ON THUMBS
• If too much pressure on thumb, wrist could be up higher helps with low note stability
• “People miss low notes because there is too much pressure with right thumb” [HUGE comment]
• Keith is not a fan of bent left thumb. This is a bent thumb.
Tom Nyfenger made Keith unbend his thumb. This is a straight thumb.
• Keith places the top of the left thumb higher than the thumb key.
• Rampal used B-flat thumb key on Prokofiev slow movement. [This requires LOTS of switching thumb keys and no dependence on left thumb for balancing the flute] Helps the left hand not push up into the lip.
ON FINGER BREATHS
• The FInger Breath causes the tongue to be more forward.
• Allows for quicker, unstressed breaths. Good For Midsummer Night’s Dream Scherzo and fast solo in Leonore #3 Overture.
• Wavy-sounding inhale Finger Breaths: wave tongue and bring forward in mouth while inhaling during a Finger Breath This helps keep the tongue arch and be stable.[These are GREAT for creating a richer tone and teaching the tongue to be more forward while playing] Try this on TG 13 [Helps keep tone resonant throughout entire range.]Also on tonguing at end of Martin Ballade cadenza.
• FInger Breath while inhaling the tonguing during a FInger Breath, then play the phrase with that air.
• RAISE OTHER HAND while doing finger breath. Finger Breath while making hollow sound[I like to raise my right arm and hold flute in left--try it!]
• (Wonderful Alexander Technique teacher Anne Waxman calls “Cat Back”
“curling.”)Try “curling” slowly during a Finger Breath. The pitch stays low which is better for flute playing.
Open up BEHIND the sound...
Keith reminded us of the Pavorotti teaching video talking about covered sound.
http://www.youtube.com/watch?v=uo6dDQiBGyI
Bach B minor
• Movement 1 is fantastic for practicing Cat Back on ascending intervals.
• Use of monkey position to leap around like a frog while playing --WOW! what a difference. [deepens flexation at hip joints and ankles, freeing up spine and breathing.]
END
Friday, September 30, 2011
Notes from Keith Underwood’s Ghost Ranch Masterclass on 8.24.11
Greetings,
Here are my notes from Keith Underwood’s Flute Masterclass at Ghost Ranch on 8.24.11.
Most notes are my paraphrased understanding.
[ ...CL] are my additional comments
“...” is a literal Keith quote
1. A modified Rockstro hand position (see.....)allows for changing the balance of the flute between hands. Keith advocates shifting the weight of the flute between hands as needed to facilitate technique as he was taught by Tom Nyfenger. Use the fingers that are down to balance the flute.
2. DOUBLE TONGUING
Play the varied articulations in Taffanel-Gaubert scales (#4 from Daily Exercises) with double tonguing syllables. Examples (T=Tongue, S=Slur)
Ta-------key for TSST
Ta-key----- for TSSS
Ta-key-ya-key for one for TTST.
You end up with better double tonguing than if you practiced double tonguing itself all day.
3. PRACTICING T-G SCALE #4, CONT.
Cover a bit of the left side of embouchure hole by turning head toward the right hand for high notes. Turn head to the right while moving arm forward. Float right wrist forward.
It will sound like you are blowing down into the flute. Aim for top note
by turning head to right toward as right hands goes forward.
[I used this method with great success in Spring 2011 performances of Bartok Suite Paysanne Hongroise. My flute was very stable during difficult passages. They were suddenly easier! CL]
D Major scale in trills.
Connect each trill with nachschlag as you ascend.
Keith thinks this is “fertile ground for improvement of technique”
Keep flute more stable by using the finger next-closest to your face (not moving) to support the motion of the trill. This keeps us from tensing up the left shoulder. Relax shoulders and upper arms and feel like you are holding your flute with your fingers. [Remember to bodymap your arms as resting on your ribs.CL]
5. These methods keeps upper body more available for breathing. “I think one reason people talk about “low breathing” is because people hold their instruments so tightly.” They are tight across the chest, forcing their abdomen out.,
6. Watch Rampal play the 1st movement of Mozart D Major Concerto, K. 314
7. 3rd movement of the Mozart D Major Concerto, K. 314. is great for practicing the flute balancing techniques above.
END
Time to practice!
Best,
Catherine
Here are my notes from Keith Underwood’s Flute Masterclass at Ghost Ranch on 8.24.11.
Most notes are my paraphrased understanding.
[ ...CL] are my additional comments
“...” is a literal Keith quote
1. A modified Rockstro hand position (see.....)allows for changing the balance of the flute between hands. Keith advocates shifting the weight of the flute between hands as needed to facilitate technique as he was taught by Tom Nyfenger. Use the fingers that are down to balance the flute.
2. DOUBLE TONGUING
Play the varied articulations in Taffanel-Gaubert scales (#4 from Daily Exercises) with double tonguing syllables. Examples (T=Tongue, S=Slur)
Ta-------key for TSST
Ta-key----- for TSSS
Ta-key-ya-key for one for TTST.
You end up with better double tonguing than if you practiced double tonguing itself all day.
3. PRACTICING T-G SCALE #4, CONT.
Cover a bit of the left side of embouchure hole by turning head toward the right hand for high notes. Turn head to the right while moving arm forward. Float right wrist forward.
It will sound like you are blowing down into the flute. Aim for top note
by turning head to right toward as right hands goes forward.
[I used this method with great success in Spring 2011 performances of Bartok Suite Paysanne Hongroise. My flute was very stable during difficult passages. They were suddenly easier! CL]
D Major scale in trills.
Connect each trill with nachschlag as you ascend.
Keith thinks this is “fertile ground for improvement of technique”
Keep flute more stable by using the finger next-closest to your face (not moving) to support the motion of the trill. This keeps us from tensing up the left shoulder. Relax shoulders and upper arms and feel like you are holding your flute with your fingers. [Remember to bodymap your arms as resting on your ribs.CL]
5. These methods keeps upper body more available for breathing. “I think one reason people talk about “low breathing” is because people hold their instruments so tightly.” They are tight across the chest, forcing their abdomen out.,
6. Watch Rampal play the 1st movement of Mozart D Major Concerto, K. 314
http://www.youtube.com/watch?v=bs9kcu-BXUQ&feature=fvwrelNotice how he brings flute up to play for first entrance. Holding mostly in right hand, relaxed across the chest.
7. 3rd movement of the Mozart D Major Concerto, K. 314. is great for practicing the flute balancing techniques above.
END
Time to practice!
Best,
Catherine
Modified Rockstro Position
This is my version of a Modified Rockstro hand position for flute.
1. The left index finger supports the flute in a slightly backward hook shape without flexing the left wrist.
2. The right thumb is slightly toward the back of the flute, somewhere between the index finger and the middle finger. The right wrist is not flexed backward.
3. The right pinky does not press down hard and can be easily lifted without losing the balance of the flute.
If the keys are slightly turned forward (rods at 1 o'clock or 2 o'clock) the flute can balance with stability, improving finger dexterity and musical performance, without using energy to prevent the flute from rolling backwards. In order for the head, neck and jaw to be comfortable and for the embouchure to function properly while the keys are somewhat forward, the headjoint will need to be turned in some. I often suggest aligning the inside edge of the embouchure hole between the rods, though this varies some depending on the physical height and finger lengths of the individual flutist.
For more info on aligning the flute for optimal balance, please read my Monday, April 9, 2007 post at http://www.catherinelegrand.com/cmblog.htm. It includes reference to an excellent article by Jennifer Cluff on hand positions at her blog.
1. The left index finger supports the flute in a slightly backward hook shape without flexing the left wrist.
2. The right thumb is slightly toward the back of the flute, somewhere between the index finger and the middle finger. The right wrist is not flexed backward.
3. The right pinky does not press down hard and can be easily lifted without losing the balance of the flute.
If the keys are slightly turned forward (rods at 1 o'clock or 2 o'clock) the flute can balance with stability, improving finger dexterity and musical performance, without using energy to prevent the flute from rolling backwards. In order for the head, neck and jaw to be comfortable and for the embouchure to function properly while the keys are somewhat forward, the headjoint will need to be turned in some. I often suggest aligning the inside edge of the embouchure hole between the rods, though this varies some depending on the physical height and finger lengths of the individual flutist.
For more info on aligning the flute for optimal balance, please read my Monday, April 9, 2007 post at http://www.catherinelegrand.com/cmblog.htm. It includes reference to an excellent article by Jennifer Cluff on hand positions at her blog.
Saturday, June 11, 2011
LeGrand Virtual Studio Studio Video Viewer
Hi all,
I have embedded a viewer here for videos in the LeGrand Virtual Studio Library. Please let me know how you like it!
Thanks,
Catherine
I have embedded a viewer here for videos in the LeGrand Virtual Studio Library. Please let me know how you like it!
Thanks,
Catherine
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