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

http://www.youtube.com/watch?v=bs9kcu-BXUQ&feature=fvwrel

Notice 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.