"How" you are doing...

Greetings,

Check out this great article by Frank M. Sheldon, former Director of The Virginia School for Alexander Technique and Co-Founder of the summer Sweet Briar, Virginia residential course in the Alexander Technique.

This article is a wonderful reminder that awareness in practice helps us "get out of our own way" when performing. How we work on music is truly the most important route to success. "Cramming" for your lesson is the worst possible scenario for progress!

My technique is based on inhibition, the inhibition of undesirable, unwanted responses to stimuli, and hence it is primarily a technique for the development of the control of human reaction.--F. Matthias Alexander

Alexander Technique for Musicians: Working to a Principle by Pedro de Alcantara

More information about the Alexander Technique

Practice wisely and with awareness.
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

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

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

Buzzing and Balance

Greetings,

At the Keith Underwood/Anne Waxman Flute/Alexander Technique Workshop on September 28-30, frequent topics included:

body mapping of the atlas occipital joint versus the jaw
balanced use of the zygomatic major and triangularis muscles

Remember that your atlas occipital joint (where head rests on the spine) is located between your ears--behind your tongue and soft palate. Most of us were allowing either our jaw or our upper back to carry part of the weight of our heads while playing our flutes, rather than allowing the head to actually balance on the atlas occipital joint (despite how much Alexander training we have had).

Allowing the head to balance naturally frees up the masseter (jaw) muscle so that the zygomatic major muscle can have improved function, helping the lip to lift very slightly laterally from the upper edge, across the cheek bone to the jaw bone. I notice that both my buzzing and my flute tone become more resonant (my upper lip vibrates more) when my zygomatic major muscle is activated.

Allowing the head to balance naturally also helps the jaw to be relaxed but not hang open which can cause a somewhat unfocused tone. (This happens when the head pulls forward and down, straining the upper back. I call this condition "turtleneck.")

Balanced use of the zygomatic major and triangularis muscles in the embouchure: the triangularis muscles stabilize the corners of the lower lip and the zygomatic major muscles lift the lip laterally across the cheekbone to the jaw joint. Most of of us were using either the upper or lower pair of muscles more than the other pair. As we adjusted this balance, everyone's buzzing, flute tone, and articulation improved!

I found that when my head/jaw body map was clear, my head was balanced, and I used the zygomatic major muscle in balance with the triangularis, my tongue position was naturally ideal and my embouchure felt organized and very flexible.

Hope you enjoy experimenting with these thoughts!

Feel free to post questions. I will do my best to answer them or to find out the answer for you.

Best,
Catherine

Facial Muscle Quiz

Here is a great, interactive, quiz-style facial muscle diagram.

Facial Muscles

The seemingly obvious omission for flutists is triangularis, but the diagram uses its other name, depressor anguli oris.

In case you have not visited the DataFace website yet, it also has an interactive facial diagram. When you click on a muscles you see a short movie of a man activating that muscle.

For more information on the Alexander Technique and its benefits you may visit these sites:

http://alexandertechnique.com
http://www.alexandercenter.com/
http://www.stat.org.uk/

Do your homework now, so you will be ready for my comments on embouchure, buzzing, and more, from the September 28-30 Keith Underwood/Anne Waxman Flute/Alexander Technique Workshop. Look for them soon!

Best,
Catherine

Alexander Technique with Glenna Batson

On June 30, several studio members participated in an afternoon of individual Alexander Technique lessons with Glenna Batson, PT, MA.

Glenna is an internationally recognized teacher of the Alexander Technique (qualifying in 1988), and is in residence at the Department of Dramatic Arts at the University of North Carolina, Chapel Hill. A graduate of Hahnemann Medical University in Physical Therapy, she received her doctorate in clinical neuroscience in 2006.

I am grateful we had this opportunity to receive her wise guidance, and, also, that I was invited by all concerned to observe and videotape these sessions. I look forward to future opportunities to learn from Glenna.

New Video posting: Glenna and Bruce J. allowed me to post video excerpts from Bruce's lesson, focused on improving his breathing, in the LeGrand Virtual Studio. (I apologize for the moments the camera was not on the tripod...)

http://www.catherinelegrand.com/studio.htm

I hope this info is helpful. Let me hear from you! Feel free to post your blog comments for others to read. We are a small and friendly community.

I had a lesson at my desk with Glenna, who is also an expert in treatment and prevention of Repetitive Strain Injuries, that day. I learned how to use my desk chair to provide constant feedback to keep my spine flexible during the long hours I now spend at the computer producing content for the LeGrand Virtual Studio, and, also, how to approach my computer mouse by leading with the outside of my fingers to reach the mouse without tightening my pectoralis muscles or raising my shoulder. I have lots of opportunity to practice these new ways of thinking. I am doing it right now!

Integrating lessons from the Alexander Technique into daily activities is a great way to improve your music making as you replace old habits of movement with ones that work better.

For more information on the Alexander Technique or to find a teacher in your area visit http://www.alexandertechnique.com/.

Life is a process.

Catherine

Body Mapping as Preventive Treatment

I often mention how "body mapping" and "correct use" can improve our music- making. Of course, these approaches to movement and self awareness can affect our daily activities and our well-being in general. Avoidance of injury and freedom of movement are major factors of being well and living well.

Scientific Basis of Body Mapping gives the neurological explanation for the concept of the "body map." In this article T. Richard Nichols, Ph.D., Departments of Physiology and Biomedical Engineering at Emory University, emphasizes the importance of correct body maps in the prevention of injury to musicians.

For more information about body mapping please visit http://www.bodymap.org. More articles about applications of body mapping can be found at http://www.bodymap.org/articlestoc.html.

Catherine

The Alexander Technique: Use In A Marching Band Setting

This excellent article by Lindsey Richelle Gore addresses the subject of correct use of the body providing physical relief for members of marching bands.

In my experiences as a clinician with marching bands, I have noticed other huge bonuses of correct use (or even improved use!):

• Good body mapping results in economy of motion for more precise and better unified movements-It looks sharp!
• Good body balance allows for better breathing and air efficiency, resulting in better tone and intonation
• Morale of the ensemble quickly rises due to the noticeable improvement

I encourage band directors planning their Fall programs and shows to include Alexander training and reap the benefits.

For more information about the Alexander Technique, how it might help you, or to locate a teacher in your area, please visit: http://alexandertechnique.com/

Happy summer!
Catherine

What is the Feldenkrais Method®?

"What is the Feldenkrais Method?"

http://www.youtube.com/watch?v=e_i5QuIqcQo&eurl=http%3A%2F%2Fwww.houfeldenkrais.com%2F

Good morning,

I have been talking a lot about the Alexander Technique as a way of exploring the mind-body connection. "AT," as it is commonly called, is not the only good approach to body learning and integration.

I first studied Feldenkrais in Cincinnati in the late 1970's with Fanchon Shur of Growth in Motion and have sporadically attended Feldenkrais Awareness Through Movement Classes since, most recently at the Feldenkrais Center of Houston.

Director of the Feldenkrais Center of Houston, MaryBeth Smith, MM, GCFP, has posted several short audio lessons--"Awareness Breaks."

I have found Feldenkrais helps me slow down my nervous system and pay deep, close attention to my body's wisdom.

I invite you to check it out!

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

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

"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

Alexander Studio London

The video can now be found here:
YouTube - Alexander Studio London

Many of you have been asking about what an Alexander lesson is like. Frequently, the first Alexander lesson features rising from and sitting on a chair. This is a short clip demonstrating a "chair lesson" taught by Anthony Kinsley, an Alexander Teacher at The Alexander Studio in London, England. Notice how the student's spine elongates as she raises and lowers into the chair, preserving the balance of her head on her spine.
Wow! I feel taller just watching!

Catherine