Rondo Sandwich, anyone?

Greetings,

Just thought I'd pass on an analogy that popped out of my mouth recently while coaching an ensemble:

Rondo form = Club Sandwich

Just think of the A material as the bread slices and all the other layers that alternate with the bread as B, C, D, etc. There are even "modulations" to layers of different colored ingredients!

Hope you find this analogy useful, or at least amusing.

Best,
Catherine

How is flute playing like dry cleaning?

Greetings,

Insights and inspirations can be found in the most unlikely places...

I have a friend whose parents own a dry cleaning business in TX. One of their facilities burned to the ground in February. Fortunately, no one was injured and insurance covered the bulk of the expenses to rebuild.

I received notice recently that they are celebrating the reopening of the facility. As I thought about my friends and the happy end to their ordeal, the image flashed into my mind of a pants press machine used to steam trousers. I could see the lid closing and the steam escaping.

Eureka! The perfect image to explain the relationship of the tongue and upper lip in a flute embouchure:

Think of the surface area of the tongue as the flat bottom of the pants press and the inside of the upper lip as the lid. The "lid" (upper lip) closes on the bed (tongue) creating pressure (steam) and crisp clear articulations and control of tone are the results.

My students and I have enjoyed the wonderful results of this powerful image this week. Please give this a try and let me know how it works for you!

All the best,
Catherine

Rabbit with side breath combo, please...

Greetings,

Out of shape from the holiday break?
Does you embouchure feel stiff?
Low notes stuffy?
High notes feel unstable?

Order yourself a standard from the embouchure menu:

Rabbit Face with Side Breath combo

It can help to quickly restore stability and flexibility to your embouchure.
While inhaling, simultaneously do a rabbit face (see video posted in LeGrand Virtual Studio) and a side breath.

For a great example of "side breathing" please watch the close-ups of Julius Baker beginning at 5:04 in the following video of this 1979 New York Philharmonic performance of the finale of Shostakovich 5 with Leonard Bernstein conducting:
http://www.youtube.com/watch?v=ogJFXqYEYd8

The "rabbit with side breath combo". A great menu choice for post holiday flute playing.

Best,
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

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

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

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

"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

"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

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