Wider is better...

Greetings,

More today on articulation...

Quantz suggests restricted vowel sound use in flute playing. For tonguing, he suggests using an “LL” syllable alternating with “d.” Because of the width of the tongue in the mouth, “LL” feels like air in cheeks, but without any embouchure instability. A wider contact area results from using a wider tongue, also improving control of articulations.

The “LL” syllable passes air around the tongue rather than straight over it. In Linguistics, this sound is called an “velarized alveolar lateral approximant” (pictured).

This “Dark “L” sound --as said in the words "tell", "dull", "bold", "bell"--is great for flute playing. The tongue is shaped like the back side of a spoon, with the back of the tongue raised and curving downward in the front. This position helps keep air moving through (around) articulations and also makes it possible to maintain a stable tongue position.

According to Keith Underwood, “When using the double ‘L’, the tongue is less rigid and hinged in middle. It feels like the next tonguing is already in place.”

Also according to Jerome Callet (of Tongue Controlled Embouchure fame), it is best to not blow through a vowel sound because it creates too much tongue movement. Buzzing off the top of the tongue prevents this problem. Try buzzing wider in your mouth. Use a wider portion of the inside of your upper lip against a wider tongue. Some air will come sideways through the teeth, pressurizing the air. This results in more ringing in the sound without distorting the embouchure.

To sum up: the wider your tongue, the less it moves, the faster you can articulate, the less your airstream (tone) is affected by your articulations, and the more stable your embouchure will be. It’s a win, win, win, WIN!

Happy Fluting,
Catherine

Double Tonguing: It All "Hinges" on This

Greetings,

In his 2.17.2012 masterclass Keith Underwood taught us about something he referred to as "the best thing since buzzing." Is this some new fangled, goofy exercise? No indeed. It is very old and straight from the source--well, from this classic source for 18th century performance practice: On Playing the Flute by Johann Joachim Quantz.

Today this standard reference book is easily available on Amazon for Kindle devices for $13.29. What a deal! It is truly amazing to be able to carry this big, fat book in my iphone!

Here are the pertinent passages from Quantz:

CHAPTER VI
Section 1
6 (excerpt)
In the di (the tongue) must remain free in the middle of the mouth, so that the wind is not kept from sustaining the tone.

Section III
Of the Use of the Tongue with the Word did’ll, or the so-called Double Tongue

1
The double tongue is used only for the very quickest passage-work. Although easy to explain orally, and simple for the ear to grasp, it is difficult to teach in writing. The word did’ll which is articulated in it should consist of two syllables. In the second, however, no vowel is present; hence it must be pronounced did’ll rather than didel or dili, suppressing the vowel which should appear in the second syllable. But the d’ll must not be articulated with the tip of the tongue like the di.

2
I have indicated in the first section of this chapter how the di must be formed. [Section 1: 6 (excerpt) above] I refer you to that section here. To articulate did’ll, first say di, and while the tip of the tongue springs forward to the palate, quickly draw the middle portion of the tongue downward a little on both sides, away from the palate, so that the wind is expelled on both sides obliquely between the teeth. This withdrawal of the tongue will then produce the stroke of the second syllable did’ll; but it can never be articulated without the preceding di. If you pronounce did’ll quickly several times in a row, you will hear how it should sound better than I can express in writing.

For many years I have encouraged a wide, forward tongue when playing, and, also, as a prerequisite for double tonguing (as in syllables: "yell yell yell yell"). The above passages indicate the importance of blowing around the tongue, through the teeth (like I have described as "tz" and "surf sounds").

In this passage:

while the tip of the tongue springs forward to the palate, quickly draw the middle portion of the tongue downward a little on both sides, away from the palate, so that the wind is expelled on both sides obliquely between the teeth.

Quantz is encouraging a "hinging' of the tongue in the middle, arcing it forward for the second syllable of the double tongue. This keeps the tongue from stiffening up in long double tongued passages, while keeping the tone focused throughout without disturbing the embouchure.

Now, go practice!
Catherine

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.

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

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

"Glissando Buzzing"

Happy New Year!

Over the holiday break, I have been backing up, editing, and rewatching my video recordings from 2008. I always see something new to focus on...

This time, when watching video from recent Keith Underwood classes, I was astounded by the improvement in participants production of tone and intervals (including my own!), after buzzing the intervals to the best of their ability, then creating a glissando by buzzing between the intervals before playing the passage again. The interval quality while playing was immediately smoother with a richer tone throughout each note.

More evidence of the embouchure flexibility and control buzzing can help create!

Try some "glissando buzzing" yourself. Please let me know how it works for you.

Best,
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

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

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

"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

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

Using the Breath Builder to Improve Vibrato

Greetings,

This exercise is based on my notes from the Keith Underwood Ghost Ranch Masterclass, Tuesday, August 14, 2007. Quotes are Keith’s words. Parentheses are my thoughts and additions.

“Blow from your mouth.”

1. Move the air in and out of the BB smoothly: 4 beats exhale, 4 beats inhale, at c. 90 to the quarter note. Exhale low to high (mouth last).

2. Repeat above exercise while moving flute up and down at side (Ribs change position, rotating on individual paths, facilitating breathing). Move 4 beats up while inhaling, 4 beats down while exhaling. (Right lung is larger, so it is most effective if BB is in left hand, flute in right.)

3. Repeat the exercise adding vibrato on the exhales, about 4 pulses per beat as per Keith (I do c. 5).

This is about not running out of air faster when using the vibrato…and about NOT having an AIR vibrato (no WA-WA WA-WA!!!)

“Let the ribs be much higher up…”

4. Repeat the exercise covering the large whole. First without, then with, vibrato.

5. Repeat the exercise covering the large whole plus a small hole. First without, then with, vibrato. (Uncover at beginning to inhale, cover as beginning to blow, changing at the exact moment of air direction change).

(Some people find it easier to cover a hole—perhaps they are used to resistance?)

Now play your flute and enjoy the differences!

Best,
Catherine

A Great Flute Embouchure (according to Keith Underwood)

Greetings,

Last summer in a Ghost Ranch class Keith mentioned that an ideal flute embouchure was a combination of the facial features of two late night hosts:

Jay Leno on the bottom (lower lip lifted above lower teeth and tongue)












and


David Letterman on the top (zygomatic major muscle activated and air sizzling through the slit in the front teeth)




I have found this to be an enormously helpful image.
Let me know if it helps you!

As my chopstick and buzzing exercises have improved, my embouchure has actually begun to take on this appearance.


Best,
Catherine

Tips for Chopstick Users

Greetings,

Re. chopstick use: I don't mean for eating in Asian restaurants!

For tips on eating with chopsticks, check here:
http://www.wikihow.com/Eat-With-Chopsticks

I am referring to practicng with a chopstick in the mouth as a means of efficiently learning good muscle movement and balance for flute embouchure.

I have posted a video, "Tips for Chopstick Users" in the VIDEO, Category C section, of the LeGrand Virtual Studio.

Please post your questions or comments.

Hope this helps!

Catherine

Jerome Callet Master Superchops DVD

Greetings,

I have just finished watching (for the second time) the new 2-DVD set by Jerome Callet, advocate of the tongue-controlled embouchure and author of " Trumpet Secrets, Volume One."


The DVDs include

• 3 lessons with Jerome
• 6 testimonials, demonstrations, and round table discussion by professionals on trumpet, trombone, French horn and flute (Keith Underwood)
• printouts of images, exercises, and more

It is very interesting to see and hear how each professional has used the information learned from Jerome. Today, I kept hearing reminders about the importance of the lower lip in forming the embouchure-- what I am focusing on right now.

I will continue to share my insights on this resource in coming weeks.

For more information, or to purchase your own copy, visit Jerome's website.

Best,
Catherine

Aralee Dorough, Principal Flutist of the Houston Symphony Speaks on Chopsticks, Buzzing and Finding Your Sound

Greetings,

I just posted a video interview with Aralee Dorough, Principal Flutist of the Houston Symphony, on September 22, 2007 in my public blog.

Aralee talks about:

• benefits of practicing and teaching "buzzing" and "chopstick" (from Keith Underwood)
• embouchure lessons she learned from Robert Willoughby --and from her horse!
• finding and sculpting your tone

Many thanks to Aralee for sharing her experiences and her wisdom. You may visit her at her website, www.araleedorough.com.

All the best,
Catherine

Keith Underwood Ghost Ranch Interview Video List

Dear subscribers,

Here is the list of all nine of the Keith Underwood Ghost Ranch interview videos and their links on my public blog and the directions for finding my version of the “Chopsticks Exercise”.

I hope you find the list useful.
Catherine


What are the benefits of buzzing?

http://catherinelegrand.blogspot.com/2007/08/video-interview-with-keith-underwood.html


When will we hear improvement from buzzing?

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-2.html


What if our lips get numb?

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-3.html


Please provide a Buzzing 101: Syllabus…

http://catherinelegrand.blogspot.com/2007/08/interview-with-keith-underwood-part-4.html


More Buzzing Exercises, Lip Vibrato, and Tuning

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-5.html


Timing and Sequence of Events for a Breath

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-6.html


Tongue-controlled embouchure and Support

http://catherinelegrand.blogspot.com/2007/09/interview-with-keith-underwood-part-7.html


On Creating an Open and Supportive Atmosphere

http://catherinelegrand.blogspot.com/2007/10/interview-with-keith-underwood-part-8.html

On Ideal Vibrato Speed

http://catherinelegrand.blogspot.com/2007/10/interview-with-keith-underwood-part-9.html


LEGRAND VERSION OF CHOPSTICK EXERCISE:

Scroll down to see video on Chopsticks on lower right at:

http://www.catherinelegrand.com/

Or:

http://catherinelegrand.blogspot.com/2007/09/chopstick-exercise-practice-bytes.html

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