LeGrand Teaching Videos in Flash Play

Greetings,

An update: many subscribers to the LeGrand Virtual Studio have asked for the ability to watch the videos on the site in Flash Play, without having to download them first. I avoid using public forums such as YouTube for my work or any service that has advertising to pay for publication, so this has been difficult to accomplish.

Well, I am happy to announce that a Flash Play channel is coming soon! I'll post more details in a few days.

As always, please let me know what I can do to make your user experience more fulfilling. Thank you for subscribing!

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

"Whistle" Tones and William Kincaid

Greetings,

I studied in Philadelphia for several years with Kincaid "descendant" Loren Lind of the Philadelphia Orchestra.

“Notes on Flute Performance” by William Kincaid (a mimeographed relic from my days in Philadelphia) is posted in pdf form in the ARTICLES AND DOCUMENTS SECTION of the LeGrand Virtual Studio.

This document contains much insightful information -- in Kincaid's own words! I encourage you to download this document and savor the words in small doses over many days and years.

On page 2 of the document. “Notes on Flute Performance” by William Kincaid (a mimeographed relic from my days in Philadelphia) Kincaid writes:

“Learn to play, “whistle, “ or flagolet tones over low “C” and “B”. Select one and sustain it; it is excellent for breath control, embouchure, and placement. “

Over the years, I have found the benefits of this exercise for most students to be:
• Steady breath control
• Embouchure sensitivity
• Ear training

For me, the primary initial benefit was learning not to overblow.

Best,
Catherine

Sir James Galway at the Texas Music Educators Association Convention

I had the pleasure of meeting Sir James Galway after an "informal conversation session" at the Texas Music Educators Association Convention yesterday.

He delighted the many attendees with his witty responses, personal stories, and opinions and advice in response to questions on flutes, recording, warm-up routines, and flute pedagogy.

Here are a few of the things I learned:

• Sir James uses top-of-the-line Neumann microphones for all of his audio and video recording.
• In response to a question of maintaining physical flexibility, Sir James proudly announced his age, 68, and suggested shoulder stretches for range of motion, forearm and hand self-massage, and, when nothing else works… just keep playing and enjoy the music!
• He practices studies regularly from the Moyse’s De la Sonorité and advocates practicing scales and patterns always with the best tone and musical expression and style. He pointed out an obvious, but seldom considered, fact: if you practice scales and patterns in a boring, unmusical, way, not only is practicing boring, but you are actually practicing to play boring and unmusical music (music is largely created from these patterns)!
• He also advocates practice of the Boehm Caprices and Andersen Etudes, in particular, to develop a fluid technique and legato while maintaining tone and musical expression.

I encourage you to join to Sir James online forum, Galway Flute Chat (Yahoo group) and to watch the videos posted at http://www.thegalwaynetwork.com/ for access to Sir James’ teaching and thoughts.

Many thanks to Sir James for reminding us that joy and expression give meaning to music-making--and to life!


I also attended the fine Valentine’s Day evening concert performance by Sir James and Lady Jeanne Galway with the San Antonio Symphony. They performed the Cimarosa Concerto in G Major for 2 Flutes and a lively encore, an arrangement of “Rondo Alla Turca” from the Mozart Piano Sonata, K. 331. They clearly had great fun together on stage!

After intermission, Sir James performed “The Pied Piper Fantasy” by John Corigliano, attired in festive costume and joined by dozens of local young flutists performing with Sir James while parading on stage and following him out of the theater. Quite a spectacle!

Sir James’ final encore, Badinerie from the J.S. Bach Suite in B Minor, BWV 1067, brilliantly played, was a rousing ending to an evening celebrating the love of music-making and flute-playing—perfect for Valentine’s Day.

I will post more notes from other clinics and events I attended at the TMEA Convention later this week in the LeGrand Virtual Studio.

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

Practice Guides: 2007 Texas All-Area Auditions

Greetings!

This post is directed to Texas High School students who have qualified for All-Area auditions, but much of this advice applies to other auditions, so give it a read!).

Obviously, you already know these etudes, but I hope these practice hints help you give your best performance of these pieces at the audition.

First, a few general comments:

In the final days before this, or any other, competition, remind yourself that a competition is only worth the progress you make in your playing and your approaches to the problems presented. Sometimes we win and sometimes we lose, but our musical, flutistic, and personal growth is a reward we continue to reap after the competition is over. Challenge yourself to improve some aspect of your flute-playing in this last week before the audition.

Review the etude study guides and the latest errata at http://www.tmea.org and predominantly notate any changes in your music. At the time of this post, the most recent changes were September 14.

It is a good idea to demonstrate certain skills in an audition:

• even, focused tone throughout all ranges of the instrument
• good register changes (tone at the end of each note prepares for the next)
• accurate rhythm and large rhythmic structure
• dynamic contrast (if there are none in the chosen passages--make your own)
• good vibrato (begin and end phrases with vibrato engaged)
• fluid, even finger technique (eliminate blips and bumps)

Plan (and mark!) your breaths carefully. If you end up taking an extra one in the audition, don't worry, just make it sound intentional, but be sure to take the next one you planned to get back on track right away.

The judges have heard this music as much as you have, and are probably tired of it, too! In the audition, give a musically inspired performance. Reacquaint yourself with all the things about the music that you originally found interesting and beautiful. Play to please yourself above all--this will create the most convincing audition. Engage your listeners.

Practice Guide for Etude #1: Sigfrid Karg-Elert, Op. 107 #17

Concentrate on even tone and finger technique and good register changes. Try buzzing the phrase shapes, to discourage overblowing for high notes and embouchure collapse for low notes, and to encourage efficient use of breath. Also, practicing with a chopstick in your mouth helps with these things.

"Hit or Hid-Inhales" helps produce clear note starts in good rhythm after breaths.

Review and apply these exercises to all the notes in this etude.

Show the dynamic contrast in m 10-11.

Practice Guide for Etude # 2: Theobald Boehm, Op. 26 #6

The two main things to be sure of in this etude: light, clear articulations and focused tone, especially on low notes.

Practice the etude with double-tongue-stop/fingers ahead, beginning each phrase with a "hit or hid-inhale." Keep breaths rhythmic.

In descending intervals to low notes (especially m 49-54, m 76, m 84-85, and m 98-105) keep the tone clear by insuring that the embouchure does not collapse. Lift the mentalis and zygomatic major muscles of the face to keep the tone clear--practice buzzing these intervals! Chopstick exercise practice is also useful in these places.

Observe the p dynamic contrasts in m 9, m 41-54, and the diminuendo m 102-the end.

Practice Guide for Etude # 3: Joachim Andersen, Op. 21 #10

When we practice the same music for many weeks, our performance can become a "caricature" of itself (in much the way as truth is modified in gossip). Get back to the basics and simplify!

Yes, this IS the "slow, lyrical" etude, but I encourage you to revisit practicing this etude with the metronome to feel the overall rhythmic structure of the piece.

Keep the triplets fluid, without a syncopated feel. Be sure duplets are the correct length.

It is a good idea to simplify the ornamented passages (remove the ornaments, playing a rhythmic outline) a few times, then reinsert them, keeping the direction of the melodic line clear and the tone good on all notes.

Double check the tuning of your middle c#'s and your c# octaves.

In the un poco più mosso, m 26-40, keep the tone focused on all moving notes and be sure the longer rhythms do not rush--keep the vibrato going. Chromatic intervals should be expressive without slowing the rhythm.

Notice the "bow-tie effect" on ascending intervals, matching tone and playing accurate pitches.

Observe breathing, phrasing and dynamic indications.

Play each note with great beauty.

All the best for great practicing and a successful audition!

Catherine

Practice Hints for Honegger's Danse de la Chèvre

Hello,

All the best to my North Carolina High School student subscribers during their final preparations for District auditions.

Good warm-ups for this piece:

• Buzz repeated notes in one sustained breath with vibrato, matching the tone at the beginnings and endings of the buzzed notes.
• Buzz the rhythm of m 4-26, keeping the air speed constant and buzzing throughout each spit buzz, and keeping the tongue wide, while buzzing the exact rhythm of the articulation patterns.
• Chromatic scale exercise.
• Fingers ahead, unevens and double unevens on all the tricky passagework (videos of these exercises posted in the LeGrand Virtual Studio)

Practice Guide

Opening section ( m 1-13)

In passages with slow moving rhythms (m 1-5, 8-10, 62-66) change fingers in a smooth, gentle way to avoid bumps or accents and be sure to vibrate on all notes, avoiding lining up the vibrato with the note starts.

Differentiate between the duplets and triplets, keeping the triplets flowing and unaccented.

Account for ties (m 1, 4, 6, 9, 11, and 12). You might practice tonguing the ties, then removing them, avoiding an accent on the tie.

A general technical consideration in this piece is the use of B-flat fingerings. Carefully consider which B-flat fingering you wish to use in each place (thumb B-flat, lever key, or 1 and 1) and mark indications in your music (it helps to ahve these written in for an audition--in case you lose your concentration. Experiment with using the lever key m 11-13. I actually decided to use the thumb B-flat in this passage until the last B-flat in m 13.

Danse

The obvious issues in m 14-34 and m 49-53 are the rhythm and articulation. This also applies to m 7 and m 60.

Double check your rhythm by inserting a note in the sixteenth rests and subdividing the quarter note into 2 eighth notes. Keep the rhythm steady in m 20-24. Add eighth notes in the eighth rests to double check yourself, and even subdivide all the rhythms into constant tongued sixteenths. The trill in m 23 and the first note of m 26 are often rushed.

Keep your tongue wide and air speed steady at the end of each staccato note, and listen carefully to your tone at the end of each note.

Plus lent
In the plus lent sections (m 35-38 and m 54-57) keep your vibrato going through the repeated tonguings. Crescendo to the grace notes. Listen to be sure pitch is the same on all the repeated notes.

Vif (m 40-48)
Carefully plan your breaths to not interrupt the rhythm and momentum of this section. Fingers ahead and unevens/double unevens are especially helpful in m 47. Work for full, clear tone on each note of this measure. Demonstrating good tone through the register changes is important here. Wide tongue and relaxed upper lip help accomplish this. During your practice of this section, stop frequently and buzz a note to keep the upper lip loose. Also check to see that your head is balanced and mentalis muscle is activated (this helps focus the low notes when you arrive there.

The last note of the piece-- m 66 --is an overtone of the fingered low "C"

Rather than specifically focusing on the audition and winning, see how much progress you can make while practicing. Any contest we enter is really only worth the benefits of the work we do while preparing for it. Sometimes we win, sometimes we don't, but feeling good about our own efforts and progress, and playing beautifully--at least part of the time--is what is important!

All the best,
Catherine


Graphics courtesy of Crystal Cloud Graphics

"Airplanes" and "Chopsticks"

Hello,

Today am publishing new videos to the LeGrand Virtual Studio.

"Airplanes Exercise"(in Category C)

My version of Keith Underwood's "Chopstick Exercise" which helps flutists learn to better organize their embouchures by playing with a chopstick in their mouths. Very weird exercise, with wonderful results! (in Categories B and C)

Practice "Bytes": short examples of using chopsticks and buzzing to improve embouchure function, tone , and breathing in musical excerpts. (under Advanced Lessons)

I use the "Chopstick Exercise" as a "prelude" to teaching buzzing, especially for advanced flutists who are beginner buzzers.

In the video I demonstrate the exercise, along with some buzzing and it's results, in short Practice "Bytes." Todays nibbles include:

* Texas High School All-State Band Flute Etudes:

Joachim Andersen, Op. 21 #10
Sigfrid Karg-Elert, Op. 107, #17
Theobald Boehm, Op. 26, #6

* Honegger’s Dance de la Chèvre (North Carolina High School All-District Piece)

For those of you who can't wait to download the files to watch them, here is the excerpt I am posting on the public blog.


More Practice "Bytes" will be posted in the near future. Send me requests for spots in your repertoire to chew on!

Bon appetit!
Catherine

Picking up Speed

Hello,

One of the recurring themes in lessons this week is ways to increase tempo in difficult passages.

First things first: check your body balance and hand position. Often, adjusting these things can be a miracle cure for the problem. Even if it does not solve the difficulty, at least you will not be practicing more problems!

In my own practice, I use a variety of exercises, juxtaposing and combining them.

In music (as in life), it is good to have a lot of different ways to work on a problem.

Here are some of my tried and true approaches:

SLOW practice (I mean 10 times slower than the tempo!)
"Butterfingers"
"Fingers Ahead"
"Unevens and Double Unevens"
"Add-a-note" and "Reverse Add-a-Note"
Bursts of Notes
Pyramid form

There are video lessons on "Fingers Ahead" and "Unevens and Double Unevens" posted in the LeGrand Virtual Studio.

SLOW practice should not require explanation, but we all need to be reminded to do it!

"Butterfingers" (on the list of future videos) is a slow practice technique for improving legato and efficiency of fingerings. Touch the surface of all keys all of the time. The key is either closed, or you allow the key to push your finger up, experiencing the resistance of the springs. This results is "gooey" sounding notes, but really helps us get acquainted with our instruments. (This exercise is modified for wind players with ringed keys, ie.oboe or clarinet.)

"Add-a-note" and "Reverse Add-a-Note": Play the first 2 notes of a passage. Play again, adding the third note, Play again adding the 4th note, etc. To reverse, play the last 2 notes of the passage, then the last 3, last 4, etc.

"Bursts of Notes" (on the list of future videos) are small groups of notes--3, 4, 5, 6--whatever units you can play very well up to tempo. In this exercise, play the selected number of notes beginning, in turn, on each note of the passage.
"Reverse Add-a-Note" and "Bursts of Notes" encourage even rhythm and build in confidence and ability to start on any note in a passage--very useful if you lose your concentration in a performance!

"Pyramid form" (on the list of future videos) is an exercise for passages that change direction. Play the 3 notes of the passage where the direction changes, then add one note on each side of the direction changes until you have mastered the passage. Example--C arpeggio:

GCG
EGCGE
CEGCGEC
GCEGCGECG
EGCEGCGECGE
CEGCEGCGECGEC

Hope your practicing is productive! Let me hear from you!

Catherine

LeGrand Virtual Studio Group Subscriptions!

Now available (as requested):

An annual group subscription rate of only $25/per student is now available to the students of any subscriber (private studio instructors, classroom teachers, or ensemble conductors).

If you are a subscriber and wish for your students to have access to these resources, please contact me at groupsubscriptions@catherinelegrand.com for more information.

I hope you and your students will take advantage of this offer!

Catherine

New videos in the LeGrand Virtual Studio

I have just added the following video tutorials for LeGrand Virtual Studio subscribers:

"Fingers Ahead" Exercise

"Miss America" Exercise

In Flutorials™, “From the Start”, a new series (for teachers of beginning flutists):

Episode 1: Two Common Misconceptions about Flute-Playing

Headjoint: First Sounds

Adding the Tongue: “Hit” or “Hid” Inhale Exercise

Physical Orientation to the Flute
Part 1: Balancing and Assembling the Flute

Physical Orientation to the Flute
Part 2: Bringing the Flute to You and Playing “B”

Adding “A” and “G”

Party Favors 201: Embouchure

Best,
Catherine

New video series: Flutorials™

"Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity".
--Charles Mingus

"Flutorials" is a new series of progressive video lessons for novice flutists, intended as supplemental material to enhance what the student is learning in flute lessons or band class.

Lesson 1: "Hot Cross Buns," now posted in the LeGrand Virtual Studio, presumes the student already knows how to make a sound on the headjoint, how to assemble and hold the flute, and how to play the low notes: B, A, and G.

Students are often overwhelmed with a task that seems too large, complicated or, even, amazing, to approach. The video lesson guides the student through some small, manageable steps to learn the complete song.

Teachers, I hope these Flutorials™ help you with your teaching, too! The art of simplifying is one of our most valuable teaching tools!

Look for more Flutorials™ later this week!

Catherine

Flute Embouchure: A Rather “Square” Subject

For many years I have taught that a good flute embouchure has 4 corners: 2 corners by the upper cheekbones, one by each nostril, and, the 2 corners on the chin, below the lower lip. The location of these muscles forms a square on your face.

The exercise I call “Tongue Sandwich,” activates the Levator labii superioris (Rabbit Face muscle) and Depressor labii inferioris (Lizard face” muscle) at the same time, drawing the lips away from the tongue and encouraging an active embouchure without jaw tension.

Think of your upper and lower teeth as the pieces of bread for your sandwich and the tongue as the very generous serving of your favorite sandwich filling.

(See Dataface website, mentioned in a May post, for illustrations, descriptions and video of these muscles at work.)
http://face-and-emotion.com/dataface/expression/muscles.jsp

I have posted a video of the “Lizard Face” and “Tongue Sandwich” exercises in the LeGrand Virtual Studio for your information and amusement. “Rabbit Face” Exercise video can also be found there.

Here is a Blogger Beta trial of an embedded video. Let me know how this works.


Good Tongue-Controlled Embouchure spit-buzzing technique, as advocated by Jerome Callet and Keith Underwood, creates a rather “boxy” feel in the embouchure—a "box " INSIDE the “square,” creating an active, yet flexible, embouchure.

Spit-buzzing encourages the use of the orbicularis oris muscle (the ring of muscle around the lips) to engage by curling gently inward creating compression of air with the wide, forward tongue.

This is also a type of “sandwich.” Try thinking of it as 3 layers of Tootsie Rolls:

• Top layer: upper lip curling downward (feel with your tongue the thick tube-like band of muscles on the inside of your upper lip).
• The middle layer--the forward, thickened and widened tongue with downward trajectory.
• The lower layer—lower lip raised slightly by the mentalis muscle and curled slightly back over the tongue to support the tongue position.

I hope these ideas are useful.

Hmmm…all this talk of sandwiches...Time for lunch!

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