"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

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

Muscles That Act On Shoulders, Arms, Wrists and Fingers

Did you ever wonder what muscles get sore or tired if you over-practice? Maybe you can solve the mystery and even eliminate the over-use itself if you understand better how the muscles work.

http://www.getbodysmart.com/ap/muscularsystem/menu/menu.html
This website offers layered drawings, front and back, of rotator cuff and other muscles affecting the shoulder. You can add and remove layers by clicking your mouse. Animations of the muscles in use are also provided. Great body mapping information for shoulders, arms, forearms, wrists and fingers.

Very cool! Check it out!

(Muscles that act on head, face, & neck are due to be published at this site late 2009.)

Catherine

Arms Rest

Following the dramatic improvements in flute, oboe and clarinet participants during Keith Underwood's April Houston masterclasses when he supported their arms while playing difficult passages (we exert so much unneeded tension to hold up our own arms, rather than allowing our spine to support them), I have been experimenting with holding up my students arms in lessons, also with good results; greater technical facility, easier and longer breaths, and less fatigue overall.

I have been longing for someone to hold my arms when I practice, too, to see what effect it might have for several difficult passages in my current repertoire, but tonight I figured out a great substitute and had to share it with you right away!

I sat in a chair and put another chair facing me in front with a somewhat deflated exercise ball on the seat. It is important for the level of the ball (or stack of pillows) to be at the natural level for your arms as you lean forward slightly, bending from the hip joint with long, straight spine. I adjusted the angle of the chair I was sitting on slightly, so that as I leaned into the ball, my elbows--or the areas just above or below the elbows--were fully supported by the ball at the proper height.

Not only did this exercise achieve the desired results in improved ease, but the consistent, sustained arm support allowed me to identify, then release, the muscles that were tensing unnecessarily. When I took the ball away, I enjoyed almost the same results.

Very exciting! My alignment is even better now than earlier in my practicing day, and my jaw feels very free, also.

As always, never do anything that is uncomfortable when practicing! There is always another way. If it hurts, STOP RIGHT AWAY!

Remember to keep your neck free.

I can hardly wait to try this again tomorrow!

Let me know how this works for you.

Catherine