Honeycomb Arms

Greetings,

During Halloween, I was amused by seeing vintage honeycomb decorations--skeletons and witches with honeycomb arms--which reminded me of decorations at school when I was a child.

Then I had an idea...
Retracting (shortening) your arms in difficult passages, or when you are nervous, is a typical fear response and actually causes fingering and breathing problems. To keep yourself open and the notes flowing, think of your arms as honeycomb arms--expanding rather than retracting. Also think of your hands as large, easily able to cradle the flute.

Hope this image is useful!
Catherine

The Pez Dispenser vs. The Nutcracker

Greetings,

The images represent 2 distinct "mappings" of the jaw.

"Pez" throws his head back using his neck muscles to open his mouth. This puts extreme stress on his vocal cords, throat, and upper back. "Nutcracker" drops his jaw open from it's natural hinge.

So...breathe more like Mr. Nutcracker, avoiding the "flip-top head" syndrome demonstrated by Mr. Pez. Even better is to breathe most of the time from the sides of your mouth, leaving your jaw in a neutral,natural position.

Happy Breathing!
Catherine

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

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

About Flutorials™

Hello,

Some of you have asked for more information about the Flutorials portion of the LeGrand Virtual Studio.

These recent video series are in addition to the other video lessons (currently c. 20) on various aspects of fluteplaying

There are currently 2 Flutorials™ series:

"From the Start"
Step-by-step videos for teaching beginning flutists

"Progressive Lessons for Novice Flutists"
video lessons to supplement what the beginner flutist is learning in their flute lessons or band class. They assume the student already knows how to make a sound on the flute, how to assemble the flute, and how to and finger the notes B, A, and G before watching these video lessons. These short lessons simplify songs into easy to learn elements, then combine the elements to form the entire song.

Podcast lessons benefit students by allowing them to repeat each element or part of the video until they have mastered each skill.

Teachers and advanced students might also benefit from watching these videos and remembering how to simplify a song into basic elements. And...you are not likely to hear me play "Hot Cross Buns" anywhere else!

In early Fall I will post the first videos in a new Flutorials™ series for advanced students, and additional lessons in the other 2 series.

Please let me know what other materials and topics would be helpful you would like to find in the Virtual Studio.


Best,
Catherine

Breathing Coordination Website: Carl Stough

Breathing Coordination - Home Page

This page provides 4 photos from the animated video Carl Stough developed after years of research. This animated video which shows the function of the diaphragm and associated movement of the ribs is highly recommended by Keith Underwood.

I suggest having a look at this website while working with the Interview with Keith Underwood, Part 6: Timing and Sequence of Events for a Breath. The website will help you visualize how the sequence of the Breath looks on the inside!


Here is a quote from the website:

"The concept of Breathing CoordinationTM was the result of ten years of medical research started in 1958 by Carl Stough and elaborated by Reece Stough in 1964 for advanced researchers in the international respiratory field. Every physical and emotional problem, to some degree, is the result of an insufficiency of oxygen. The diaphragm works to achieve a maximum exhale. This is necessary in order to maintain a low residual volume of carbon dioxide in the lungs. The diaphragm, which is a primarily involuntary muscle-organ, is the foundation for the entire respiratory system. It affects the two other main systems of the body, the circulatory and nervous systems. The term Breathing Coordination is the name given to the exact way the respiratory system is designed to function at maximum efficiency with minimum effort."

Another page gives information on self-help for developing good breathing coordination and specific help for people with asthma.

I have been told the video was withdrawn from the website pending the settlement of Stough's estate, but this page gets the idea across. If you know someone with a copy of this video, I encourage you to have a look. I certainly hope this great tool eventually reappears on the internet!

Best,
Catherine

Catherine interviews Keith Underwood

Greetings!

I have just returned to North Carolina from the Keith Underwood Flute Masterclass at Ghost Ranch, New Mexico, a week filled with tangible learning in an open, warm, and supportive atmosphere. Thanks to Nancy Laupheimer for organizing a great class, and thanks to my classmates for sharing their learning processes.

I am grateful for the information and inspirations I have received from Keith over the past 15 or so years, and I am delighted to share a video interview with Keith filmed on August 18, 2007 at Ghost Ranch.

I have posted the first four segments of the video in the public blog since the interview was a gift from Keith to the world flute community. I am honored to be able to share this information.

Here is the link to the interviews.

Catherine LeGrand interviews Keith Underwood
Ghost Ranch, NM, August 18. 2007

• On Benefits of Buzzing for Flutists
• When will we hear improvement from buzzing?
• What if our lips get numb?
• Please provide a Buzzing 101: Syllabus…

Additional segments coming in September and October!

Catherine LeGrand interviews Keith Underwood
Ghost Ranch, NM, August 18. 2007 (continued)

• More Buzzing Exercises, Lip Vibrato, and Tuning
• Timing and Sequence of Events for a Breath
• Tongue-Controlled Embouchure and Support
• On Ideal Vibrato Speed
• On Creating an Open and Supportive Atmosphere

Sincere best wishes,
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

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