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

Modified Rockstro Position

This is my version of a Modified Rockstro hand position for flute.

1. The left index finger supports the flute in a slightly backward hook shape without flexing the left wrist.
2. The right thumb is slightly toward the back of the flute, somewhere between the index finger and the middle finger. The right wrist is not flexed backward.
3. The right pinky does not press down hard and can be easily lifted without losing the balance of the flute.

If the keys are slightly turned forward (rods at 1 o'clock or 2 o'clock) the flute can balance with stability, improving finger dexterity and musical performance, without using energy to prevent the flute from rolling backwards. In order for the head, neck and jaw to be comfortable and for the embouchure to function properly while the keys are somewhat forward, the headjoint will need to be turned in some. I often suggest aligning the inside edge of the embouchure hole between the rods, though this varies some depending on the physical height and finger lengths of the individual flutist.

For more info on aligning the flute for optimal balance, please read my Monday, April 9, 2007 post at http://www.catherinelegrand.com/cmblog.htm. It includes reference to an excellent article by Jennifer Cluff on hand positions at her blog.

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

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

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

"Chopsticks", "Buzzing," and improved finger dexterity

Hello,

I have found that practicing difficult passages after buzzing or with a chopstick in my mouth, not only helps my lips create better sounding notes and intervals, but also helps my embouchure remain stable and independent and my flute better balanced.

When I remove the chopstick, the difficult passages seem almost effortless, like my flute is floating. Since my embouchure is stable, I don't have to hold the flute to keep it from wiggling about due to migratory tongue or flopping lips.

See if it works for you. Let me know!
Catherine

Galway Technique--Hand Position

Galway Technique--Hand Position

This is a video by Sir James Galway on hand position and finger technique. He emphasizes:

gentle, efficient finger movement
and
the value of legato and good tone production

in developing a good finger technique.

Have a look!

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

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

Larry Krantz Flute Pages: Little Finger Exercises

Larry Krantz Flute Pages: Little Finger Exercises

Calling all flutists with collapsed or double jointed right pinky fingers!

These short video clips show good right pinky function.

The "Little Finger Circles" Exercise is the equivalent of a "tongue twister" for the right pinky.

Good right pinky function will improve instrument stability and technical facility.

Check it out!
Catherine

Flute Alignment or How To "DeClaw" Flutists

In my "ABC's of Wind Playing" this topic belongs in Category C: Physical Orientation to the Instrument.

Many tonal and fingering difficulties experienced on the flute can be attributed to less than ideal alignment of the instrument and/or inefficient physical orientation to the instrument. Improving alignment of the instrument can eliminate many of these problems which can distract us from what is important, the enjoyment and satisfaction of playing beautifully.

I often say, “One of my missions in life is to declaw flutists.” The meaning of this statement is twofold; flutists tend to squeeze their flutes with their thumb and index finger combos on both hands (their “claws”) causing unnecessary tension and wasted air, and, also, I don’t well tolerate “catty” comments or thoughts about other flutists, especially among my students—we’re all in this together!

It is useful to think of balancing, rather than holding the flute; to avoid squeezing the flute, be sure that the instrument is properly balanced on the inside of the top joint of the right thumb and the area just above the lower knuckle of the left index finger while also lightly touching the chin area below the lower lip. (for good placement on lip, please see my “Lip Line and Lippies” video:
http://www.catherinelegrand.mobi/audiovideo/070204lippies.mov

If the flute is properly balanced, it will not roll backwards toward the face. Squeezing with the “claws” is usually caused by expending energy to prevent the flute from rolling backwards. If the keys are slightly turned forward (rods almost pointing to the ceiling) the flute can balance with stability, improving finger dexterity and musical performance. In order for the head, neck and jaw to be comfortable and for the embouchure to function properly while the keys are somewhat forward, the headjoint will need to be turned in some. I often suggest aligning the inside edge of the embouchure hole between the rods, though this varies some depending on the physical height and finger lengths of the individual flutist.

While searching for online resources on this topic to share with you, I came across an excellent article by Canadian flutist Jennifer Cluff, complete with historical background, diagrams and photos:

http://www.jennifercluff.com/lineup.htm#align

For those of you with right pinky issues, this is her footjoint alignment discussion:

http://www.jennifercluff.com/footturn.pdf

I welcome your questions and comments.

Catherine