Catherine's Musings

Introducing Fluteachniques™: Harmonics+2 Note Slur Tone Study

2012-01-21T16:46:00.002-05:00

Greetings,

I recently started having students combine two favorite tone studies for a great warm up. The results have been improved evenness throughout the range of the flute and richer tone in the high register.

I will be sharing more teaching tips in the future. Look for Fluteachniques™in the LeGrand Virtual Studio in coming months!

Best,
Catherine

"Classic" Breath Builder

2012-01-20T13:16:00.000-05:00

Greetings,
This video and article from the early days of my website (2006) has tried and true information. The Breath Builder still rules!
Best,
Catherine

The Breath Builder is a self-teaching device. Its primary lesson is the effortless, complete exchange of air at either end of the breath, without any holding or physical tension. It is a visual aid for learning the concept of breath support and also aids improvement of breathing efficiency and of lung capacity.

Developed by the late bassoonist Harold Hansen of Las Vegas, Nevada, the Breath Builder is a translucent plastic cylinder closed on the bottom with 3 holes on top and a ping pong ball inside. The 3 holes and the 2 accompanying plastic tubes with different diameters can be used to control resistance to your air movement. The object is to keep the ping pong ball at the top of the cylinder while blowing into the Breath Builder and also while sucking the breath back through the device. The air is always moving in or out, never stopping. Very simply, if the blowing is steady and the breath exchanges well, the ping pong ball stays at the top of the plastic cylinder.

Tips for Use of the Breath Builder:

I suggest using the larger tube. The smaller one tends to increase physical tension. Begin by blowing into the tube to raise the ping pong ball to the top of the plastic cylinder. Once you have mastered this, while the ping pong ball is at the top, try sucking the air back through the tube without letting the ball drop.

Blow from the front of your mouth. Try to release the air from your lips. Careful not to overdo. Begin with one or two exchanges of air.

Try sucking the air back from the tube and then performing a task; play or sing a phrase or execute some other physical action while you release the breath you just sucked throughout the tube.

Be sure the sternum does not compress as you blow into the machine. This causes unnecessary tension and inefficient release of the breath. Allow your spine to lengthen as you release each breath.
Buy Now!

Caution: Avoid repeating this process until becoming dizzy! Stop immediately if you feel dizzy and rest until the feeling passes. While learning to use the breath builder, please sit down.

René Le Roy playing Danse de la Chevre

2012-01-10T12:52:00.001-05:00

Greetings,
This piece was dedicated to René Le Roy by the composer. Excellent fidelity! So many colors!
Catherine

The Importance of Play

2012-01-10T12:40:00.000-05:00

Greetings,
This short documentary expresses the importance of play for better, more creative work and happier lives. Highly recommended!
Catherine

Trailer - SERIOUSLY! The Future depends on play from Gwen Gordon on Vimeo.

Flutorials™: Practice Tips for Quantz Concerto in G, Movement 1: Allegro

2011-12-24T14:36:00.000-05:00

Greetings,

This is the flute audition piece for the 2011-2012 North Carolina Honor Band.
Good luck on your auditions!

Catherine

Flutorials™: Keith Snell's Rondo Capriccio

2011-12-23T21:45:00.000-05:00

Greetings,

Keith Snell's Rondo Capriccio is the middle school flute audition piece for the 2011-2012 North Carolina Honor Band. Be sure to also read my Practice Guide for this piece.

Good luck on your audition!
Catherine

Flutorials™: Practice Tips for Bizet's Minuet

2011-12-23T06:55:00.000-05:00

Subscribe to my monthly In1Breath Newsletter

2011-12-17T13:31:00.001-05:00

Greetings,

I invite you to subscribe to my free In1Breath monthly newsletter. Each issue is sent mid-month and contains links to videos and articles about my latest discoveries, ideas, and inspirations for being a better player and teacher, together with special offers, events, news, and more! The more information you enter on the sign-up form, the easier it will be to provide the content you want--and you are important! Please remember to click the link in the confirmation email to activate your subscription. Thank you! Click here to sign up!

All the best,
Catherine

Practice Guide for Bizet’s Minuet

2011-12-17T13:15:00.000-05:00

This is the North Carolina Honor Band 2011-2012 Grade 9-10 flute audition piece.

Before attempting the piece, I suggest you practice:
E-flat scale, arpeggio, and thirds.
B-flat arpeggio
Descending chromatic scale (to help with m 38 and m 700.
A-flat Major scale, arpeggio, and thirds (to help with m 43-54).

I also suggest you become familiar with the score, which has a steady accompanying rhythm. It will help you get a feel for the piece as a whole before you begin your work. Listen to these two performances by two of the most famous flutists of all time:
http://youtu.be/LilrG0PNa5Y
http://youtu.be/fVlh_dOPaS8

This piece is from Bizet’s orchestral ballet music, “L’Arlesienne.” Harp is the predominant accompaniment in the opening measures. This is a performance of the piece in the orchestra version: http://youtu.be/k7YfUCAaFEE?t=5m15s

Though this piece is quite long, there is a limited amount of material to learn. Practicing it in sections is efficient. This is how the piece is constructed:

Section A: m 3-10
Section A1: 11-18
Section B: m 19-30
Section B1: m 31-42
Section C: m 43-46
Section C1: m 47-54
(m 55-74 is a return of m 11-42)
A1
B
B1
Coda: M 75 to end. This is a repeat of A1. The last 3 measures is an augmented (rhythmically slowed down) version of m 6, but in the key of the piece--E-flat.

Tips to improve your performance:
• Play with a connected legato style and good phrase direction.
• Play in a dolce (sweet) style.
• Release the last notes of the ascending arpeggi in m 4, 6, 12, 14, 56, 58, 76 and 78 gently with a sweet tone—not what these notes want to do!
• Avoid thinking in 8th notes. It will create choppy sounding phrases. Instead think of each beat as four 16th notes that create direction in the phrase.
• Fit your breaths within the rhythm of the note or rest in front of the breath. (Moyse’s version does this so well…)
• Be sure your quarter note pulse matches as the rhythms change in m 17-27.
• Careful that grace notes do not affect the rhythm of the notes after the grace notes.
Observe the dynamics:
• Play ff in m 43-54. In the original version, this section is played by full orchestra. Try to sound like the whole orchestra with a full and rich tone!
• Observe the pp dynamics in m 9 and m 75.
• Enhance your phrases with good crescendi in m 25, m 35-36, m 39-41, m 65, m 68-69,
• m 71-72.
• Make a big crescendo in m 33 and m 65 to prepare for the big ascending interval at the beginning of m 34 and m 66.

All the best,
Catherine

Bizet Minuet: Rampal!

2011-12-16T16:28:00.000-05:00

Bizet Minuet: Marcel Moyse

2011-12-16T16:27:00.000-05:00

Wow!

Practice Guide for Keith Snell's Rondo Capriccio

2011-12-16T16:22:00.000-05:00

This piece is the 2011-2012 North Carolina Middle School Honor Band flute audition piece.

Let's get started!

First, it is helpful to know what the title Rondo Capriccio means…

A capriccio is an instrumental piece in a lively tempo and brilliant style. Oh no—it’s going to be fast!;-)

In rondo form, a main theme (I’ll call it “A”) alternates with one or more contrasting themes. The number of themes can vary in a rondo and the recurring sections are often changed or shortened.

Rondo form of Keith Snell Rondo Capriccio:
Intro
A
A1
B
A1
C
A
A1
D
A1
B1
A becomes Coda

So now you can relax a little-- the “A” music repeats a lot, so there is less music to learn!

Before trying to play the piece all the way through, I suggest practicing all the “A” materials, carefully comparing them for differences. Then practice “B/B1,” “C,” “D,” and the Coda.

The “A”, or returning section:
• Pickup to m 9- m 14
• Pickups to 33-m 40 --ends with a variation of the first statement, so we’ll call it “A1”
• Pickup to m 57- m 72
• Pickups to 105-112
“B” section : m 25-32
“B1” section: m 113-128 slight variation of the music in section “B”
“C” section m 49-56
“D” m 88-104
Coda: Pickup to m 129 begins as “A”, but then extends using the pattern from the “B” section.

Tips to improve your performance:

In the tempo of the piece, count out several measures in the piece in your mind and begin on the “+ of2” so your entrance makes rhythmic sense.

Make clear staccato notes, but be sure to phrase the notes in four or two measure units.

Breathe before the pickups to each occurrence of the “A’ or “A1” sections. This will help the listener to hear the structure of the piece.

Perfect the f3-e and e-f3 fingerings to eliminate any “blips’ between the notes. Also be careful to observe the g#’s in m 94. 95, 102. (G# is fingered the same way as A-flat)

Play beautiful high E’s. Use the wet inside parts of your lips together with your tongue to create fast air to keep from pinching or shrieking the high E’s.

Work for lovely vibrato and connected notes in the “D” section.

Double check that your quarter note pulse matches between each section.

Be sure to practice the coda a lot. Don’t just keep practicing the “A” section that seems so familiar by now! Make a big crescendo to the end and finish with a full tone and vibrato.

Other dynamics to be especially observant of:
Crescendo to F in m 32, 57, and 128
Subito p in m 126

Good luck on your audition!
Catherine

Honegger's Danse de la Chèvre: Errata (from John Wion)

2011-11-22T00:21:00.000-05:00

Greetings,

This list of corrections is reprinted from John Wion's website.
Food for thought...

Catherine

Honegger: Danse de la Chevre. There are two publications of this work, both "Editions Maurice Senart 1932" published by Salabert. However, with no indication whatsoever, the one is a corrected version of the other. A quick look at bar 7 will tell you which version you have. The corrected version is here marked T(emp)o Vif while the original has no such marking. JW
NEW - Jill Maurer Davis has a corrected copy from the time of her studies with René Le Roy to whom this piece is dedicated. Additional correctins in red below are from this source.
Major corrections:
M4: slur through tied E2
M5: slur through E2
M6: beat 3 is printed A# (from beat 2) in both editions. I have never heard anyone play A# . A natural sounds more correct to me. Geoffrey Gilbert claimed that A natural was correct. A natural is correct.
M7: Tempo Vif Marking is"plus rapide et lointain"
M8: Lent
M10: lines not dots
M12: accelerando
M14-16: There are discrepancies throughout the dance as to whether the downbeats have a line or a dot. Dots on downbeats.
M17- lines on beat 1 & 2.
M19- dot on downbeat
M27 & M29- dot on last F of slurred passage
M28: beat 2 F3 is natural (same as M29)
M35: Plus Lent
M36- lines on all notes on beat 3
M38: accel. to
M40: Vif
M46- rubato played on beat 3, first note slow, then fast & faster
leading to M47- Tempo vif
M48: Gilbert said E1 on beat 2 is Eb. E flat on beat 2 is correct.
M49: f
M53: en rallentissant
M54: Un peu plus lent - mf
M56: mp
M58- a tempo (vif)
M58: beat 1 p, beat 3 pp
M59: beat 2 p
M60: pp, beat 3 rit.
M62: p
M64: pp
M66: C2 is indicated as a harmonic (ie finger C1).

Flutorials™: Victor Herbert's Serenade

2011-11-22T00:13:00.000-05:00

Greetings,

The Victor Herbert Serenade for Flute and Piano was first published in 1911, and is no longer in copyright. You can see the original edition online and print it, too, made available by the New York Public Library.

I hope my "Flutorials™: Victor Herbert's Serenade" is helpful for the middle school flute students in North Carolina Bandmasters Central District. This is their District Band audition piece for 2011-2012 school year.

Good luck!
Catherine

Honegger's Danse de la Chèvre: Practice Guide

2011-11-20T00:28:00.000-05:00

Greetings,

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

Good warm-ups for this piece:

Tongue the rhythm of m 4-26 on one note, keeping the air speed constant.
Chromatic scale exercises
"Fingers ahead" and varied rhythm patterns to create security on all the tricky passagework.

Opening section ( m 1-13)

In the 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 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 have 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 varied rhythm patterns 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

Flutorials™: Honegger's Danse de la Chèvre

2011-11-20T00:03:00.001-05:00

Greetings,

Here are Flutorials™ with tips for practicing Honegger's Danse de la Chèvre for solo flute. This is the 2011-12 District Band audition piece for the North Carolina Bandmasters Central District.

Best,
Catherine

Part 1

Part2

Scary Music for Halloween: my iphone is Leon Theremin. They have an app for that!

2011-10-31T14:08:00.000-05:00

The original Leon Theremin!

Happy Halloween! Go make some scary music!
Catherine

Flute Care and Assembly

2011-10-21T14:40:00.000-05:00

Greetings,

Woodwind specialist, J.L. Smith, demonstrates the basics of flute care and assembly.
This is an excellent and detailed video. Thanks, Jeff!

Best,
Catherine

A Day in the Life of an Orchestral Flutist

2011-10-21T14:32:00.000-05:00

Greetings,

This video, from a series published by the London Symphony Orchestra, might give you an idea of what it is like to be an orchestral flutist. Many orchestras are based in large metropolitan areas, so musicians often commute from far away and/or ride public transportation to get to work. Follow Principal Flutist, Gareth Davies, throughout a workday in January, 2011.

All the best,
Catherine

Constructive Rest

2011-09-30T11:28:00.000-05:00

Greetings,

On Sunday I participated in an Alexander Technique Workshop sponsored by the Raleigh Area Flute Association in North Carolina. The event was capably led by certified Alexander Technique teacher, Rachel Niketopoulos, and Alexander Technique trainee, flutist Pam Nelson.

I came away with a renewed commitment to "constructive rest," a dependable way to widen my shoulders, lengthen my spine, and deepen my breathing.

I now have a dedicated space for students to practice Constructive Rest before their lessons. I am looking forward to the heightened awareness and learning of my more relaxed and better balanced flute students! Thanks Rachel and Pam!

Here is a great blog article about Constructive Rest by musician and Alexander Technique teacher, Bill Plake.

Bill writes a blog for musicians, Bill Plake Music: Helping Musicians Improve and Stay Healthy. Check it out!

There is a video demonstrating Constructive Rest made by Michael Hanko, another certified Alexander Technique teacher.

To learn more about the Alexander Technique, please visit:

http://www.alexandercenter.com/
http://www.alexandertechnique.com/at.htm
http://www.bmj.com/content/337/bmj.a884.full.

Time to rest now!
Catherine

Lea Pearson: Navigating Embodied Practicing

2011-09-22T10:25:00.000-05:00

Greetings,

Be sure to read this great article: Navigating Embodied Practicing by Lea Pearson at Flute Focus.

"Whether you are dealing with injury or discomfort, limited time in the practice room, lack of sleep that makes you too tired to physically practice, or just want to be more efficient in learning a piece - embodied practicing can be very helpful."

Best,
Catherine

Galway's Scale Challenge

2011-09-18T15:54:00.001-05:00

Greetings,

James Galway: “I would like to share with you why I am so successful at playing the flute.”

Got your attention? This quote got my attention! Sir James Galway has invited us to join him in reworking technique by devoting four 15 minute practice sessions daily to Marcel Moyse’s Exercices Journaliers pour la flute (Daily Exercises for the flute).

Count me in!

I encourage you to sign up for James Galway’s Scale Challenge and watch his introductory video.

If you don’t own Moyse’s Exercices Journaliers pour la flute, you can download an abridged version in 3 parts from Jennifer Cluff’s website:
• Part 1
• Part 2
• Part 3

Thanks Jen! If you are an advanced player, add additional octaves to each exercise.

And thank you, Sir James, for the incentive!

Best,
Catherine

Coanda Effect and Flute Playing

2011-05-27T21:58:00.007-05:00

Greetings,

In his NYC masterclass today, Keith Underwood spoke of the Coanda Effect and Flute Playing--how the position and angle of the tongue in the mouth directly effects the speed and direction of air as it leaves the mouth and enters the flute.

This video clearly demonstrates this law of physics.

Notice, also, that when the flow of water is very strong, the water direction becomes less distinct (more diffuse).

Best,
Catherine

"How It's Made: Flute"

2011-02-24T13:53:00.003-05:00

Greetings,

A well spent 5 minutes, especially for all flutists, flute students, friends and family of flutists, and potential flute purchasers. So much goes into making a quality flute! Please take good care of your instruments.

Best,
Catherine

Endoscopic video of beatboxer Kenny Muhammad's throat

2011-02-13T16:15:00.008-05:00

Greetings!

Documentary from History Channel's Stan Lee Superhumans series.

Great endoscope video of beatboxer, Kenny Muhammad, using his epiglottis and vocal chords the produce his multiple sounds.

Talk about body mapping! Beat boxer wannabe's check it out! Or anyone who wants to see the epiglottis or other throat parts at work. Wow! Great images.

Best,
Catherine

Julius Baker/Firebird Suite

2010-11-22T19:24:00.002-05:00

Enjoy!
Catherine

Alice Dancing Under the Gallows--Inspiring!

2010-11-05T07:44:00.004-05:00

Greetings,

Her wisdom and joy shine on, and her optimism is contagious.
Catherine

Great 3-D animation of diagrphagm breathing funtion

2010-09-29T07:23:00.002-05:00

This is great!
Catherine

Respiration explained

2010-09-29T07:18:00.003-05:00

Greetings!

Perhaps more than you ever wanted to know about how breathing works.

Catherine

Inspiring Film: As It Is In Heaven

2010-05-25T18:07:00.004-05:00

Greetings,

I have just seen the most inspiring film: Kay Pollak's 2004 Swedish film, As it is in Heaven

All musicians who ever felt passion for their art (or for that matter, anyone who ever cared passionately about anything) will certainly draw inspiration from this film.

I don't want to give the excellent plot away, but the subject of the film involves a maestro, a church choir, and finding ultimate meaning in music--music that opens hearts.

There is a beautiful song sung by Gabriella, one of the characters in the choir.
Here are the lyrics:

It is now that my life is mine
I’ve gotten this time on earth
And my longing has led me here
What I lacked and what I gained

It is this road that I chose
My trust far beyond words
It has shown me a little bit
Of the heaven I never found

I want to feel that I’m alive
all the time that I have
I will live like I want to
I want to feel that I’m alive
and know that I was enough

I have never forgotten who I was
I have just let it sleep
Maybe I had no choice
Just the will to live

I want to live happily
for me being me
To be strong and free
Watch the night as it turns to day

I am here and my life is only mine
and the heaven i thought was there
will I find it somewhere?
I want to feel that I have lived my life!

Best,
Catherine

Arnold Jacobs on the Breath Builder

2010-03-10T10:33:00.001-05:00

I'll let this speak for itself!

Catherine

Arnold Jacobs breathing, Part 1

2010-03-10T10:27:00.001-05:00

Thanks to Brian Frederiksen for presenting these documentary videos of Arnold Jacobs.

For those of us who never had a chance to work with Jacobs personally, they are helpful in getting an idea of both the man and his message.

Best,
Catherine

Hands: Move Well, Avoid Injury

2010-01-11T10:46:00.002-05:00

Fantastic video explaining the correct Body Mapping of the hand

I don't know how I missed the AndoverProductions channel on YouTube.

Check it out!
Catherine

Wisdom from a classic fllm: CHRISTMAS IN CONNECTICUT (1945) wiith BARBARA STANWYCK

2010-01-06T11:27:00.001-05:00

One of my favorite quotes of all time is at 4:15:

“You know, Felix, it’s very important to keep promises, especially to yourself.”
--Journalist Elizabeth Lane (Barbara Stanwyck) to Felix Bassenak (S.Z. Sakall), Hungarian restaurateur

Glad to see/hear this again in it's original form at the start of a new decade.

I doubt many of us have promised ourselves mink coats, but I challenge you to keep whatever promises you make to yourself in 2010.

Best,
Catherine

Quantz Concerto in G Major for Flute and Strings: Presto

2010-01-05T12:33:00.005-05:00

I hope you enjoy this performance by The Hanover Band with Director Roy Goodman and Rachel Brown, traverso (note: pitch is lower than modern flute).

Excellent tempo, phrasing direction, feeling of meter, and ornaments.

May it serve as a last minute inspiration to North Carolina High School students to hear this performance before District Band auditions!

To learn more about Rachel Brown and to hear more of her fine playing, please visit her website: http://www.rachelbrownflute.com/

Best,
Catherine

Rampal performing Mozart Concerto For Flute in D Major K 314, movement 1

2010-01-05T12:08:00.001-05:00

Greetings,

Hope you enjoy Rampal's masterful tone, trills, articulation and phrasing direction. North Carolina grade 11-12 flute students: This is the required piece is you qualify for All-State tryouts.

Best,
Catherine

Happy New Year!

2010-01-05T11:57:00.003-05:00

May you experience PEACE, JOY!, and BEAUTY in the new decade.
Catherine

Mozart Flute Concerto No. 1 in G, K313, Rondo.

2009-06-20T22:37:00.001-05:00

For your amusement and your amazement.
Proof eyebrows can help for high notes...
Catherine

Documentary piece on Clara Rockmore - Theremin virtuoso

2009-05-04T08:21:00.001-05:00

Greetings,

In her own words, a brief history of Clara Rockmore's life with the Theremin. Also discussion with electronic music experts Robert Moog and Thomas Ray.

This is a wonderful tale of "crisis equals opportunity" When she ceased playing the violin because of advancing arthritis, Clara finds the perfect outlet for her artistry.

Fascinating!
Catherine

Clara Rockmore - "Hebrew Melody"

2009-05-04T08:03:00.001-05:00

A dream come true (almost)! I always wanted to hear Clara in person. Oh, the many virtues and possibilities of YouTube.

Enjoy, or shed a tear...
Catherine

Eileen Farrell - "Depuis Le Jour"

2009-03-27T18:47:00.001-05:00

Exquisite.

Enjoy,
Catherine

Philippe Gaubert and Nellie Melba perform Del ciel clemente of Donizetti.

2009-01-29T09:38:00.001-05:00

Nellie Melba in her very first recording, March 1904!
Landon Ronald, piano
Philippe Gaubert, flute
WOW! FANTASTIC!

Catherine

Paris Symphony Orchestra - 1932 - Der Freischütz

2009-01-29T08:28:00.001-05:00

Felix Weingartner conducts the Paris Symphony Orchestra in a 1932 performance of Overture to Der Freischütz.

Many thanks to Sir James Galway for posting the link to this video on Galway-Flute-Chat!

Closeups of Marcel Moyse playing can be seen at

5:19
6:16
8:19
8:40

Enjoy!
Catherine

Inaugural thoughts

2009-01-20T19:49:00.001-05:00

(Inaugural thoughts)

Moving in the light,
hope is the torch
burning our fears and illuminating our path.

Today is bright.
Joyful tears cleanse.
Snow crystals gleam as fire roars in hearth and heart.

May he lead from calm,
the fiery fountain of strength,
roaring within…

courage.

© Catherine LeGrand
1.20.2009

Helen Plays Flute Again!

2008-11-21T17:28:00.005-05:00

Dear readers,

I am sure that those of you who knew Roland Lietzenmayer will be delighted (as am I) to know that Roland's daughter Helen (the delightful younger flutist in the YouTube Chopstick Duo video)is playing flute again.

Helen's Mother sent me these photos taken last weekend to share with you.

Best,
Catherine

Sheet Music played in "Chopstick Duo' Video

2008-11-16T08:07:00.002-05:00

Hello,

Several readers asked what piece is played by Roland and Helen in this video.

Brigitte, Roland's widow, supplied the following info:

Hören, lesen & spielen
1 Duo - buch
Verlag de Haske
Nr.11 Die Parade von Jacob de Haan

They purchased the book through Amazon.de

Also, Helen is playing flute again!

Best,
Catherine

POV Theremin

2008-10-31T10:30:00.000-05:00

A look from the other side:

Enjoy!
Catherine

Spooky Music for Halloween

2008-10-31T08:04:00.008-05:00

Happy Halloween!

In the spirit of the day, I invite you to play a virtual theremin.

Rob Wright's internet experiment: CLARA, is a playable internet instrument based upon the theremin. Use the mouse to test the instrument - control the on-screen hands, (left hand controls volume, right hand controls pitch). The hand movement can be recorded and replayed. The instrument has a 3 octave range.

This is one of many fun and interesting links found in the Playground at my website.

If you want to see a real theremin played by a real theremin virtuoso, Pamelia Kurstin, check out this YouTube video:

Enjoy!
Catherine

Star Wars and the Alexander Technique

2008-10-23T15:58:00.003-05:00

Greetings!

I serendipitously found this brilliant video when searching for another.

It might be of particular interest to those involved with The Alexander Technique, but the quotes are very interesting when considered from a variety of contexts.

Enjoy!
Catherine

John McLaughlin - lotus on irish stream

2008-09-27T07:54:00.001-05:00

Greetings,

No, there is no flutist in this video, but this beautiful performance video from the 1970's, exemplifies masterful listening, amazing instrumental facility, and sensitive ensemble playing from all the musicians.

John McLaughlin is one of my favorite artists of all time.

Hope this makes your day!

Sincerely,
Catherine

Greetings from Kansas City!

2008-08-08T22:08:00.001-05:00

Greetings from Kansas City!

The 2008 National Flute Association is already half over.

I have attended many presentations and concerts and thank my fellow NFA members for sharing their talents and ideas. Lot of new ideas and fresh repertoire to try at home…

I have also been enjoying visits and discussions with old and new friends.

If I haven’t seen you already, I hope to see and meet each of you while I am here.

Best,
Catherine

Flute Choir BWV 142

2008-07-18T10:02:00.001-05:00

Dear all,

I hope you enjoy this terrific flute playing and awesome use of technology!

Catherine

Return of "Flute Duo Chopstick Exercise" Video

2008-05-13T22:44:00.003-05:00

Many thanks to Roland's family for posting this video again!

Several readers asked what piece is played in the video. Brigitte, Roland's widow, supplied the following info:

Hören, lesen & spielen
1 Duo - buch
Verlag de Haske
Nr.11 Die Parade von Jacob de Haan

They purchased the book through Amazon.de

Catherine

In memory of Roland Lietzenmayer

2008-05-10T10:27:00.006-05:00

Dear friends,

I have posted the final score of Le Tombeau de Roland: ‘Per aspera ad astra’. I commissioned this flute quartet, composed by Galway Flute Chat member Rick Arnest, in memory of Roland Lietzenmayer and in honor of his enthusiasm for flute playing. This work is published under the Creative Commons Attribution-No Derivative Works 3.0, so it may be freely distributed and performed. Thank you Rick! The work was first performed at Roland’s funeral in Albstadt-Ebingen by a local flute quartet. Many thanks to the flutists who prepared and performed this work.

I am walking in NAMIWalk 2008 in honor of Roland who was my online flute student. He gave up in his struggle with bipolar disorder on March 28, 2008. I hope to raise money for educational, support, and advocacy services for families of mentally ill persons through my efforts.

NAMI is the National Alliance on Mental Illness, the U.S.’s largest grassroots organization for people with mental illness and their families. Founded in 1979, NAMI has affiliates in every state and in more than 1,100 local communities across the country. NAMI is dedicated to the eradication of mental illnesses and to the improvement of the quality of life for persons of all ages who are affected by mental illnesses. NAMI members and friends work to fulfill our mission by providing support, education, and advocacy.

The goals of the NAMIWalks program are: to fight the stigma that surrounds mental illness, to build awareness of the fact that the mental health system in this country needs to be improved and to raise funds for NAMI so that they can continue their mission.

NAMI is a 501(c)3 charity and any donation you make to support my participation in this event is tax deductible for U.S. taxpayers.

NAMI has been rated by Worth magazine as among the top 100 charities "most likely to save the world" and has been given an "A+" rating by The American Institute of Philanthropy for efficient and effective use of charitable dollars. NAMI has also been given 4 out of 4 stars by The Charity Navigator for short-term spending practices and long-term sustainability.

To join me in this walk or to support my local walk team, the Bull City Strutters, click here. Click on my name if you wish to donate, or visit my personal fundraising page.

Thank you in advance for your support.
Sincerely, 
Catherine LeGrand

Le Tombeau de Roland: "Per aspera ad astra"

2008-04-11T07:57:00.019-05:00

Dear friends,

The family of Roland Lietzenmayer has asked me to share the following statements together with his official death announcement with Galway Flute Chat members, Roland's YouTube viewers, and his other internet friends.

From Ina (Roland’s sister):

“Would you please do me a favour and just tell them in the name of the family how touched we are and how much they help us in our sadness.

When people do get together in their spirits it is like the most beautiful piece of music, the most beautiful painting in the world because in these moments GOD is present in all of us.

And this will help us to overcome our sorrows and pains because we are all part of the whole; then we don´t have to be afraid of death because it doesn´t exist any longer; it is only another dimension...

My brother… had a lot of friends in the whole world and this fact makes me so extremely happy.

I would ask all members of the GFC who would like to do this, to light candles for Roland and to play with their flute a piece of music in his remembrance.”

I was honored that Roland’s family asked me to help select music for the service. In addition to a solo flute performance by GFC member Stefan Heymann, the family had a local flute quartet perform.

I commissioned Galway Flute Chat member Rick Arnest to compose a piece for flute quartet to be performed at Roland’s funeral: Le Tombeau de Roland- "Per aspera ad astra." This work is licensed under the Creative Commons and will be available for download at my website soon. I’ll make another announcement when it is posted.

I have posted Roland’s official death announcement for all of you, at the family’s request.I invite you to light a candle and play a piece of music in Roland's memory.

Sincere best wishes to all,
Catherine

Sir James Galway at the Texas Music Educators Association Convention

2008-02-17T13:59:00.015-05:00

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

Happy Valentine's Day!

2008-02-13T07:42:00.003-05:00

Valentine's Greetings from the Texas Music Educators Convention in San Antonio, Texas!
Catherine

"Duel" - Artist : Wouter Kellerman

2008-02-06T12:20:00.001-05:00

Hello,

This is Fantastic!

Enjoy,
Catherine

Flute Duo Chopstick Exercise

2008-01-15T08:58:00.001-05:00

This video has been reposted under a different account name.

Bravo to both members of this duo who have studied the buzzing and chopstick via Skype and ichat.

Wow! What impovement!

Congratulations! Catherine

Jerome Callet Master Superchops DVD

2007-12-21T16:11:00.001-05:00

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.

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 Buzzing, Chopstick and Finding your Sound

2007-12-20T21:07:00.000-05:00

Greetings,

The following video interview was recorded in the Houston studio of Aralee Dorough, Principal Flutist of the Houston Symphony, on September 22, 2007.
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.

Aralee, her husband, Colin (Houston Symphony oboist), and her father (famous jazz pianist,Bob Dorough), recently put out a CD, "The Houston Branch," with terrific Houston jazz sidemen. I enjoy this album often. You will find it here:

http://cdbaby.com/cd/dorough
iTunes (search for "Houston Branch")

All the best,
Catherine

Link for Keith Underwood Ghost Ranch Interviews on Buzzing, etc.

2007-11-17T21:41:00.001-05:00

Greetings,

Many of you have been asking how to easily access all of the Keith Underwood Interview postings on this blog. You can find them by clicking on the label "Ghost Ranch" in the right column or by going to this url:

http://catherinelegrand.blogspot.com/search/label/Ghost%20Ranch

Thanks for your interest and I hope you find this information very useful!

All the best,
Catherine

Flute duo chopstick exercise

2007-11-12T18:16:00.001-05:00

Bravo to both members of this duo who have studied the buzzing and chopstick via Skype and ichat.
Wow! What impovement!

Congratulations! Catherine

Interview with Keith Underwood, Part 9

2007-10-08T22:00:00.000-05:00

Here is Part 9 of the August 18, 2007 Ghost Ranch Interview.

On Ideal Vibrato Speed

I am grateful for the information and inspirations I have received from Keith over the past 15 or so years, and have enjoyed sharing this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

If you have found these posts interesting, I invite you to subscribe to this blog. Posts in the near future include interview segments with Aralee Dorough, Principal Flutist of the Houston Symphony.

Thanks again, Keith, for answering my questions, for this interview and throughout the years!

Best,
Catherine

Interview with Keith Underwood, Part 8

2007-10-02T22:37:00.000-05:00

Hello,

I have just returned from the Keith Underwood/Anne Waxman Workshop in Tannersville, NY. I am grateful for the opportunity to learn from Keith, Anne (fabulous Alexander Technique teacher) and my fellow attendees. What a wonderful group of people and terrific flutists!

This is the ideal time to post Part 8 of the August 18, 2007 Ghost Ranch Interview:

On Creating an Open and Supportive Atmosphere

Next week I will post Part 9: On Ideal Vibrato Speed

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/

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

If you find these posts interesting, I invite you to subscribe to this blog. Several readers asked if there is a charge for this blog. No, this public blog is free. Subscribe by clicking on "Subscribe to: Posts (Atom)" at the end of the blog scroll.

To search for more posts relating to a specific topic, such as "Ghost Ranch" or "interview", click on the label by that name in the right column of the blog.

Thanks, Keith, for answering my questions, for this interview and throughout the years!

Best,
Catherine

"Chopstick Exercise": Practice "Bytes"

2007-09-26T09:57:00.000-05:00

Hello,

As promised, this is 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!

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

In the video I demonstrate the exercise in short Practice "Bytes."
More Practice "Bytes" are posted in the LeGrand Virtual Studio.

Bon appetit!
Catherine

Interview with Keith Underwood, Part 7

2007-09-17T11:15:00.000-05:00

Here is Part 7 of the August 18, 2007 Ghost Ranch Interview.

Tongue-Controlled Embouchure and Support

Additional segments of this interview coming in September and October:

• On Ideal Vibrato Speed
• On Creating an Open and Supportive Atmosphere

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to be the first to read future interview segments.

Thanks, Keith, for answering my questions, for this interview and throughout the years!

Best,
Catherine

Breathing Coordination Website: Carl Stough

2007-09-10T16:47:00.000-05:00

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

Interview with Keith Underwood, Part 6

2007-09-08T10:12:00.000-05:00

Here is Part 6 of the August 18, 2007 Ghost Ranch Interview.

Timing and Sequence of Events for a Breath

Additional segments of this interview coming in September and October:

• Tongue-Controlled Embouchure and Support
• On Ideal Vibrato Speed
• On Creating an Open and Supportive Atmosphere

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to be the first to read future interview segments.

Thanks, Keith, for answering my questions, for this interview and throughout the years!

Best,
Catherine

Interview with Keith Underwood, Part 5

2007-09-03T14:50:00.000-05:00

More Buzzing Exercises, Lip Vibrato, and Tuning

Additional segments of this interview coming in September and October:

• Timing and Sequence of Events for a Breath
• Tongue-Controlled Embouchure and Support
• On Ideal Vibrato Speed
• On Creating an Open and Supportive Atmosphere

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to be the first to see future interview segments.

Thanks, Keith, for answering my questions, for this interview and throughout the years!

Happy Buzzing!
Catherine

New videos in the LeGrand Virtual Studio

2007-09-03T14:14:00.000-05:00

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

Here is an excerpt from the episode, Adding the Tongue: “Hit” or “Hid” Inhale Exercise, from the "From the Start" series.

Best,
Catherine

LeGrand Virtual Studio Group Subscriptions!

2007-09-03T13:37:00.001-05:00

Now available (as requested):

An annual group subscription rate to the LeGrand Virtual Studio 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

Interview with Keith Underwood, Part 4

2007-08-26T12:55:00.000-05:00

"Please provide a Buzzing 101: Syllabus…"

Here is the fourth installment of the interview.

Additional segments coming in September and October:

• 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

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to receive future interview segments short enough to post here. Longer segments will be posted at my website and I will announce the postings in this blog.

Thank you, Keith, for answering my questions, for this interview and throughout the years!

Sincere best wishes to my readers,
Catherine

Interview with Keith Underwood, Part 3

2007-08-26T12:38:00.000-05:00

"What if our lips get numb?"

Here is the third installment of the interview!

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to receive future interview segments short enough to post here. Longer segments will be posted at my website and I will announce the postings in this blog.

Thank you, Keith, for answering my questions, for this interview and throughout the years!

Sincere best wishes to my readers,
Catherine

Interview with Keith Underwood, Part 2

2007-08-26T11:58:00.000-05:00

"When will we hear improvement from buzzing?"

Here is the second installment of the interview!

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 this video interview with Keith filmed on August 18, 2007 at Ghost Ranch, NM.

I invite you to subscribe to this blog to receive future interview segments short enough to post here. Longer segments will be posted at my website and I will announce the postings in this blog.

Thank you, Keith, for answering my questions, for this interview and throughout the years!

Sincere best wishes to my readers,
Catherine

Video interview with Keith Underwood: Benefits of Buzzing for Flutists

2007-08-26T10:03:00.000-05:00

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 installment of the video interview here.
All segments will eventually be posted at my website.

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

I invite you to subscribe to this blog to receive notice of future postings of interview segments.

Thank you, Keith, for answering my questions in this interview -- and throughout the years!

Sincere best wishes to my readers,
Catherine

Coming Attractions!

2007-08-13T10:13:00.000-05:00

Coming in late August!

At www.catherinelegrand.com:

Video interview and tips from Keith Underwood!

For Virtual Studio Subscribers:

“Miss America Exercise”
“Fingers Ahead Exercise”
New additions to the Flutorials™series
From the Start: Step-by step videos to assist band directors in beginning flute classes

...and more!

Greetings from NFA in Albuquerque, NM!

2007-08-09T17:10:00.000-05:00

Hello all!

Day 1 of the annual NFA convention is well under way. I am finding that there are so many interesting events this year, it is very difficult to choose which ones to attend!

HOWEVER...if any current, former, sometimes or wannabe students are at the convention and would like a lesson, consultation, or equipment evaluation, leave me a message at the Hyatt or email me and we'll find some time to get together.

I am at the NFA convention until Monday morning. I hope to visit with many of my cherished colleauges, students and friends!

Best,
Catherine

New video series: Flutorials™

2007-07-18T16:04:00.001-05:00

"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™ in September!

Best,
Catherine

Feeling "Over-Exposed?": Piccolo Fingering Charts

2007-07-17T22:49:00.000-05:00

One of my readers asked this week where to locate good fingering charts for the piccolo on the internet. Coincidentally, the topic came up this week in FLUTE LISTSERV as well, making this an extra easy blog entry to write. Thanks to listers for their ideas. you can read their responses at Archives of FLUTE@LISTSERV.SYR.EDU .

One source others mentioned that I have used before is The Woodwind Fingering Guide/Flute.
Be sure to scroll down to the Alternate Fingering Chart for Piccolo. The listed "basic" fingerings for high f-sharp and high g-sharp are actually the ones I use in normal circumstances.

Christine Erlander Beard is a recognized piccolo specialist. Her website listed a number of online sources for piccolo fingerings on the page entitled Pedagogy (that means "teaching").

I second Jennifer Cluff's suggestion on the LISTSERV to wear earplugs when trying out all the high fingerings on piccolo! No joke. Those of you dusting off your marching piccolos, get yourself some good earplugs for your summer practice!

Jennifer's website also has a fingerings page with a vast list of fingering sources and topics for both piccolo and flute.

"A Basic Guide to Fingerings for the Piccolo" by Steven Tanzer is comprehensive and has helped me out in a few difficult situations. This book can be purchased from Van Cott Information Services, Inc.

Hope this helps!
Catherine

Flute Embouchure: A Rather “Square” Subject

2007-07-13T15:55:00.001-05:00

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

2007-07-12T14:36:00.001-05:00

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...)

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

Summer Jammin': Adventures in Improvisation

2007-07-02T14:16:00.000-05:00

In a May post I encouraged you to try out new activities and approaches this summer. Several of you expressed the desire to work on improvisation or to learn how to play jazz.

Here are some great resources to help you along your way:

Flutist and composer Nathan Zalman has published a free online tutorial for improvisation entitled Unleash Your Inner Flutist! which encourages us to use patterns we already know and put them together in new and interesting ways to express a palette of emotional qualities. He identifies improvisation as a simple three-step process: feel; choose; and, play.

Identify a feeling you wish to express—happy, sad, meditative, lonely, peaceful, curious, mischievous, surprised, etc.
Choose a vocabulary to embody the feeling—scales, keys, rhythms, or a non-musical inspiration such as a poem or story.
Play, allowing the music to come out. When you improvise, there are no mistakes, only ideas, intention and creation.

I attended the workshop Nathan presented for the Raleigh Area Flute Association in November, 2006, and truly enjoyed his creative and well-thought-out presentation. He is living his passion, as he says--a model to us all. You can learn more about Nathan, his interesting life and music at his website.

A good improvisation resource for learning jazz is the Hal Crook Play-Alongs page from the Stan Getz Library at Berklee College of Music. Entries, listed in ascending order of difficulty, include a pdf leadsheet and mp3 accompaniment track . I like "Taught 'em keys" --usually known as "Autumn Leaves."

I am gradually working my way through the DVD teaching series, "this is the Way i do it" by amazingly fluid guitarist John McLaughlin (of Mahavishnu Orchestra fame). I encourage you to visit John's official (and highly creative) new website to search for this boxed set while exploring and enjoying his virtual territory.I encourage you to include improvisation in your daily practice. I enjoy beginning my practice day with an improvisation, acknowledging and expressing my feelings before turning my attention to advancing the art of recreating music created by others.

Try something new every day! Life is waiting to be discovered.
Happy exploring...

Catherine

The Alexander Technique: Use In A Marching Band Setting

2007-07-01T10:27:00.001-05:00

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.

Happy summer!
Catherine

Keith Underwood and Jerome Callet video

2007-06-19T20:02:00.000-05:00

This video of Keith working on Bach Sonata in B Minor, BWV 1030, with tongue-controlled embouchure expert Jerome Callet. The focus of the session is articulating off the top of the tongue.

It appears that Jerome uploaded this to Google video.

Please visit Jerome's website for more information on his teaching and more previews from his soon to be released teaching DVD.

Great stuff!

Catherine

Helen Spielman Performance Anxiety Workshops

2007-06-18T21:23:00.001-05:00

Dealing with stage fright in a class setting is ideal since you can practice in front of your classmates! I encourage you to attend one of Helen's workshops--whether before or during the National Flute Association Convention in Albuquerque in August 2007, or at another future workshop.

I attended Helen's workshop "Performance Anxiety from the Inside Out" at the Raleigh Area Flute Association's Flute Fair in November 2006. The information was well-organized and well-presented, sprinkled with personal anecdotes and warm humor. Each attendee went home with some personal strategies for taming their brain chatter.

Her one-hour presentation "Performance Anxiety from Inside Out" will take place at the NFA convention on Thursday August 9 at 3 pm.

In addition, she is giving a full day (10:00 am - 5:00 pm, with one hour break for lunch) pre-convention workshop entitled Performance Anxiety from Inside Out on Wednesday July 8 in a location within walking distance to the convention center.

Learn how to replace negative perceptions and behaviors with affirmative ones that heal and build confidence. If you struggle with stage fright, you can gradually silence the self-defeating patterns that block your music. Learn highly effective tools to transform yourself from a fearful to a joyful and free performer, able to play optimally and let your music soar.

To register for one of Helen's workshops or more information on Performance Anxiety from Inside Out visit Helen's website.

Kudos to Helen increasing public awareness of performance anxiety and possible avenues of relief by presenting workshops on this important subject.

Catherine

More on Overcoming Stage Fright: Jennifer Cluff's Fluteloops

2007-06-18T12:33:00.000-05:00

Fluteloops03to05
&
Fluteloops Radio Shows 6 & 7

Wow! A five-segment series by Jennifer Cluff on her Flootloops Radio Shows on overcoming stage fright including interviews with leading authority Michael Goode (author of Stage Fright in Music Performance and Its Relationship to the Unconscious).

Topics discussed include: strategies for avoiding the negative effects of prior bad experiences; ways to overcome the behavior and energies of "psychic bullies"" in ensemble settings; the value of "flow"; and the power of intention in preparation and performance.

Episode 7 is Jennifer's excellent summary of the series and includes references to these additional valuable resources:

William Pleeth (Jacqueline du Pré's teacher) book Cello
reminds us that there is no point in practicing technique if the emotion of the music itself is not our primary intent.

Robert Caldwell: Performer Prepares, a long-term project for overcoming stage fright in workbook form --perhaps a good summer project?

Kenny Werner(jazz pianist): Effortless Mastery: Liberating the Master Musician Within

Thanks to Jennifer Cluff for putting this collection of resources together-- for reminding us we CAN be joyful and free in our music-making and we contribute to the well-being of our colleagues and audiences through our sincere efforts to perform in "flow." Thanks also for the bloopers which wonderfully illustrate the art of graceful recovery.

Catherine

My New Website

2007-06-10T10:27:00.001-05:00

I was prompted by the many questions I receive about my unconventional teaching techniques and exercises to create a website to efficiently share information and video examples with other flutists, wind and brass players, vocalists, and music educators.

The original idea for this website has morphed into a multifaceted site with a variety of free online resources on breathing, music performance and pedagogy, creativity, and flute-playing.

The site is also the new home for www.in1breath.com where BreathBuilders and Rebreathing bags can be purchased.

The website publicly introduces the LeGrand Virtual Studio which offers two services via the Internet: 1) LeGrand Virtual Studio Subscription with video and audio podcast lessons, interactive blog and other resources, and 2) live, interactive coaching sessions via the Internet.

The first lessons I taught via Internet were in 2002, and from the very beginning it was a useful way to keep in touch with former students living on the other side of the world. The tools required to use this interactive service have become more widely available and more affordable.

At the website, I also invite you to visit me in the Studio, Classroom, or Concert Hall. The Library hosts numerous free resources, including articles and video demonstrations on using the Breath Builder and Rebreathing Bag, other video and audio podcasts, and useful links.

For a little inspiration visit the Gallery, subscribe to the blog, or spend some time exploring the Playground featuring links to a variety of interactive artistic activities for “kids of all ages.”

Be sure to check out the Musical Infirmary where you can learn about some common physical, mental and musical ailments affecting performance and practice: their symptoms, causes, suggested cures and preventative prescriptions. All with a huge dose of humor!

I hope you find this website useful and FUN and will visit me often in my new virtual space!

Have fun exploring!
Catherine

Flutist Robot - ROBORAMA.info

2007-06-08T00:28:00.001-05:00

I wonder how accurate his Body Map is?

I always considered it a bit rude to wear a hat during a performance, except when performing in costume or marching band.

Can't say much in favor of the robot embouchure, either.

Enjoy!
Catherine

How to Assemble Your Flute (to avoid repairs)

2007-06-05T10:15:00.001-05:00

Younger students who are away from the watchful eye of their teachers for a time this summer would do well to view this video by Jennifer Cluff on assembling the flute.

Hope this helps you avoid getting in bad habits that could damage your instrument, requiring expensive repairs.

Jennifer has posted lots of other useful articles and information at her site. www.jennifercluff.com

Best,
Catherine LeGrand

Barnstable Buzzing with Keith Underwood

2007-05-25T12:37:00.001-05:00

May 19, 2007

West Parish Church in Barnstable, MA

I got the feel of it at last! The approving look of Keith Underwood!

Wonderful buzzing classes with Keith on Cape Cod May 18-20.
Video excepts of my classes are posted in the LeGrand Virtual Studio.

More soon.

Catherine

"Life on the drawing board"

2007-05-06T17:10:00.000-05:00

When I wake each morning, I pretend I know nothing.

The world is waiting to be discovered...again and again...

More about the day I took this photo.

The academic year is winding down and I am looking forward to having time to reinvent my playing, once again.

To assume I know everything is to automatically limit myself, and exploration is a precursor to discovery.

Those of you know me personally, know that I have an enormous repertoire of ways to work on things--to work on that difficult passage or to view a problem—and that I find great joy in new insights and discoveries.

As I allow myself to try a new way of doing something or to immerse myself in a new context or challenge, whether it be cultural (travel to an exotic place), work-related (music festival or new performance venue or repertoire) or home surroundings (even rearranging the furniture), I learn new things about myself; what motivates me and what fulfills me, and how I can best inspire others to discover their best selves, both as individuals and as artists.

I invite you to try out some new ideas this summer, whether in your music-making, or in your life. Check out the Library portion of my website for some inspiring resources, and visit the Playground for fun, creative play to encourage connecting your thoughts in new ways.

Life (as is art) is a process.

Happy exploration! I welcome hearing about your discoveries.
Catherine

Patricia George's "Flute Spa"

2007-04-21T23:50:00.000-05:00

On Sunday, April 15, at Meredith College, Raleigh Area Flute Association hosted Patricia George, Professor of Flute at Brigham Young University, to present her workshop , "Flute Spa," 3 solid hours of teaching jam packed with useful exercises, thoughts to ponder, and stories about the legacy and icons of flute playing.

I found almost everything she said meshed with my experiences as both flutist and teacher, and ignited my own creative thought process. She provided us with a useful booklet from the clinic with:

Warm up exercises and routines
Body Mapping Check List and images reprinted with permission from Barbara Conable's Book, What Every Musician Needs to Know About the Body, published by Andover Press (Amazon Link in Library).
"Octave Variations" (quick thoughts to remember high note fingerings)
"Short Scales" (a quick tour of the high octave of the flute moving through scales in the circle of fifths)-SUPER!
Useful pattern variations for practicing scales, including advocacy of "chunking" groups of notes in order to learn patterns faster (less practice time) in short, manageable sections. (I call these "bursts of notes".)
The "Flute Spa" menu concludes with Patricia's 2-page "Ideas on Phrasing 2007" which simplifies the vast, comprehensive subjects of phrasing and expression into well-explained individual elements.

Thanks for reminding us that practicing is a joyful process, one in which we can experience and celebrate measurable improvement!

I highly recommend attending a class with Patricia George. If you are using any of her materials, please credit her with their creation. I removed the document from the Library at my website after Patricia reported her materials had been plagiarized.

Also, check out the article:
"Using the 17 Big Daily Exercises for Flute by Taffanel and Gaubert, Published by Leduc" By Patricia George

Happy Practicing!
Catherine

Flute Alignment or How To "DeClaw" Flutists

2007-04-09T13:21:00.000-05:00

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

On “Stage Fright”

2007-03-17T09:15:00.000-05:00

This weekend my NC flute students are participating in a adjudicated event. They have all worked hard on their music and are well prepared. Each student was coached with piano in their lesson this week and performed their music for peers in a masterclass/concert.

The focus on performance preparation this week has reminded me of some things I wish to share.

We all have some level of nervousness when we perform, whether music, dance, drama, athletics or public speaking. Adrenaline—the natural chemical we produce under stress—elevates heart rate and respiration. This can cause some people to feel very hot or to sweat in performances. It can also cause the heart to beat so fast and hard that it is more difficult to count rhythms and rests.

This same adrenaline can allow us to accomplish great things under stress, such as great athletic achievements or actions of super human strength in the face of emergency, such as lifting a fallen tree off a loved one. Some adrenaline is certainly useful in musical performance (and can even help a performance be the best we have ever done), but too much is problematic; managing its release is very useful. Here are some suggestions, based on my years of performing experience, for managing the release of adrenaline.

Literally ground yourself: feel the floor supporting your skeletal structure--feet, legs, hipbones, torso, and head. Unlock your knees and ankles and release your tailbone.

Breathe deeply, allowing your spine to lengthen as you release your breath. With each inhalation or “inspiration” imagine the entire phrase of music you will perform with the air you are taking in, then recreate the phrase as you release your breath.

Remember you are in control. Take time to compose yourself before you begin, and, most importantly, remember that you chose to be there. You are not a victim! Be joyful that you have the opportunity to study music and have a chance right now to do something that you really enjoy doing.

Think large rhythmic units to keep your place. Always be where you are now, not where you were when you made that small slip. A mistake is so unimportant if the flow of the music continues afterward. Graceful recoveries from errors are truly appreciated by your audience.

The art of music performance is a process, and presenting music gets easier each time you do it. You are taking a positive step toward overcoming stage fright simply by performing.

I am proud of each of my students for their hard work and for the individual ways they distinguish themselves as they grow, both musically and personally.

Catherine

“Behold the turtle. He only makes progress when he sticks his neck out.”

2007-03-04T15:01:00.000-05:00

“Behold the turtle. He only makes progress when he sticks his neck out.”
James Bryant Conant (1893-1978)

I was waiting at the gate for an early flight on February 15 (the date my new website was scheduled to publish). Most of the seats were occupied by the usual assortment of business travelers wearing their morning masks. I noticed a somewhat nervous looking young woman and smiled in her direction. She responded by asking me, “When do I know when to board the plane to Houston?” I answered her question and she proceeded to tell me her story: From a small community in a remote part of NC, she had never flown before, or even traveled out of state by car. She had awakened before 2:00 a.m. to make the 3 hour drive to Raleigh for the 6:15 a.m. flight. At least she had not been sleepy en route because she had been so nervous about the trip! She had a long day ahead of her, since she was to change planes in Houston (another new experience for her) and fly on to Portland Oregon, far from home, to visit a friend. She was not dissuaded from her intention to visit this friend by any of her fears.

I acknowledged her fears and sincerely congratulated her on her courage. Then I informed her that she now had a new ultimate scary experience which to compare all future events—a new benchmark.

As we deplaned in Houston, she seemed more confident and ready for the next phase of her adventure.

Once upon a time, my “ultimate scary experience which to compare all others” was driving an unfamiliar rent car in an unfamiliar large city to attend an orchestral audition. That was later supplanted by performing at a National Flute Association Convention, then by--the to-date ultimate scary musical experience--sightreading the piccolo part in Richard Strauss’ Elektra on opening night with Christoph Eschenbach conducting.

Publishing a new website, a long, drawn-out process of concept, creation, collaboration, and evaluation, does not compare to the immediate stress level of the Elektra experience, but it is a benchmark experience, nonetheless. Putting one’s ideas forward in such a public way calls for both clear intention and courage in the face of uncertainty.

I hope the information provided by the new website reaches those who need it.

I am grateful for the process of website creation and for those who have helped me along the way, especially Judith Gadd of Star WebWorks who has been an ideal cohort and navigator.

Catherine

"I am always doing that which I can not do, in order that I may learn how to do it."
Pablo Picasso

“Be brave enough to live creatively. The creative is the place where no one else has ever been. You have to leave the city of your comfort and go into the wilderness of your intuition. You cannot get there by bus, only by hard work, risking and by not quite knowing what you are doing. What you will discover will be wonderful; yourself.”
Alan Alda