Ever heard of "Body Mapping?"

If you have been around in the music or fitness world very much, you have probably heard about "body mapping." I have heard of this tool many times and in different ways for years. It is similar to other disciplines like Physio Synthesis, Pilates, Alexander Technique, Feldencrais in the sense that it is a way to align the body and get things working well.

The thing about body mapping is that every article I have read doesn't really give me an understanding of what it is or how it can help me….until now. I got lucky enough to listen in to a webinar on arm and shoulder pain for flutists and violinists presented by Lea Pearson. I learned sooooo much!

I won't try to share what I learned, because that would not be a service to you. Instead I offer a link to Lea's website and hope you will go there and learn something valuable.

So here it is, check it out:

Click HERE for Lea's website.

Click HERE to share your discoveries on my facebook page.

When a note doesn't speak well.

A common problem for flutists is the note that wheezes or doesn't speak at all. Our lowest and highest notes are usually the ones that challenge us, but others can, too. 

Today I had an experience that reminded me of a very important point: the note that doesn't speak isn't always the culprit! The problem may be the note before or after it, or even several notes away! 

Consider today's challenge: first octave, middle C. The preceding notes were moving donward: A-G-E flat; then the C began a scale moving upward, C-D-E flat-F-G-A ....

When the E flat was wheezing, and the C not speaking at all. Of course my first thought was to focus on C, which is always a challenge. But upon slowing down and playing the preceding notes, I discovered that my left hand fingers were not covering the holes well, and although the G sounded, it wasn't a good note, and as soon as I fixed the G, I no longer had problems with either the E flat or the C. 

So, the next time a note is giving you trouble...take a good look at several ones leading to it and following it. Good luck!

Holding the Flute in Balance

Recently I ran across something talking about "the Rockstro Grip." I had never heard of it, so went digging around on the web. The result of my research is this excellent article.  Go ahead, read it, or at least skim down it, save the link and come back to read it thoroughly later.

It has changed my position! There isn't really anything in this article that my teacher hasn't told me before. But it's all together in one place, and maybe I have come to a point in my development as a flutist to apply it.

I started playing flute with tendinitis, or maybe arthritis, in both thumbs. My hands would often ache, and that had nothing to do with playing the flute. So I have struggled because it seems my hands just don't go the way they should. 

But today they did. My balance was lovely, my tone was awesome, and I felt a freedom in finger movement that I have never had before. Wow.

Now, go check out "the Rockstro Grip," revolutionize your performance!

The Summer Challenge!

It has been a while! I have been focused on healing from knee surgery for the past 3 months. You can read all about that in my blog on that subject: PartialKnee.Blogspot.com

Now that I have two strong legs to stand on, I am back working on my flute performance. I am going to be taking the CM Test, Level 7 next winter, so there is work to be done!

My teacher has decided to focus on daily practice (for herself) this summer, and I like the idea, so am taking up the challenge. We each post our daily progress on her Facebook Page: Stephanie's Students

                                     ****     ****      ****     ****

On another front, I am working on music theory again. We have been going through "Basics of Keyboard Theory" by Julie McIntosh Johnson. I am doing Levels 5 through 9 simultaneously. Sounds funny, doesn't it?

Here is why and what I am doing. These are really just workbooks. Each book is arranged in the same order: Key Signatures, Scales, Intervals, etc. I worked all the way through book 4, and when I opened up 5, it was frustrating to me to go back and re-learn everything. I felt like I was getting a sample of each subject area, then moving on without really learning it.

So I took Book 5, Key Signatures, did the worksheets, and then moved onto Book 6, 7, 8, and 9. By that time I had actually learned the key signatures, and felt confident with them.

It is really working well for me, except with intervals. My slightly dyslexic brain just rebels at grasping intervals!!!

Since I have been not working on much of anything music-wise for 3 months, this is a good time to step back and attack intervals again. I found a website with great exercises, all very customizable. I first found this site when I wanted a way to quiz myself on key signatures. 

Now I discover they have an app which I can keep on my iPad, so I don't have to be at the computer, or internet connected to study! Sweet.

Now I have the app, and am doing daily practice on intervals. This website is really terrific, and the app is a good deal at $3.99 so I recommend you check it out!

Click here for the website.

Articulations

Whether you are a beginner or advanced flutist, good articulation is key. It is important to understand the different techniques, and learn them correctly to begin, and later on it's a good idea to be sure you haven't gotten sloppy.

Click here to go to an excellent article on articulation.

Now get out your flute and PRACTICE!!

Learning from the Masters

From time to time I run across a YouTube video that offers an opportunity to learn from a Master Flutist. I discovered Emmanuel Pahud a few years ago when I needed a recording of a piece I was learning. I fell in love with his sound, so the other day I was wandering around on YouTube and found this clip from a Masterclass he gave: watch and learn! 

Stance

If you play flute, and you have (or had) a good teacher, you know that proper posture is key to good tone and performance. I am a self-educated expert on posture..not that mine is perfect...but that I know what perfect is/should be, and what muscles lead to it. (Once a Fitness Instructor, always a Fitness Instructor!)

I had the delightful opportunity to go to a Masterclass with Sir James Galway (one of my heros!) and here is what he said: Place your weight on you right foot, lean back slightly onto that leg, and tilt slightly forward at the hip. Tilt your head a bit to the right, but keep the flute at a right angle to your lip. By doing this you have a strong stance, and can move a bit to enhance your performance. The right arm gets a bit of a rest when you are playing for long periods of time.

I tried this stance..but here is the wild thing: I found that FOR ME, I have much better tone when my weight is forward on my left foot, my head erect, lifting from the back of the head, and flute parallel to the floor. (It does make the right arm work more.)

CONCLUSION: EXPERIMENT!!!!!

Try placing your weight in various places--left foot, right foot, central on both feet. Try a slight lean from the hip,or a tilt of the head (always maintain flute at 90 degrees to lips). Experiment and explore until you find the right posture to give you beautiful, round tones.