No More Tears – Breath as a Leit Motif

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For the past year, my colleagues and I have been working with a wonderful vocal coach, Martin Lindsay. His sessions are structured in a way that got me thinking. We start with light stretching and breathing exercises, just enough to activate the abdominal muscles and diaphragm. I won’t go into detail about what these exercises entail because I want to focus on the how not the what. The successful how is that these exercises become a leit motif throughout the session; we come back to them regularly, if only briefly. This is such a wonderful way to come back to basics, especially after a difficult passage where tension may have built up. For years I have been thinking of this but using it only haphazardly in my teaching and practice. Wouldn’t it make sense for all of us to use breath awareness as a leit motif on a more regular basis? Imagine how many physical and psychological injuries may be avoided!

I am reminded of a masterclass I attended some years ago given by a high profile flute teacher. The lesson started with a focused breathing session and an intelligent discussion of the breathing process. Then as the student played, she stumbled on a technical passage, over and over again. The teacher, instead of bringing her back to the relaxed and focused state she had at the beginning, continued to berate her for not being prepared. In the end, she was in tears, and I thought, what a shame! Perhaps she didn’t practice enough, but perhaps she didn’t practice well enough? Isn’t it also our job as teachers to address the issue of how to practice? Breathing awareness (whether you do actual exercises or not) should not be just an item on our checklist to be crossed off at the beginning of our session. We have to incorporate our awareness of good breathing in the literal sense of the word: to absorb it into our bodies. This will include repetition just as the development of a difficult passage, or the development of any good habit, will include repetition. To make any practice successful, whether musical, spiritual or the latest diet, it is not enough to just pay lip service. I pledge to make breathing awareness my leit motif.

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Harmonic Exercises, with Articulation too!

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When playing through the harmonic series, the second overtone (a twelth above the fundamental) is a great check point. When students begin learning harmonics, this one often proves elusive because of the tendency to cover too much of the embouchure hole. By rolling out a bit and blowing down, it usually speaks. The following exercise I find useful because it begins by alternating between the normal fingerings and the harmonic fingerings. For those new to harmonic exercises, it provides a good anchor.

Harmonicsstudies

The next page gives a workout for the lips, and introduces articulation to harmonics, although it is also useful to practice legato in bars 13 to 38. I find articulation exercises with harmonics, such as those in Trevor Wye’s book, to be great stabilizers and strengtheners for the embouchure.

Harmonicsstudies2

 

Continuing with articulation, I am further inspired by Paul Edmund-Davies’ “The 28 Day Warm Up Book”. His articulation exercises are a mainstay of my warm up, and I decided to go one further and translate some into harmonic exercises. (Read my review of this book here.) This first exercise strengthens the elusive second overtone:

PEDHarmonics

 

This next one overblows the third overtone. It is for those already strong in this area; please don’t over do it, or any of these exercises. It is useful to combine these variations with Edmund-Davies’ original.

PEDHarmonics2

 

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Perfection and Procrastination in Daily Practice

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Recently I have spent most of my practice sessions “warming up” and playing exercises. The repertoire I am working on is singularly uninspiring, so this is mostly a maneuver in procrastination.

But it’s great: taking the time to do and re-do an exercise while focusing your awareness of what’s going on under your skin is never boring. Did I miss that high A? Yes, great, have to do it again. This time keep the air going. The high A takes care of itself. Missed the triplet arpeggio? Good, have to do it again, this time don’t loose connection to left arm. Damn, time to do repertoire….just one more exercise, though.

I remember Pat Morris, piccolo and Feldenkreis teacher, setting the shoulders of a student to rights. After the student played again she said, “see, you improved without having to practice!”  As followers of the Alexander Technique rightly point out, it is the opposite of “If at first you don’t succeed, try, try again”. Instead: “If at first you don’t succeed, never try again, at least not in the same way”. That is what I like to think what I am doing with my exercises. Sometimes I play without a mistake, but it is not perfection I am after.

In know, I know, I should carry this attitude into the repertoire-learning part of my practice. To comfort myself (and further procrastinate) I carry a book with me to practice sessions: Pedro de Alcantara’s “Indirect Procedures – a Musician’s Guide to the Alexander Technique”.

The objective of daily practice should be to cultivate the best possible use of the self on a general basis, and to apply it correctly on a specific basis …In other words, working on right living should take precedence over working on right playing.

 

 Patanjali (author of the Yoga Sutra) would probably agree, and he would have certainly something to say about my procrastination. Most wisdom traditions teach the concept of non-attachment (which I suck at). What often gets missed is that they also teach one to practice non-aversion (which I have a slightly better chance at). In the end, it might be the approach of the concert date which changes my attitude. So much for wisdom.

One last quote from Pedro de Alcantara:

I believe there are four separate but interrelated factors … in achieving truly free action: giving up trying, giving up judging, ridding yourself of hesitation and eagerness, and timing your actions precisely.

Here I have a chance in hell of making some sort of progress :-)

 

 

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