Happy Holidays,

Here is some inspiration for the Holidays!

Jill Bolte Taylor is one of my heroes!... Give yourself a gift and watch her video from Ted Talks... 

I read her amazing book My Stroke of Insight, a few years ago.... Her life is an inspiration... 

Let's choose peace, "a worthy idea to spread" this holiday season and into the New Year, and all years... 

http://www.ted.com/talks/jill_bolte_taylor_s_powerful_stroke_of_insight.html

Heartfully & Peacefully,

Jennifer

Studio Notes - weeks 11 &12

Studio Notes for Keeney Studio

Weeks 11 & 12

Ideas of weeks: 

There are many ideas I have been sharing with you and that I would like to share with you this week. 

Here I will discuss ideas that were focused on in lessons. 

Conversation Comments and Feedback :

What kind of comments, feedback, instruction, coaching, do you like to receive and that you find useful, helpful, meaningful, inspiring and motivating to your growth as a flutist, musician, artist and whole person? 

Some ideas to use in your Conversation Comments:

Give some positive, meaningful, authentic comments that help to encourage and motivate the person you just heard playing.

How convincing was the interpretation and performance of the piece they just played? 

( Consider the Expression ,Accuracy and Consistency of: music, tone, technique, dynamics, style, tempo, rhythm, rubato, mood, tonal colors, intonation, clarity, variety of articulations, comfort, ease of playing, confidence, personality, charisma, projection, balance with piano or other instruments...)

If you know the piece well, give details about where this was or was not working for you.

If you have heard them before, give inspiring words about how they have changed and improved.

More Ideas from the week: 

How clear and convincing are you about your interpretation of the music? How emotionally connected are you to the music you are playing? This will come through in your playing and will be what the audience hears, sees and feels too.

Then is is about ...not playing in a planned way but present... Alive, Living... being present to the note, notes, music as you are playing. They are alive, where do they and are they going? A listening that is in the moment of creating the sound, bringing it to life off the page and into the world. Musician as the bridge between composer and audience. 

Resonance and Projection - We discussed this and found many great things... Here are a few...

It is about what you let go of, free to resound.

It is about good, easy, free use of the body.

It is being open. All channels open...

It is projecting something that is bigger than yourself.

It is your strength of character, your courage, your willingness, your open heart , to be powerful on stage...

It is taking up a lot of space, feeling big...

It is in your mind and body and the sending out of your spirit through your instrument into the world. 

It is being totally involved, immersed, passionate in what you are doing.

How Playful are you in your Practice? What is play to you? Do you remember how to free yourself and be playful? Find some ways to bring this into your practice. This is freeing, rejuvenating and will bring new life to your practice.

The notes may end, you may stop playing, but the music still continues... Stay connected to whole time.

Consider you and the pianist as a duo. They do not stop every time they “miss a note” something. Please think about and notice if you ask them to stop every time you “make a mistake”. That is different than stopping to choose to rehearse a part of the music. 

Allow your self to practice with honest mistakes and not have a detrimental reaction to it. Learn to listen and calm your nervous system so that you can hear it, observe it, notice it and still be in the moment. After you can trust yourself to have heard it and make a choice of how to practice it. 

Body - 

Easy Elbows, allow for movement at elbows and for them to feel light and free. Remember Meade’s Arms? pg.41

Balance of Hands and Head...

Be both handed... notice if they are out of balance how this can effect your technique, tone, the music. 

Connect this to the balance of your head on top of the A.O. joint. When your head is off balance it effects these same things... Give your self direction to free your neck, balance your head, slightly forward and lightly on top of your spine...

C’s - Care, Consistent, Conviction, Clarity, Challenge, Choice, Connection, Comfort, Confidence, Concept, Creative, Charisma, Courage, Color, Commitment, Character, Concept, Connection, Compassion, Calm, Change, Challenge, Contribute, Codify, Communicate, Cultivate, Capture, Circle, Clues, Center, Codify, Calm, Compose, Commune, Contrast, Core, Creation, Conversation, Contemplation...

Book - The Art of Possibility by Rosamund and Benjamin Zander 

Please be prepared to discuss a chapter a week in Studio Class. We are on Chapter’s 6-9 this week.

Studio Class - PERFORMING QUESTIONS

How is performing different from playing?

What makes a great performance?

What is great stage presence?

What is projection and how do you project, bigger than yourself, the music on stage?

How can you practice and learn to be comfortable on stage? 

How alive, present moment are you and is your listening when you are on stage performing, auditioning...?

How do you practice being connected to the audience?

Do you respect and feel gratitude for the music and the audience?

If the musician is the bridge between the composer and the audience... Are you the Bridge that connects the music? 

Do you consider that we are all in this together, that we all matter and are effecting each other in powerful ways?

How do you create an open channel of giving and receiving energy? 

How willing are you to be vulnerable, courageous, powerful, authentic... on stage?

How engaging, attractive, magnetic, authentic, dynamic, free, involved, charismatic... are you as a performer? 

Are you moved by the music you are expressing, performing, sharing, bringing to life?

How do you look and sound on stage? Is it really what you think, who you want to be, who you are?

Who is your authentic self? Are you being true to that?

Are you a creation always in the process of, continually being created, ever changing being alive? 

How is this process of “being alive”  like vibration, sound, music?

Why does someone go to a live concert instead of listening to music in the comfort of their own home?

How do you get an audience to attend and become excited about your concerts, recitals, performances?

Listening: Listen to as many recordings (at least 3) of great people playing your piece. Select a couple of phrases to compare. Notice as many things as you can in great detail about their interpretations. 

Reminder’s:

Tuesday Recital - Nov. 8th at 1pm

Grade Evaluations Due Nov. 10th

Studio Recital Nov. 14th 7:30 Dudley Hall

Scale Jury - Nov. 15th

Marianne Gedigian Class - Nov. 21 - 5-7pm #118

Flute Jury - Dec. 6th - room 175

I am so proud of each one of you!

Keep believing in your self and your dreams!

Take good care of your self and make good choices every moment and every day! 

Be kind to yourself and to others.

~ Heartfully, Ms. Keeney

Performing Questions...

Talking to my students about performing and developing their stage presence and projection as a performer. 
Here are some questions I asked them to consider, write about and discuss in studio class. 

Questions about Performing:

How is performing different from playing?

What makes a great performance?

What is great stage presence?

What is projection and how do you project, bigger than yourself, the music, on stage?

How can you practice and learn to be comfortable on stage ? 

How alive, present moment are you and is your listening when you are on stage performing, auditioning...?

How do you practice being connected to the audience? 

Do you respect and feel gratitude for the music and the audience?

If the musician is the bridge between the composer and the audience... Are you the Bridge that connects the music? 

Do you consider that we are all in this together, that we all matter and are effecting each other in powerful ways?

How do you create an open channel of giving and receiving energy? 

What makes you appear confident on stages? And what makes you appear to not be confident ?

How willing are you to be vulnerable, courageous, powerful, authentic... on stage?

How engaging, attractive, magnetic, authentic, dynamic, free, involved, charismatic... are you as a performer? 

Are you moved by the music you are expressing, performing, sharing, bringing to life?

How do you look and sound on stage? Is it really what you think, who you want to be, who you are?

Who is your authentic self? Are you being true to that?

Are you a creation always in the process of, continually being created, ever changing being alive? 

How is this process of “being alive”  like vibration, sound, music?

Why does someone go to a live concert instead of listening to music in the comfort of their own home?

How do you get an audience to attend and become excited about your concerts, recitals, performances? 

Pedagogy- What is important to you?

Pedagogy- What is important to you?

My students and I have been discussing and educating ourselves about pedagogy. I  started by asking them to write about what they felt was important about pedagogy and what they felt was their flute pedagogy...  So I  thought it would be good to do the same.. So here are some of my ideas about pedagogy and what is important to me. It is something that is always alive, dynamic, in continual motion...  Love to hear some of your thoughts too..~ Jennifer 

• To teach all students in a positive, informative, open, creative and artistic way as individuals with the potential for growth, for creating beautiful music, and for personal success.
• To teach with a balance of fundamental educational structure, organization and artistic creativity and freedom that is tailored to meet the needs of each student.
• To encourage questions, creative thinking, emotional connection to music, holistic observation and artistic listening skills and to foster an open environment to explore the teacher and the students ideas.
• To teach the student as a whole person in a professional, kind and interactive way.
• To trust and believe in yourself and in your students. 
• To be a fine teacher and student and know that we continually learn and grows as individuals and from each other. That feedback is an important part of the process.
• To develop the students sense and trust in their natural musical instincts, non habitual - free movement and unique voice on their instrument.
• To inspire through my passion for music, teaching, playing, performing, listening and the care of each student. 
• To be able to explain and teach an idea in a variety of ways via: knowledge, metaphor, imagination, creativity, language, movement and through the highest possible demonstration on my instrument.
• To realize that it is important to be authentic in one’s communication as a teacher. To also consider that what you do not say, is as important as what you do say. 
• To teach the art of listening and constantly question what that is and how do we open, expand and refine it. 
• To teach about practice in a way that encourages home play/practice: freedom and structure, thought and curiosity, detail, depth and delight and to use modern technology in useful and creative ways for each students enjoyment and progress.
• To give students opportunities to play/share/perform their music for a variety of audiences.
• To teach about the unity of practice and performance. To give students many ways to explore their response to performing and develop ways to gain performance confidence.
• To share with my students the beauty, power and importance of music and the arts in education,in the individual and in the world as a teacher, student, performer and music lover.
• To know that it is all a process ... that is dynamic and in a continual state of vitality, of living... learning, growing and educating yourself and the student... together. That there is no end and that there is always enough time - a lifetime.

The C's - Care, Commit, Charisma, Courage, Confident...

This all started after my husband and I went to the Tom Hanks and Julia Roberts movie this summer, Larry Crowne. Julia Roberts is a professor and writes on the board.. CARE... She asks the students to care about them self, their class, their work, their studies, other people, their life!!! I liked this and thought about how many C words are so important to life and music making and CARING... 

Here are some of the C's we came up with that really matter and that I CARE about... Add some of these to your life, practice and performance and see what happens... ! 
Cultivating and contributing to the continued care, creativity, courage and compassion of your practice and life... Cheers ~ Jennifer

Care -  Commit  - Consistent -  Conviction Confident -  Creative -  Curious   Courageous - Choice - Color - Concept   Change - Character -  Curve - Concept   Charisma - Challenge - Compose

Codify - Challenge - Capture  - Circle   Cantabile - Comfort - Clarity - Contrast
Center - Core - Cheer 
 Contribute - Cultivate - Compassion

Meaningful Movement- To move or not to move that is the question?

Meaningful Movement

To move or not to move, that is the question? 

Not really...everything alive has movement... 

The question is what kind of music are you making and what kind of movement are you creating?

It really is not about "not moving".  

It is about discovering the use of our whole self and our wholeself as the instrument to make music in and through. 

Are you using your whole self (mind, body, spirit)  or just a part of it? Perhaps you are only aware of part of yourself? 

Possibility:

I am inviting you to open yourself up to the possibility of being your whole self to play, perform, practice, live... 

Flutistically, Artistically, Wholistically. 

It is about being inclusive in your awareness and balanced in your dynamic movement.

This is all about making music come to life in a meaningful, authentic, dynamic,  natural, expressive and artistic way. 

It is not about a right or wrong way, but educating yourself, being open and curious.

Discovering and Observing life, your practice and performing and being fascinated by infinite possibilities. It is also about the choices you can make and how they effect you, the music, the audience and life.

What kind of Movement are you creating? Is it meaningful? Is it Musical? 

I feel it is essential to consider your movement and how it effects:

The Music.

The Audience.

Your self: 

as a growing as a musician.

having more artistic choices of movement

not creating habits that take away from the music

not creating habits that cause tension and harm to your body

finding ways to move that are natural and do not harm the body

Is it Habitual or Expressive of the Music?


I observe most people falling into a habitual movement that has very little to do with the music. An example would be that they are beating, keeping time with the end of their flute in a vertical manner. Another common movement is to stir or constantly circle with their flute. Both of these movements are habitual as when asked to stop the movement it is very difficult for them, they are unaware that they are doing it and it and it has become a habit not a movement that expresses the music. 


So, what are some ideas to become mindful of your  movement and the music?


Video record your practice in 5 minute intervals.
Examine your movement, practice and music making. What do you observe about the quality of your movements, what do you hear happens when you move? Is it effecting the music line, your tone, your technique in a positive way or taking away from the music? Record your self again not moving, but rather replacing the habitual movement with moving your air and the musical line. How did you do now? What did you observe. Can you feel the natural movement that is already happening in your body? Some of those movements are the movement of the spine- gathers as you inhale, lengthens as you exhale. The movement of the ribs as they rock back and forth and their elastic nature that shape around the lungs as they expand. The balance of the head on top of the spine, the freedom of the neck, the width of the shoulders...  There is so much natural movement in the body and in the music... 


Replace your habitual vertical movement with a horizontal movement, like the bow of a string instrument, that imitates, reflects the musical line. 
What do you notice by listening to yourself and recording yourself when you use this kind of movement? Generally it sounds more flowing, lyrical and natural. It tends to have less lumps and bumps in the line. It also can help you to connect with your air stream and notice where you are tending to stop the air the musical line. 


Just stop moving and LISTEN.
I feel that a lot of our habitual movement is tied up in covering up, not intentionally, really listening to what we are creating as musicians. If you stop and really LISTEN you will hear more.  If you stop moving and listen what do you hear? Can you hear more of what you are doing and perhaps not doing? If you stop and listen can you use more energy towards the music? If you stop and listen can you create with more conviction and clarity the composers music and your creative ideas of expressing the music in a meaningful, mindful way? 


 I hope that you enjoy adding this element of mindful, meaningful, movement to your practice.


~ Jennifer

Creating and Cultivating Presence in Practice and Performance.

Here are a few ideas on creating and cultivating Presence in your life, practice and performances. 
Also, last night I was reading a wonderful book, Life is a Verb by Patti Digh, her blog is, http://www.37days.typepad.com/. On pages 46- 48 she talks about presence and how we hold presence for each other and receive presence from another. It is so beautiful, the book and these pages on Presence... 

Enjoy,

Jennifer

And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our fear, our presence automatically liberates others. - Marianne Williamson

What is Presence ? And how are you accepting and holding Presence for another?

. •Light- There is light in someone who has presence and in a sound that has presence. It is visible and expressive, alive, alight, luminous. Kinds of Light: candlelight, moonlight, twilight, sunlight, spotlight..

•Expansive - It defies the limits of body and space. It is multi dimensional, whole, unified, it is eternal...

• Intensity - Passion, purpose, power, desire, direction, drama, strength, commitment, expression, focus, determination and interest...

• Enchanting - Inviting, magical, imaginative, wishing, hoping, fearing, visionary, dreamy, singing...

 • Attracting - Compelling, has character, wit, dynamic, intelligence, sweet, loving, kind, beautiful, funny, connecting, magnetic, seductive, energized, vibrant...

 • Alert - Presence is present, aware, awake, attentive, alive, alight, encompassing, inclusive, cultivating...

• Authentic - Being yourself, knowing yourself, real, natural, unique, original, one of a kind, special...

•Permeable - Open, vulnerable, porous, empathetic, feeling, compassionate, connected...

Permeable

Listen: to NPR Series 50 Great Voices

Giving Concerts

I had a student write to me about where to give a recital. There are so many wonderful places to share our music. I hope that we all continue to encourage our students and ourselves to go out and share live classical music with a variety of people in a variety of venues. 
Many years ago I wrote an article entitled Dreams Goals Book and in it is a section about finding places to give concerts/recitals. Here is a part of that article. 
Enjoy and let me know where you will be playing.
~Jennifer

CONCERTS TO GIVE

Find out when your Band and Orchestra Concerts are for the year.

Find out when your Recitals 

will be for school, 

private lessons, etc.

Mark these in your Calendar.

Figure out the time lines for 

Your Concerts/ Recitals.

How long will it take to learn 

the music?

Where is the Concert?

Keep your programs of 

concerts you have gone  to and given.

How many rehearsals do 

you need to Schedule?

With:

Your Private Teacher Pianist Chamber Music Coach Ensemble Members

Where are you rehearsing? In the Concert/ Recital Hall/

School etc.

Are you recording it?

What do you need to do to 

have it recorded?

Figure out these schedules, 

mark it in your calendar.

SHARING YOUR MUSIC

IDEAS AND PLACES:

Schools

Day Care Centers

Libraries

Assisted Care/ Nursing Homes

Hospitals

Coffee Houses

Churches

Private Homes

Concert Halls

Other Organizations

Get the names, emails, websites 

and numbers

Make up a template to keep 

track of these things.

Place, name and street address, directions. 

Contact Information 

person, phone and email

Date of performance

Who is performing? Group name, emails and phone numbers

Program

For yourself, the ensemble. Are you speaking the program or do you need to

make copies of the program or give it to the contact person to make copies?

Program and program notes By what date?

 Keep these in your Book.

Keeney Studio Notes - Weeks 3 & 4

IDEAS: to think about... "What can I let go of?....." Not giving the body another thing to do, but to let go of and free your self back into the natural way the body moves freely and dynamically. Also, perhaps a better word than straighten for the spine is to allow for lengthening and sequencing. Again, this is the natural movement of the spine. It lengthens and gathers, like the  gathering and lengthening breath I taught you :-)... Yes, how we shape our breath, body, mind and heart, is how we shape the music too. 

Mystery to Clarity...How Clear is your thinking, feeling, knowing about the music you are making? Whole Self, Tone  (breathing, voice, presence), Technique (all parts and patterns), Rhythm, Interpretation (knowledge and personal musical instincts), Ensemble, Listening...  

What do you need to do in your practice and musical life to give clarity and meaning to the music, to your playing and performing? Find ways of making the music come alive through thought, feeling, knowledge, dedication, discipline, discovery, delight, determination, desire, daring and play. This will give you the clarity you are looking for in expressing the music in an artistic and joyful way.

C’s - Care,  Consistent, Conviction, Clarity, Challenge, Choice, Connection, Comfort, Confidence, Concept, Creative, Charisma, Courage, Color, Commitment, Character, Change, Communicate...

Letters - Thank you for your beautiful letters about giving yourself an A...

Book - The Art of Possibility by Rosamund and Benjamin Zander. Please continue to read be curious about and do the practices. 

Studio Class - See schedule for performers. 

*Add to schedule:  Change in Studio Telemann Recital is in Chapel on Oct. 11th.

Halloween Concert, Oct. 31 in 175. Ms. Gedigian’s Class on Nov. 21 5-7pm

Preparation & Performance - Lesson Notes sheets and focus points, p. 14-16. Use these for lessons each week in your 3 ring binder. Record parts of your practice!

Creative Practice Idea -  Please focus on these, p. 33 one inch and fermata technique...  and creating long lines,p.34

*Read Long Lines quote in Zander book, p. 116

Body - Read Alexander Pages in book, p.40 and practice directions and active rest.

Breathing - Finger Breath and Flow Master, p.41. Use directions for observation during your practice with these breathing toys :-).

Embouchure - Know your aperture!!! It is the “hands” that shape your air and mold the music. Be a sculptor of your air, an artist...

Tone Practice from: Creative Practice Ideas and Exercises - continue practice as in weeks 1&2 & Slow Movements of Bach Sonatas, Partita and Mozart Concerti - 1 a week

Technique Practice from: Creative Practice Ideas and Exercises - Continue practice as in Weeks 1&2

Etudes - as Assigned

Solos - As Assigned. 

Orchestral Excerpts & Band Music - as Assigned. Orchestral Excerpt Book by Jeanne Baxtresser is the required. 

The Art of Possibility- Zander

I have been reading along with my students this semester, The Art of Possibility, by Rosamund and Benjamin Zander. What a wonderful book full of inspiring stories, ideas, and real life practices to engage in life... in making music of life...  Thank you for writing this book! I highly recommend it! The Art of Possibility


The 12 practices are:
1. It's all Invented
2. Stepping into a Universe of Possibility
3. Giving an A
4. Being a Contribution
5. Leading from Any Chair
6. Rule Number 6
7. The Way Things Are
8. Giving Way to Passion
9. Lighting A Spark 
10. Being the Board
11. Creating Frameworks for Possibility
12. Telling the WE Story




Try them and see how your life changes and the lives around you... Let me know what it creates in your world. 

Here is a wonderful TED Talk by Ben Zander on Classical Music and Passion... Also full of inspirational ideas of how alive and well classical music can be... and how we listen and what "impulse" is in phrasing... Thank you Ben!


Heartfully,
Jennifer

Focus Points week 1&2

Focus Points for Lessons - Creative Flutist Studio - Fall 2011

Weeks 1 & 2

Here are the ideas and conpets for the first 2 weeks of lessons this fall. Enjoy!

Rhythm in heart and fingers. Breath is moving and shaping the whole of the musical line. 

Breathe with the music in a meaningful way that is in time and connected to the music you are making. “Pour your whole self into your flute...”

C’s - Care,  Consistent, Conviction, Clarity, Challenge, Choice, Connection, Comfort, Confidence, Concept, Creative, Charisma, Courage, Color, Commitment, Character...

Syllabus - given out and needs to be read, followed and signed. 

Letters - Why I received an extraordinary grade of an A... “ ...  Due Sept 1&2 at your lessons.

Book - The Art of Possibility by Rosamund and Benjamin Zander 

Please be prepared to discuss a chapter a week in Studio Class and to write a 5 page (12 pt. font) paper discussing the Practices presented in this book and how you are using them and what kind of changes you have made practicing them this semester. Due: Dec. 1st, 2011

Studio Class - Schedule for performing has been given. Also, Flight of the Bumble Bee Part and Flute Choir parts for Sept. 8th Collage Concert.

Preparation & Performance - Lesson Notes sheets and focus points, p. 14-16. Use these and make copies for lesson each week in your 3 ring binder. 7 Levels of Learning, p.17 

Creative Practice Idea - Metronome Motivation & Precision and Flow, p. 30 . Circle of Observation and Add a Note, p.31.

Body - Meade’s Arms, p.41

Little Monkey p.40                                      Head “Floating” on top of spine.

Your Circle Sphere, Bubble - moving inside of it and being connected. Circle it p. 42

There is nothing like good use of your whole body for sounding authentically like you and having a great practice and performance. 

Breathing - Gathering and Lengthening Breath,                                                             Breath as a Bow (string player) and Breathing Bag, p.45

Embouchure - Not just outside facial muscles. What do you notice and can activate on the inside your cheeks for example? forward mvt.

“No teeth” - shape with lips... (no jaw, release jaw)

Tone Practice from: Creative Practice Ideas and Exercises - read p. 48-49 

1. Beautiful Notes or Tone & Tuner #1 or Tone & Tuner #2 - 1 a day

2. Interval Intimacy - 1 key a day all registers

3. 4 Styles of Vibrato - 1 set a day all registers

4. Limber Lips & Angle Air - 1 key a day all registers

5. Slow Movements of Bach Sonatas, Partita and Mozart Concerti - 1 a week

Technique Practice from: Creative Practice Ideas and Exercises - read p. 83-85

1. Finger Patterns  - 1/2. Whole, Maj. & Min. 3rds - 1 a day

2. Whole Range Scales - Major and Harmonic Minor 

3. T& G - use the 2 week Schedule, p. 85. Also for T&G #4 use p. 114  in my book. 

1. Gilbert Chromatics - p. 85

Etudes -  2 as Assigned

Solos - As Assigned. Whole class is giving a recital of Telemann, Fantasies. Read article by Rachel Brown I sent in a email regarding the Telemann Fantasies. Also, see Amy Porter’s DVD on the Telemann, Fantasies on reserve in the Library. 

Orchestral Excerpts & Band Music - as Assigned. Orchestral Excerpt Book by Jeanne Baxtresser is the required.