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The Sensible Flutist

The Sensible Flutist: July 2012

Monday, July 30, 2012

Performing from the heart

I had a yard sale on Saturday morning. It gave me the opportunity to spend the entire morning outside and just think. I was grateful for the opportunity because I was able to ponder on this question:

How do we integrate all of the elements we practice and nurture in ourselves into a performance, which is simply a moment in time? 

I want to play freely. I want to have a conversation with my audience. I want to be authentic. But at times, some things holds me back. I feel that I'm not perceived as a "serious" player. I am attempting to build a career on my own terms, and not be accountable to anyone. I cannot control how others perceive my work or my status; however, that doesn't mean I let it get to me on a subconscious level.

These moments of self doubt are thankfully fleeting. For instance, if I was convinced that I had nothing worthwhile to say, this blog wouldn't be in existence. I don't let these moments consume me, but they are a reminder that I have to choose my working relationships carefully. Toxic relationships that are not grounded in honesty, but are instead built on greedy expectations of what the other person can do for them is a recipe that can create self doubt, aggravate symptoms of performance anxiety and make you feel that your work is less valuable.

We all have a need to have supportive relationships. A support network can help you reach your potential and increase your confidence in your abilities. Often times, a lot of the negativity we perceive seeds itself and grows in our own minds. We're less likely to talk about these very human moments with others. Negativity will usually dissipate when exposed to the light; however, when left to simmer unsaid and unexpressed, can be destructive. Supportive relationships can stop these vicious cycles in their tracks. Being able to talk about your self-doubt with those you trust can make it seem less scary, and leaves you better able to begin performing the way you want to.

Also, the more frequently you perform, the easier it will be to integrate all the best aspects of your playing into a cohesive and inclusive performance. Here are a few things that I like to do to ensure that I have the best chances of success when I go on stage:

1) Perform frequently, no matter how small the venue. Take charge of your own opportunities. The more frequently you arrange your own performances and tap into the type of audience you want to build, you'll begin to create a following. And who says a fan base isn't good for developing authenticity?

2) If it's new music you're learning, find smaller performance opportunities that don't have a lot of pressure associated with them. You learn the piece in a new way when you perform it than in the practice room. Familiarize yourself with how it feels to perform the piece and the music takes on new meaning which you'll be better able to communicate the day of the big performance.

3) Play for friends. Invite people over for wine and music. Let them play for you and vice versa. Informal musicales are a great way to spend time with people whose company you enjoy, and also allows you to experiment with your performances in a low pressure environment.

4) Taper your practice to no longer work on details, but to maintain a sense of the whole. See my previous post on practicing like you train.

5) Nurture yourself. Are there toxic influences in your life? Minimize their impact by distancing yourself from the source of the toxicity or eliminating them completely. This can be difficult, but having the supportive relationships in place that I mentioned earlier will help this process.

6) Live life. Don't spend endless hours in the practice room, but socialize with friends, read a book, go to a gallery opening. Do what you love to do. Life allows us to enrich our performances and our artistry. When we live life, we are preparing for performances.

Above all, keep in mind that performing is a moment in time. It could be your most fantastic moment, or it could be an off day when things don't go as planned. Diligence in preparation can help make it your moment, but be gentle to yourself. Prepare confidently and don't compare yourself to others. Part of the joy in performing is what you make it to be. There's only one you in the world, and share that uniqueness with the audience.

Prepare, nurture, integrate, perform. All of these things happen from the heart if we allow it.

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Wednesday, July 25, 2012

Looking inward to capture the joy in music making

The labyrinth at Ghost Ranch, a place for quiet reflection
I have taken up a meditation practice, and I had a delicious experience today. I use the quiet time as a chance to draw inward and be with God. If there's a particular thing that I'm struggling with such as anxiety, I'll form an intention to reflect on as I sit quietly. Just like my Super Efficient Practice Hour, this 20 minutes I devote to solitude leaves me better able to handle the day.

Most of my intentions lately have focused on qualities I feel are lacking when I react to my current situation with fear, anxiety and worry. I have a choice about how to deal with the stress, and I have chosen to deal with it as positively as possible. In my very human moments when I succumb to the negative emotions, I return to how I felt during my meditation and I begin breathing more deeply and the negativity releases its grip on me.

My intention today was "presence." The current situation is teaching my husband and me how to live in the moment. I know that I can only do one thing at a time. Instead of becoming overwhelmed with my endless to do list, I would rather stay focused on the present and give myself manageable tasks that feel like progress is being made.

As I sat, I suddenly realized that this was my time and I should relish it. This realization washed over me and drew me deeper into myself in a way I hadn't experienced before. I don't think I've ever thought about the time I've taken for myself in quite that way. I became involved in the present - I wasn't just trying to be present.

When practicing becomes a chore, we can return to a place and motivate ourselves by giving ourselves a gift of time. That gift allows us to not only refine and improve our technical skill on the instrument, but it makes us better people. The more present we are in our performance, the greater our awareness and it enhances our joy. We enter into a real time conversation with the audience that can't exist if we're worrying about what we just played or the difficult part ahead. This is the essence of inclusive awareness.

I'm starting to realize that this difficult situation I'm in has helped me appreciate this time as an opportunity to begin injecting more humanity into my music. I subscribe to Astrid Baumgardner's newsletter, and she included a fantastic article about ways to manage challenges in her April issue. As I searched for an old email this morning in my inbox, the newsletter appeared in my search results. It was perfectly timed. If you're dealing with a difficult time, personally or professionally, I encourage you to read it and use the action steps to make a plan. Her action steps encourage presence by focusing on the immediate, which helps you to clearly articulate the next step.

The lesson here is no matter external circumstances, free the music within by drawing inward and finding the joy that exists in each moment of your life. What's your story?

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Monday, July 23, 2012

Twtrsymphony Makes its Debut!

For the past few months, I have been quietly working recording my parts to contribute to Twtrsymphony, a new concept orchestra that had its start on twitter. Composer and music director Chip Michael has undertaken this huge project and we now have a finished product to show the world that this is possible.

I'm proud to say that my input on a twitter chat one night was a driving factor behind this project. I remember the conversation and my surprise and excitement when I woke up the next morning to be followed by @twtrsymphony. The idea took off and with a lot of social media leveraging, musicians were rounded up, music was written and distributed and we began the work. For most of us, the experience of recording a part to a click track was new. Add to that Chip's characteristic complex meters, and it became even more interesting.

The quality of the musicianship on this debut track is high, and I love it. I love that a collective of musicians, of varying backgrounds and levels (and different recording equipment), have been able to virtually come together and create in spite of locale. As an advocate of community based music, the online community is no exception. This has the potential to be a forum for other composers to have their works played by a symphony that capitalizes on the contacts made in the social media realm.

Twtrsymphony is taking steps to infuse the social media world with an orchestra that is not only connected through the common goal of producing a high quality musical performance, but is also connected through the  personal and professional worlds that intersect on twitter. Even though we're not sitting on a stage together, we musicians are still connected by the power of word and through the power of our online presence.

Without further ado, here is the video of the first movement of Symphony No. 2, The Hawk Goes Hunting:

Also, you can download the track at Twtrsymphony's Instant Encore page here. The download code is HawkGoesHunting.

Stay tuned for the release of Movement 2, Birds of Paradise!

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Sunday, July 22, 2012

Just Play

I played a church gig this morning. The music director and I chose to play arrangements of hymns and spirituals. The "just play" concept that Liisa encouraged at Summerflute hit me like a ton of bricks when I played "Swing Low, Sweet Chariot."

The arrangement was a simple one, but its understated simplicity allowed me to stand out of the way so I could just play. I welcomed this ease into the rest of the music in the service.

Give yourself permission to enjoy this "just play" attitude in all your music. Here's two tunes that I connect to on a deeply personal level that I'll explore this week and in essence create my own Tone Development through Interpretation collection of tunes. Remember that the melodies Moyse included in his book are as much as a part of his musical heritage as the music below is my own. I encourage you to be creative as you creatively explore the music you connect to most in order to integrate that ease and familiarity into unknown pieces.

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Thursday, July 19, 2012

Enriching your artistry through life experience

Image by Dan Brady
In May, I wrote several blog posts that included my Manifesto, and several more articles about income streams and making your own way as a musician. One idea I wanted to write about never quite made it to the table, so here I am writing about it now. Life experience. I touched briefly on this in this week's earlier post, which got me thinking about it a little more.

When I describe my situation to others, it's humbling to see the scores of others in the position that my husband and I are in. The economy has brought change to lots of people. Some of the change has been positive and at other times negative. My own work has been shaped by a desire to become portable in order to weather the changes that life has brought me at pretty regular intervals of every 2-3 years.

I firmly believe in the new economy, and I believe in the power of individuals to make their own way. With that said, life experience can be a boon to artistic development. If our lives were simple, what depth would our lives have? What depth would our music have? On one hand, I crave simplicity but I know that the painful and uncomfortable times will lead to a greater discovery of who I am and what I'm capable of handling. One could say that I'm in the worst position I've ever been in; however, I also trust that God will never give me more than I can handle.

I'm accepting these changes in the hope that my life will help me develop a deeper appreciation for the music that I'm so passionate about. I am full of gratitude for the music I am able to share with others, gratitude for those who support me and gratitude for even these uncomfortable changes I'm faced with right now. I'm realizing that accepting the painful times enhances artistry in a way that enables the musician to explore the full range of emotions in the music they perform. Love, pain, loss, joy and sorrow. In fact, I have the opportunity to study the human condition from a first hand position.

As I accept my momentary "uncomfortableness," I'm noticing these emotions and what they do. Not only am I opening myself up to possibility, but I am letting my life guide me in my artistic endeavors. Just like the discoveries one makes when studying Body Mapping and realizing that all your "problems" are connected, my life is connected to music. Art is absolutely connected to our lives.

When you enrich your artistry through life experience, you are allowing that experience to connect you personally to your performance. That is one more layer of awareness through which to communicate exactly what you want to your audience. There is music inside every one of us. Allow your life to help transmit it to the world.

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Monday, July 16, 2012

The Super Efficient Practice Hour

I feel like I haven't been getting a whole heck of a lot of work done lately. In the midst of a job search for my husband, we are also moving. We don't know where this will take us, but we're forging ahead. Being the administrative whiz of the family, that means I'm doing a lot of the grunt work on the computer. Given we've done this type of thing several times already, roles are established and defined.

Image courtesy of
With all the stress that looking for a job and moving brings, my constants are running and music. At the present moment, I have about two hours a day to myself. That leaves one hour for running and one for flute. Not wanting to lose the progress made during my week at Summerflute, I have jumped in with my available time. I have no prominent deadlines coming up, so I can simply explore and enjoy.

How much do you think can be done in just an hour a day? In two weeks with a day off here and there due to life, I've managed to learn 80 percent of the 1st movement of the Copland Duo, I'm ready to finish recording the 4th movement of twtrsymphony's Symphony No 2 by Chip Clark, I'm continuing to solidify my interpretation of the Allemande from the Bach Partita and I am rotating through a satisfactory tone and technique practice schedule using Fiona Wilkinson's The Physical Flute, Walfrid Kujala's Vade Mecum and Marcel Moyse's Tone Development through Interpretation.

How do I do it? I've returned to using the Pomodoro Technique for my sessions and using the Focus Booster desktop app to keep track of time. In short, this technique breaks a half hour into 25 minutes spent working on a task with a 5 minute break. I have been using Session 1 for tone and tech and Session 2 for repertoire. My 5 minute breaks are used for constructive rest.

What I have noticed over these past two weeks has been that the focus I devote to this one hour carries itself through the rest of my day. For one, it's hard to work from home which I have been doing since February. All the distractions are sometimes too tempting, but adding a dose of super focus to my day helps me stay on task for the rest of my to do list, especially those I would rather not do.

When I get my super efficient practice hour done, I feel at peace with myself. I know I've broken my work down into manageable tasks, and I accept that the work I've done is worthwhile. It's taken me a long time to get to the point where I am able to accept who I am as a musician, and find a path that suits me (see my Manifesto for more details about this). My practice goal at this moment in time is to give myself time to begin integrating the next wave of changes into my musicianship. 

The super efficient practice hour is the gift I can give to myself everyday in order to preserve my sanity. We each have our own problems to contend with. Even if you play for a living, do you approach your instrument with joy and curiosity or with dread? It's times like these that make me grateful that I have music in my life to give me a release valve when I begin to internalize my daily stress too much. These life experiences also deepen my appreciation of music, and the range of human emotions that music can express.

My simply advice is this: take the time you have and accept it no matter how little time you may have available. Choose one goal to work towards, and base your work on that goal. Whether you have an hour or you have more, deliberately ensure everything you do in your time works towards that goal. You'll thank yourself.

Note: The foundation of my practice goes back to what I call, "Holistic Practice." I'll be presenting a workshop on it at the upcoming convention for the National Flute Association on Friday, August 10, 8 AM in Octavius 21-23 at Caesars Palace in Las Vegas. The type of focus that we need to achieve real results in the practice room applies so well to the rest of our lives, that "holistic" really describes a way of practicing for our whole selves that we can carry through our day. If you're interested in approaching your practicing in a way that maximizes your time and minimizes stress, this is the workshop for you!

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Thursday, July 12, 2012

Summerflute, Part Four and Reflections

So far, I've written about how each of my Summerflute experiences opened my eyes to something new. In this final post to wrap up the series, I had two more private lessons and a performance to finish the week.

Performing in a trio with Melanie Sever (C) and Kristin Hayes (R)
On Wednesday night, I had a private lesson with my twitter friend and colleague Meerenai Shim. As a trainee, I'm interested in taking lessons with licensed Andover Educators when the opportunity presents itself in order to see how each AE teaches. Meerenai approaches this work differently than I do, and it was great to work from a new perspective in our lesson. While I like to study and retain detailed information to get a better grasp of my body map, Meerenai uses and teaches the information in a very practical way for musical results.

I used the Allemande from the Bach Partita in the lesson, and we explored breathing and the space in the nasal cavities, which married well with Liisa's suggestions for me to resonate with my whole head including the mouth, back of skull and nasal cavities. At this point in time, I haven't really explored nose breathing a lot so Meerenai provided helpful suggestions on how to breathe in through the mouth and nose at the same time. Getting used to this type of breathing is going to be a process, but I have useful information to work with now which has the potential to make helpful and beneficial changes to my breathing habits.

On Thursday afternoon, I had my second private lesson with Amy Likar. I used the Reinecke in this lesson and Amy helped clarify any translation issues I may have had the day before in my performance for Liisa. At this point of the week, I had reached my saturation point for new information so this lesson contained less Body Mapping information and more integration with the information we had already talked about through the week.

Body Mapping wise, I am bringing into my awareness my tendency to thrust my hips and pelvis forward when I bring my flute up to play. This "hip magnet" action can be connected to a narrowing across my chest and shoulders as I play. Knowing that these movement patterns are connected is incredibly helpful when remapping these parts of my body in relation to my flute. It takes away the temptation to scan or focus on only one part of the body while trying to play, too. While being aware of these elements, Amy had me explore the opening phrase of the Reinecke using harmonic tones while noticing what was happening physically. Every time I played the phrase as written, I felt a more whole body-whole instrument integration.

Finally, Amy had me drape over a physio ball for a minute to think about the work I had just done. When I got up to play, it was AMAZING. The music poured out of me and the sound was unbelievably powerful and organized around my movement. It was a great lesson to help cement the trust and translation lessons from the previous day.

Friday was the last day of Summerflute. We wrapped up the morning with our final Feldenkrais ATM session (with a pelvic clock lesson, yay!) and the last hour of What Every Musician Needs to Know about the Body. The final event of the class was a student recital. I had opted to perform the first movement of Peter Amsel's Museum Triptych, the piece I premiered earlier this year.

My warm up for the performance was short and sweet. I played through a trio that I was also performing with two other students, and I then opted to warm up a little bit more and get some constructive rest in.

The performance was my best of the week. I felt more integrated, more aware, more comfortable. I felt more like myself, which was a positive note to end the week on. I had moments where I lost myself, but I did notice that as I felt myself gripping to control and return to my "normal" self, I could unlock my knees and the performance improved. This was a performance that I felt happy with, and I felt that it showcased my best work of the week.

I was meant to be at Summerflute this year. Not only did it reinforce that I'm on the right track with my Andover Educator training, but it helped pave the way for the next level. In the two weeks since, my head has cleared and I'm making some great improvements in my playing.

I came home with new strategies in my toolbox, and my teaching has benefited significantly. If you ever have the opportunity to attend one of these classes, I highly recommend it. It has the potential to change your life! Check out Summerflute's website and bookmark it for updates on the next class!

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Monday, July 9, 2012

Summerflute Thoughts, Part Three

Masterclass with Liisa Ruoho (thanks to Meerenai Shim for taking this photo)
I continued through the week, enjoying the combination of Alexander Technique, Body Mapping and Feldenkrais while preparing for my next performance for Liisa Wednesday afternoon. On Tuesday, I rehearsed with collaborative pianist Yien Wang and WOW! I had chosen to play the 4th movement of the Reinecke Undine Sonata, and this sonata is a a beast for pianists; however, we ran the movement twice and I felt completely at ease with her by the end of the short rehearsal. She was a treat to work with, and I loved watching her perform during the classes and recitals as she has a wonderful ease in her playing.

The fourth movement is the climax of the Undine story. Hilary Bromeisl describes this movement as,

"The finale movement is the most dramatic and incorporates Hulbrand's scolding, Undine's vain pleading, and the anger and revenge of the water spirits. Despite her anguished appeals, Undine must herself be the instrument of Hulbrand's punishment. At the wedding of Hulbrand and Berthalda, Undine sadly appears and gives Hulbrand a kiss that kills him. At the knight's funeral, Undine secretly joins the mourners. She then vanishes and in her place appears a spring of water from which two small streams encircle the new grave. The return of the loving theme used for the love Undine first felt for Hulbrand creates a touching mood to end the sonata."

Having performed the sonata twice in its entirety recently, I felt that I was ready to take the piece to a new level and I was interested to get Liisa's feedback. When I learned this movement, I found the very dramatic nature of the movement caused old patterns of tension to return. My solution at the time was to find the point of least work at all dynamic levels, and play within certain volume ranges in order to approach this piece differently than I may have before. My goal was to find the "Goldilocks Effort" (Kay Hooper's Sensory Tune-ups) for this movement.

In fact, I had chosen not to really practice the movement at all. I wanted to see what emerged and in the rehearsal with Yien, I began experimenting with the sound to express the unfolding drama instead of only dynamics. Interestingly enough, Liisa's suggested the same path I was feeling.

In my second performance of the week, I noticed a new element. Where the Bach had felt small, I felt that I had a hard time trusting enough to give myself completely to the Reinecke. I desperately wanted to experiment, but my efforts fell flat because of a lack of confidence in myself. I was connected to the music and to the audience this time around, but I played it safe.

Liisa's direction was pretty simple. Give yourself completely to the music and all the emotions it expresses. For the fourth movement of the Reinecke, this is a big job and it meant playing a lot louder. If I had taken Liisa's suggestion at face value without any knowledge of my body, I would have simply proceeded to try harder which would have resulted in a lot of muscle tension. Instead, she had not only asked me to play and feel more emotion, but she was essentially having me translate her directions on the spot with her guidance.

Just like in my prior performance, I had changes in my sound happen immediately. I tried a few phrases and although I wasn't attempting to muscle my way through, I did notice a big difference in how I used my whole body.

One of the points Amy touched on through the week in What Every Musician Needs to Know about the Body was the need for translation. When a teacher tells you something, it is your responsibility to translate it onto the instrument. This is where Body Mapping can come in handy, and this is how I was able to apply Liisa's suggestions right away on stage.

For example, say your flute teacher asks you to support the sound more. What does this mean? Traditional pedagogy can sometimes be very vague and when discussing internal aspects of flute playing, students are left to decipher what something like "support" means. This deciphering is otherwise known as translation, and if you can translate musical instruction through the lens of Body Mapping, the results can be very positive and can lead to more expansive, musical playing.

Trust and translation. Two huge lessons all in the span of 25 minutes.

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Thursday, July 5, 2012

Summerflute Thoughts, Part Two

Liisa Ruoho and Me
I arrived at Summerflute on Monday and jumped right in. I had a private Body Mapping lesson with Amy Likar, who is my sponsoring teacher as I undertake the Andover Educator training. Since she is also a certified Alexander Technique teacher, we did some table work. This put me on the path for greater learning for several reasons.

After having only gotten around 3 hours of sleep the night before and since I had just spent the morning travelling to Georgia from Pennsylvania, my playing was quite disembodied which didn't surprise me at all. I was still carrying an incredible amount of tension in my neck from carrying both laptop and duffel bags. I also had an enormous amount of personal stress to contend with as well, which happened to come spilling out during the lesson. This clearing helped me feel less like 2 persons, and more like myself and ready for the week ahead.

The lesson centered around basic Alexander principles with Amy encouraging my tactile awareness as I laid on the table. She encouraged me to accept what I was feeling and thinking, while tying it to my freedom of choice (inhibition). At the end of the lesson, I played the portion of the Allemande of the Bach Partita again and this time, it felt freer and more like myself.

I feel it's worth mentioning here that since seriously undertaking this work in the past year, I have gone through transition periods where I lose my sound and lose how it feels to play. It's an odd (and sometimes tear inducing) feeling that I have to patiently work through. I was very hopeful that the week would help me return to a new and better place.

Later in the evening, I got my first opportunity to perform in the first masterclass with Liisa Ruoho. I eagerly volunteered to play first since I had gotten such little sleep. I played all of the Allemande for her, and what I noticed most was how small I felt in relation to the hall. The Schwob School of Music at Columbus State University has beautiful performance spaces. Legacy Hall was no exception.

In addition to feeling small, I also felt disconnected from those sitting in the hall. Because I have never performed the Bach and I'm still figuring out what I want to do with it musically, my inclusive awareness was narrowed. I missed several notes because each time I wanted to connect with the audience through visual contact, I would lose my place in the music.

Liisa offered suggestions that provided immediate results. She first had me play the first note of the movement, which is an E2 asking me to play in the space around myself with more space in the mouth and thinking of the space in my nasal cavities to increase resonance with less effort. Listening behind me also helped open up my sound, and I produced a more musical and resonant sound that filled the hall.

From here, she asked me to play leaning against the piano as if I were having a beer and talking with a friend. This time, I really played the Bach like I wanted and was quite surprised. Shifting away from "good flute player" stance and into a relaxed position helped me access the music much easier. Since then, I've returned to this position in practice and while I always return to my regular position, I find that it's easier to access what I want. I like to think of it as a modified monkey (please comment if you don't know what monkey is and would like additional explanation).

Liisa encouraged several of us performers through the week to play with the composer as a partner. This mindset makes something as intimidating as the Bach Partita much more enjoyable to play. Although I wasn't looking forward to playing on the first day knowing how tired I would be, the lesson with Amy and performance for Liisa went hand in hand.

No matter what we're dealing with in our lives, professionally or personally, accepting ourselves and the baggage we carry is essential to performing with freedom and joy. At this point, I'm happily and slowly making my way and I'm happy for the downtime I have as I figure the next level out for myself. While performing is incredibly important to me, I feel that I have nothing to prove to anyone. Was the Monday night performance my best ever? Not in any way, but that was the best I could offer at that moment in time and I accept that.

Even though I didn't feel secure in my initial performance of the Bach, Liisa's teaching instantly inspired and motivated me to jump into the practice room to figure out a solution. My mood lifted as my motivation returned and even though I didn't have much time to practice during the week, I was able to explore enough on my own to keep making discoveries through the week.

In my next post, I'll talk about my second masterclass performance and what the fourth movement of the Reinecke Sonata brought to the surface.

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Monday, July 2, 2012

Summerflute Thoughts, Part One

Summerflute 2012
Last week, I attended Summerflute at the beautiful Schwob School of Music on the campus of Columbus State University in Columbus, GA. The course was a week long immersion in the somatic fields of Body Mapping, Alexander Technique and Feldenkrais while integrating the work into musical performance. Amy Likar taught What Every Musician Needs to Know about the Body (the Body Mapping course I am training to teach), Adam Cole taught Feldenkrais Awareness through Movement (ATM) classes, Laury Christie taught group Alexander Technique classes and Meerenai Shim was available for private Body Mapping lessons and also held the entire week together with her organizational prowess. Finnish flutist Liisa Ruoho taught 12 performers through the course of the week in daily 3 hour masterclasses.

I attended as a performer so that I could have the opportunity to play for Liisa Ruoho. Liisa teaches at the Sibelius Academy, and is a licensed Andover Educator. I first read about Liisa when she was mentioned in Lea Pearson's book Body Mapping for Flutists. Liisa is a licensed Andover Educator, and her way of incorporating the Body Mapping information into her teaching is astounding. Her teaching is so integrated that it never feels you are focusing on just the body or the instrument. Body and instrument are one. For someone like me who is too intellectual in their playing, being exposed to this style of teaching was very beneficial.

I will spend the next two weeks describing my experience at Summerflute via the three times I performed during the week, and how the somatic immersion really changed my playing in the course of 5 days. The course confirmed for me that I am on the right track with my Andover Educator training. The immersion also paved the path forward for continued progress and integration.

So stay tuned for Part Two as I describe my first performance with Liisa.

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