Trick List: Tone Improvement through Effortless Use of Body Muscles

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The left column shows each element of body parts in view of physiological mechanisms of flute playing. These trick words in the right column are based on scientific description in the middle column. These are just collection of keywords. My potential future publication would elaborate it. In daily lessons I explain why and how each trick works on the basis of scientific aspect of aerodynamics and physiology when necessary.

A helpful concept so that each body element works together: "Tone - Sensation Matching"

How to use “De La Sonorité” Part 1 Concept

Supplemental literature

*M. Moyse, The Flute and Its Problems –Tone Development Through Interpretation – 1973, Muramatsu, Japan

*M. Moyse, How I Stayed in Shape, self publication by M. Moyse.

(1) What is musical tone?

a) See my previous entry “concept for musical tone”

b) Intelligent and flexible use of at least 2 kind of tone qualities (pure tone and shining tone) produces variety of perception in tone color and expressive intonation. This is common technique for singers and most of solo instruments.

c) In most cases dynamics of pure tone is around piano (mf-ppp) and shining tone is around forte.

d) Pure tone and shining tone correspond to head voice element and chest voice element in singers, respectively.

e) Shining tone is developed by the addition of core element (chest voice element) to pure tone (head voice element).

f) While timbre of “pure” middle B (above staff) is obviously different from that of “pure” lower C below staff, tone quality remains unchanged as long as property of the tone stays in “pure” quality group. This means quality is homogeneous.

(2)How to get it? : basic strategy

a) Establish pure tone throughout 3 registers at first = homogeneity of tone quality as “model” tones.

b) Then add “core” element to obtain shining tone mostly associated with forte nuance, according to a particular aim of each exercise.

c) Note: in fact, each section of Sonorite book encourages us to begin with pure tone or soft nuance (piano), except Attack section. The instruction for the very last section is obviously consistent with above concept and approach. Shining tone is described as “large, generous quality” of middle register and “intensity and generosity” of lower register in “The Flute and Its Problems”.

(3) Difficulty and solution in production of pure tone of lower register notes.

a) Since sound production of lower register utilizes standing wave of the air column within flute tube, default tone quality of lower register corresponds to chest voice of singers when a player’s air stream hits the sound point of lower register notes. Cautious manipulation of the air stream is required to get pure tone for lower register.

b) Aim the air stream to top end of the default sound point by using flexible embouchure. The direction of the air stream slightly goes upward with narrower lip openings relative to normal sound point. Upward direction of air stream without having suppleness and flexibility of lips will result in wrong intonation such as sharp intonation associated with poor and/or flat resonance.

c) In an effort to obtain pure tone, as a consequence, lower lip needs to “be pulled” upward (closing behavior of lower lip) and upper lip needs to “be pulled” backward (escaping behavior of upper lip), relative to normal position of respective lip. In other words, lower jaw needs to proceed forward. Such behavior of lips needs more when going down from low G toward C below staff, and less when going up from G to C within staff.

d) Lip motion is very subtle. Do not force lips (jaw) to move back/forth/up/down. Perceive energy of the air stream passing through embouchure structure and use this energy so that lips reach right position as a consequence. Embouchure structure and air stream help each other to get ideal property of the air stream. Therefore a player can avoid fatigue of embouchure and can maintain healthy, relaxed and flexible lips.

The approach as mentioned above is consistent with description in Sonorite book and supplemental literature.

(4) Who gets advantage?

This book is useful for advanced and more than advanced people. I recommend tonalization in Suzuki book 1 and 2 for beginners – pre-advanced people.

Concept for Musical Tone

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Interpretation, Imitation

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How musical performance is made?

Here I show a big picture of what I believe in with regard to how great musicians make their performance musical in these days/ in the past, based on my personal experiences as a performer and a student taught by great teachers and musicians.

Interpretation includes (1) subjective ideas in terms of the composer’s intention (2) objectivization of subjective ideas: verification process for consistency and integrity of the ideas (3) exteriorization by eye: minor (and occasionally major) modification of the original text (4) exteriorization by ear: decision of suitable phrasing, expression and tone for each phrase and note.

How imitation works with Suzuki pedagogy?

Needless to say, Suzuki Method pedagogy consists of concept of imitation by using designated performances provided by CD recordings and live performances by teachers at private/group lessons. This is one of the most important and effective steps for students when it works properly. In my understanding, the goal of ”imitation by ear" in Suzuki pedagogy is to learn both internal process (why and what to express: invisible secrets for musical expression, like magician's trick) and external process (how to express) toward musical performances as consequence of these processes. Pragmatic approach of imitation, by which mimicking only superficial / visible elements, should be avoided. Pragmatic imitation would end up being just a copy of a model performer. In my opinion, suitable performances for this purpose should have consistent interpretation throughout the pieces students are supposed to learn, and also have consistent relevance between those interpretation and the performer’s tone technique. During going through the process of imitation, each element in the above diagram is not clearly recognized or even hidden. Although students themselves don’t have to realize the secret of how each element works together to put each phrase into life unless they decide to be professional players, teachers are encouraged to elaborate on occasion why imitation is useful when it is done as strictly as possible.

(revised Jan 11, 2010)

What is Breath Support?

What is Breath Support?

Traditionally, the term SUPPORT comes from singers' world, and there are at least two types of SUPPORT widely spread over singers and wind instrument people, as far as I know.

(1) Traditional, appropriate use of SUPPORT
Excellent singers consistently realize comfortable, slight to moderate, and passive tension on either stomach area or lateral wall of abdomen when they are successfully producing their voice associated with good projection and good resonance (pure color, or pure with shining core; consonant released forward and vowel upward consistently behind the consonant). They perceive as if the air stream is SUPPORTED by that passive tension of abdominal muscles. Meanwhile speech voice or dirty/poor singing voice (both consonant and vowel go forward together) causes less SUPPORT perception. Thus, SUPPORT perception is recognized as one of expected phenomena during good quality singing, and is usually associated with well-projected, resonant tones of wind instruments. The amount of air, air speed and air pressure can be minimized during production of vocal-quality, well-projected tones with which proper SUPPORT is associated.

Physiological interpretation:
Major role of SUPPORT function can be described as: "inspiratory activity of inspiratory muscles (=diaphragm and some intercostal muscles) during exhalation". Various patterns of active/passive increases in diaphragmatic tension (it is a VOLUNTARY muscle) during exhalation enable both singers and wind instrument players to make delicate and fine control of the air stream.

Major exhaling force during exhalation:
*Passive (spontaneous) elasticity of respiratory bulk (up to 30 cm water gauge)
*Increase in abdominal muscle tension

Major inhaling force during exhalation:
*Increase in diaphragm tension
*Increase in intercostal muscles to expand rib cage

Make sure of the fact that the amount of passive elasticity, derived from structure of our respiratory system, depends on the amount of air left. This readily indicates that exhaling force contains a big uncontrollable element. Therefore it is of physiologically rational and essential behavior for our body that fine control of air stream is established by recruiting inspiratory muscles during exhalation.

Although the mechanism of action of diaphragm during instrument playing or singing still remains to be clarified, there is evidence that trained singers manipulate diaphragm voluntarily and another possible explanation is that stretch reflex-like behavior of diaphragm is also involved. Well-trained diaphragm is supposed to be very sensitive to changes in the property of air stream and once it is stretched by some force (small increase in the air pressure, etc), the diaphragm may result in its passive and quick contraction via a stretch reflex-like mechanism.

As a result of inspiratory muscle activation, abdominal organs are pushed down and abdominal wall is passively extended in order to SUPPORT internal stuff, if abdominal muscles are well relaxed and NOT actively contracted. Passive extension causes increase in tension of abdominal muscles and thus it is perceived. Levels of passive tension on abdominal muscles can be supervised and controlled by our central nervous system so that these muscles do not interfere with inspiratory muscle activities.

2. Traditional, wrong use of SUPPORT
Those who misunderstand the role of abdominal muscles have urged students to hold ACTIVE and CONSTANT contraction of abdominal muscles. They sometimes feel gravity center around the navel. They feel comfortable and no fatigue in their throat.

Physiological interpretation:
Primary and sustained active contraction of abdominal muscles interrupts freedom of inspiratory muscles. This means fine control of the air stream is tough and nearly impossible. In addition, respiratory muscles may receive excess stress because of restricted function of inspiratory muscles, resulting in protective action which may cause stiffness and lack of flexibility of muscles including lips, tongue and throat muscles. In this case, however, it is sometimes very difficult to perceive muscle stiffness since one is paying much attention to perceive "gravity center" and thus less sensitive to the condition of other muscles.

Original draft, Fall, 2005
Revised Jan 6, 2010

Self Introduction

Occupation
Free-lancing flute player
Suzuki Flute School Performing Artist
Suzuki Method flute teacher, non Suzuki flute teacher
Electrophysiology research specialist in neuroscience field

Regular Position
Flute teacher, Westmoreland Suzuki School of Music, Greensburg/Pittsburgh, PA (2003-)
Research Specialist, Western Psychiatric Institute and Clinic, UPMC, Pittsburgh, PA (2009-)

Seasonal, occasional contract
Visiting Teacher Trainer/Instructor of Flute, The International Academy of The Suzuki
Method, Matsumoto, Japan. (2006-)

Guest Faculty, Suzuki Association of Greater Washington DC Flute Institute,
Alexandria, VA (2004-)

Performances
Concert Tour: Taipei, Taiwan (2002); Kyushu, Yamaguchi, Nagoya, Matsumoto Japan (2003); Kyushu, Yamaguchi, Tokyo Japan (2007), etc.


Flute Convention
Short Recital: 1981 NFA convention in Detroit, MI (invited); 2001 Japan Flute Convention in Kobe (invited, Altus showcase)

Masterclass: 2006 NFA Pittsburgh, PA (invited, for pre-college students)


Certificates
Suzuki Flute Teacher recognized by Suzuki Association of Americas (2003-)

Equivalent of U.S. Bachelor in Music Degree, evaluated by Educational Assessment, Inc.,
Athens, GA (2005), approved by USCIS (2006)

Music Education
All from private lessons.
Teachers: Toshio Takahashi, Marcel Moyse, Louis Moyse

Degrees
M.D., Yokohama City University School of Medicine, Yokohama, Japan (1991)
Ph.D. in Medicine, Yokohama City University Graduate School, Yokohama, Japan (1999)

CDs
Suzuki Flute School Books 8, 10 and 11 International Edition

Nonprofit Activities
President, Japan Association of Greater Pittsburgh (www.jagp.org) (2010-)
Director, Pittsburgh Ensemble Nippon (PEN) (2007-)

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