One of my first attempts at a sales pitch for what I do…

“Feldenkrais is the most sophisticated and effective method I have seen for the prevention and reversal of deterioration of function. We’re condemning millions of people to a deteriorated old age that’s not necessary”.

Margaret Mead      Anthropologist

Functional Integration®: in between growing up and growing old…

…things go on in our lives that manifest themselves physically in all kinds of ways. Maybe you have an ache in your neck that sometimes intensifies overnight so that you wake up with numbness or tingling in your hand; maybe you get intermittent bouts of sciatica without any obvious trigger; maybe playing your instrument or typing several days in a row gives you knotted shoulders or lower back pain. Is there something you love that you don’t do anymore because it causes you problems? Perhaps you have given up tennis, horse riding or running due to persistent injuries. Perhaps your back aches if you spend too much time at an art gallery, or browsing in a department store. Perhaps you catch sight of an unexpected reflection of your posture and think “I must be getting old”.

The sad thing is the way so many of us accept these steady deteriorations as an unavoidable part of life; for most of us these problems can be eased or even eradicated over time, by tackling the day to day limitations we place on ourselves without even being aware of them. Feldenkrais is notoriously difficult to describe, and we teachers tend to develop several overlapping descriptions so we can tailor our explanations to each particular listener, which is of course an appropriate strategy for a method so carefully designed to adapt itself to the needs of the individual. I like to describe it as an anti-aging process.  So many of my trainers were older women full of vitality and still able to somersault forwards or backwards with little preparation! One of my teachers, Ruthy Alon, has posted a series of videos on youtube that she made of herself in her sixties demonstrating the extraordinary mobility that her commitment to Feldenkrais has given her.

It is completely understandable that people tend to come to me for private lessons in Functional Integration (FI) only once they are already in serious pain, when it is usually the case that the crisis they are experiencing has been building for many years. It is also a pity that they may have spent a lot of money already on methods that have been a partial success, and may thus be unable to commit to regular Feldenkrais sessions, when this method might give them their best chance of maintaining the improvements they have already made through osteopathy, physiotherapy or other structural techniques. Do not misunderstand me, I am not saying that these methods are not valuable or effective – when they are completely successful then of course that client does not come to me in the first place – simply that Feldenkrais does something else, and that something else can actually protect you from the physical deterioration that most people take for granted as they get older.

Awareness Through Movement lessons take familiar patterns of action – rolling out of bed, getting up off the floor, twisting to look behind you, reaching upwards etc – and break those patterns up into smaller sequences that stimulate new learning in your sensory motor system. One-to-one Functional Integration sessions use sensitive, highly focussed touch to stimulate new ways of being and using yourself, communicating with your nervous system through your skeletal connections, which subtly encourages chronic contractions in your muscles to switch themselves off. Improvements are usually noticeable by the end of your first lesson and I will encourage you to be aware of the differences, and will give you mini ATM patterns to explore at home to help you retain the changes you are feeling.

You are learning a new way to be by unravelling your old habits layer by layer. There is no speedy route to establish these beneficial changes in self-use, and consistent improvement will come with regular awareness practise and focussing on your self development and growth. Fortunately new students can usually tell very quickly if the method is working for them. People tend to book private sessions only when they are injured, in chronic pain, or have developed a condition from cumulative misuse like RSI, Housemaid’s Knee (Bursitis) and Tennis Elbow, but it is so much quicker, easier and cheaper to prevent these problems than it is to cure them, so please consider coming to me for a short series of lessons before a problem has become fully established, when you are still just getting the warning twinges. I am always happy to negotiate an affordable fee if that enables you to make a regular commitment, so don’t hesitate to talk to me about concessions.  Because this work is about improving sensory-motor awareness it is also effective for people with more serious problems with the nervous system such as Multiple Sclerosis, Parkinson’s Disease, or brain injury (including Stroke and Cerebral Palsy).  You are always welcome to call me for a chat without feeling ready to make a decision. In order to enable you to experience the cumulative benefits of the work I have an ongoing offer of two for the price of one for your first two private lessons.

PS: this is a new edit, prompted by great feedback from Steve Margolis (Aikido and Feldenkrais) and Sue Lanzon (Homeopathy), many thanks for your clarity and insight.

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Taking The Mic – The Art Of Performance

The Art Of Performance

© Maggy Burrowes 2012

Taking the Mic

The microphone is an indispensable part of the jazz singer’s instrument.  Yes, I know it sounds a touch obvious, but it isn’t always so obvious to the audience.  I have often found myself explaining that, just because a gig is a) quiet and b) outside, this doesn’t mean that I can dispense with amplification – indeed the opposite is true, which is why we needed to invent artificial reverb.

The apparently natural sound of an accomplished jazz singer is the result of years of practise developing clarity, and the ability to access the whole vocal spectrum whilst avoiding the exciting but rather ‘mannered’ sounds that the career of an opera singer is based on.  Most jazz singers use the natural speaking voice as the foundation of their singing quality, although familiarity with American singers can lead to a –conscious or unconscious – preference for American vowels, particularly as these vowels shapes are easier to project than the standard English vowels.  Opera singing is quite simply too loud for the kind of intimacy that most jazz singers strive to cultivate; it is designed to be audible over an orchestra, without amplification.  In the subtle acoustic environment created by the kind of ensemble that most jazz singers prefer an operatic vocal quality would sound bombastic and dominating. There is an interesting film of Jessye Norman performing Summertime with a jazz trio; she has a mic but she rests it on her lap.  The result has great beauty but feels oddly impersonal compared to similar performances by singers such as Sarah Vaughan.

I am of course generalising a little here as the lower-pitched, deep-voiced vibrato of the vocal quality sometimes called “sob” works well in both musical genres, however it is opera singing at its quietest, and is only used when the orchestra has dropped down to its lowest volume.  Sarah Vaughan and Nina Simone are both fine exponents of “sob”, which is very effective for the emotional intensity of ballad singing.  Cassandra Wilson uses the lowered larynx that is an important element of this quality, but her preference for a breathy tone lowers the volume further still, and inhibits the production of a natural vibrato, creating a kind of soft musical version of white noise, as if the ebbing sea were singing.  This vocal posture prevents any kind of projection, and is totally reliant on amplification for acoustic richness in public performance.  Many jazz singers restrict themselves to a breathy tone in order to achieve a soft, sweet vocal quality that is as inflexible in its own way as the very loudest singing can be.

As a jazz singer grows in skills and experience, she usually reaches a place in her development where going for higher notes demands either a dramatic drop in volume and richness (the thin, hooting “falsetto” quality), or a difficult-to-avoid increase in volume, which may not suit the kind of material she is performing.  To resist this rise in volume requires an – apparently paradoxical – increase in muscular effort in order to exert greater control over the behaviour of the vocal cords.  If we do not resist this rise in volume, we may find we are producing the powerful, exciting and extremely loud quality known as “belting”.  In fact this is the loudest kind of singing humans do – screaming may be fractionally louder, but it is impractical for sustained performance!  Belting is most commonly used by musical theatre performers and soul and gospel singers, and when it is done well it is both exciting for the audience and safe for the singer.  When done badly it is very risky for the vocal health of the performer.  When used in an inappropriate musical setting it is like being shouted at, which is probably why it is ­– in my experience – the least popular vocal quality.  At the same time it is probably true to say that many people are unaware that singers as various as Aretha Franklin, Chaka Khan, Barbara Streisand, Sheryl Crow, Shirley Bassey, Celine Dion, Whitney Houston, David Bowie, Tom Jones, Prince and Stevie Wonder are all skilled belters.  I tried to come up with more male examples, but many loud male singers work in rock, where a more risky raw-throated version of belting is popular.  It is also true that tenors are belting when they hit their highest notes – that fabulous note in “Nessum Dorma” comes to mind. Here is Pavarotti live in 1980, the note I am referring to specifically is 2 mins 34 seconds into the performance, you can see how much work belting is just by watching his face as he prepares to sing the note.

Belting is a wonderfully useful ability – it enables singers to turn themselves up to 11.  We all have a loudness mechanism in the larynx that requires little effort to activate and gives us a flexible natural volume control (called “twang” by Jo Estill, “squillo” in classical singing, and “projecting the voice” by actors) but some performances require the extra dynamic that only belting can give.

A jazz singer rarely needs this kind of volume – although for a truly magnificent exception, check out Ella Fitzgerald‘s big band work.  We usually find ourselves belting only when hitting the high notes right at the end of the song – which brings me to the observation that triggered the writing of this article, something I see often on the London stage.  Many jazz singers dilute the power of their belt by over-estimating how loud they actually are, and pulling so far back from the mic that all that can be heard is a distant squeak, and the part of the song that naturally requires a climax, becomes instead almost inaudible.  It can be really difficult to gauge your volume from the stage, so if you are a jazz singer, let me encourage you to be bold and enjoy the intensity of your belting voice.

This is one of the many reasons why it is such a good idea to record yourself performing live, distressing though it may be at first to get used to how you sound to everybody else’s ears.  For this particularly habit a video of your performance may be less useful, as belting usually looks exciting and this may distract you from truly listening to yourself.

I welcome any questions or comments about this article.

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Jumping on the bandwagon…

Like many self-employed people I write for a living – not the wonderful novels I fantasised about producing as a book-obsessed teenager, but advertising copy, the least inspiring kind of writing, particularly for a Bill Hicks fan. Fortunately I am advertising what I do and I love what I do, but it has become clear over the last year that we are all suffering from information overload and that emailing out my more long-winded thoughts is a very inefficient way to present them to you all.  Anything not immediately visible on the screen is reserved for attention later – yay flags! – and then quickly superseded by the next thing and the next thing. This matters particularly with Feldenkrais; it is complex, but much of what it is an alternative to is simplex – “this muscle feels tight, let’s pull on it to make looser”, “this muscle feels weak, let’s put pressure on it to make it stronger”. There are many effective systems around to help you do those things, but Feldenkrais does so much more. My intention for this blog is to reveal all the ways in which Feldenkrais is different, and how to apply this process to your life in a way that helps you make the differences you want to make in order to achieve what you want to achieve. My other obsessions include – but are not limited to – music, the voice (human and otherwise), language, neuroscience and psychology, so I reserve the right to witter on about anything I fancy.  I am going to upload some of my older articles and figure out how best to link to other sources of inspiration, and I do want to know what you think, what questions you have about Feldenkrais, singing or the voice, and anything else you might like to ask me, so do get back to me…

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