ALEXA STILL

BREATHING

FLUTE
 about the artist

Alexa’s many recordings on the Koch International Classics label have garnered unanimous praise: “impeccable in technique

and taste, seductive in phrasing” (Stephensen Classical C D Guide). “Still plays... so convincingly I cannot separate her from

the music” (American Record Guide), “whatever she plays sounds musical in every turn of the phrase” (Gramophone), “a

stunning showcase for the astonishing Alexa Still” (Fanfare). Alexa studied in New York (SUNY Stony Brook), won

competitions including the New York Flute Club Young Artist Competition, and, East and West Artists Competition and then

returned home as principal flute of the New Zealand Symphony Orchestra at the age of 23. Other awards include a Churchill

Fellowship and a Fulbright. She eventually left the NZSO to devote more time to solo engagements and teaching, based first

at the University of Colorado at Boulder, then the Sydney Conservatorium of Music, and now at Oberlin Conservatory, USA.

Alexa has performed and taught in England, Germany, Slovenia, Turkey, Mexico, Venezuela, Brazil, Canada, Korea, China,

Australia, New Zealand, and of course across the United States. Alexa has also served her profession as President of the

National Flute Association (USA), and regularly writes for flute journals across the globe. Her flute was made by Brannen

Brothers with gold or wooden headjoints by Sanford Drelinger. When her flute is in its case, Alexa is an avid motorcyclist, and

she shares a daughter and two dogs with her husband.

FLUTE
 about the COURSE
As breathing is our most fundamental skill in playing the flute, Alexa Still teaches us about the anatomy of
breathing. She walks us through how our lungs work and shows us exercises for how we can improve our
lung capacity.

CONTENTS
WHERE ARE THE LUNGS (PG. 4) COUNTING BREATH EXERCISE (PG. 13)

EXPANDING THE RIBCAGE (PG. 7) LUNG CAPACITY EXERCISE (PG. 14)

posture (pg. 8) GESTURE MOTIONS (PG. 14)

breath exercise (pg. 9) THE “HORRIBLE EXERCISE” (PG. 15)

THINGS THAT INTERFERE WITH BREATHING (PG. 9) concepts of breath/body size (PG. 15)

BREATHING BAG EXERCISE (PG. 10) improvement (pg. 18)

If you have any corrections, comments, or critiques relating to this workbook, please send them to
ethan@tonebase.co. We strive to deliver the highest quality enrichment experience. Thank you!
Breathing
Drawing inspiration from the esteemed tuba player of the Chicago Symphony, Arnold Jacobs, Still
emphasizes the significance of proper breathing. While one may wonder how tuba playing relates to flute
playing, Arnold Jacobs is often hailed as a breathing guru and offers valuable insights applicable to
musicians across various instruments.

Arnold Jacobs, affectionately known as the man with one lung, catalyzed advancements in brass playing.
Despite undergoing surgery to remove portions of both lungs due to cancer, Jacobs continued to
showcase his mastery of the tuba. This aspect becomes particularly relevant when considering the shared
characteristics between tuba playing and flute playing: the absence of resistance and the need for copious
amounts of air. Consequently, Arnold Jacobs' pedagogy has permeated the realm of brass instruments,
attracting attention from enthusiasts seeking to play loudly and sustain their breath. His esteemed
professional standing and prolific contributions have prompted the release of numerous books and online
resources, such as the comprehensive Windsong Press website. Those fortunate enough to be in the
vicinity of Chicago are encouraged to visit the Northwestern Library, where an array of videos from
Jacobs' summer schools can be found, providing invaluable instructional material.

Arnold Jacobs was deeply fascinated with medical knowledge, harboring aspirations to pursue a medical
career. Regrettably, due to his commitment to the Chicago Symphony, he could not embark on this
academic journey. Nevertheless, this interest became his lifelong hobby, evolving into a prominent aspect
of his work as he collaborated with a diverse range of individuals, including actors, singers, and oboe
players, to refine their breathing techniques.

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In fact, Still had the privilege of receiving four lessons from Arnold Jacobs, each of which involved
musicians from around the globe, representing various instruments or even those not affiliated with an
instrument at all, eagerly awaiting their turn for his expert guidance and insight.

Where are the lungs?

During these transformative lessons, one of the first questions posed by Jacobs was a seemingly simple
yet profoundly enlightening inquiry: "Where are your lungs?" This query left Still, already an accomplished
principal flutist in an orchestra, momentarily taken aback. Reflecting on this pivotal moment, she recalls
feeling an unusual sense of uncertainty, likening it to a race car driver lacking awareness of the position of
their wheels beneath the vehicle.

With this in mind, Still endeavors to commence the exploration of breathing techniques by establishing a
fundamental understanding of the body's anatomical structure and its significance in achieving optimal
airflow and musical expression.

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Contrary to popular belief, the lungs are situated high within the chest, a revelation that often astounds
even Still herself. If juxtaposed with her own body, an X-ray would reveal lung tissue extending from the
base of the neck and reaching approximately to the rib cage. Below this lies a potential reservoir for the
lungs to descend, contingent upon the actions of the diaphragm.

Thus, the dynamics of respiration predominantly reside in the upper chest region, thereby shifting our
perception of the process of taking in a deep breath. This very principle captivated the attention of Arnold
Jacobs, whose pedagogical approach aspired to refine techniques such as breath control away from the
instrument. Consequently, his students would be empowered to channel their focus towards artistic
expression and creating musical wonders when finally grasping the instrument in their hands.

To delve further into the intricacies of this subject, one can examine the accompanying images, which
meticulously depict the human rib cage and reveal the lung tissue. Noticeably, the lung tissue stretches
from a certain point and descends until reaching a lower boundary. Nestled amid the ribs rests the
diaphragm, an anatomical structure often referred to in loose terms. Thus, gaining a thorough
comprehension of the diaphragm's functions becomes imperative.

Primarily, its purpose lies in the automated regulation of inhalation and exhalation, ensuring a constant
flow of air into and out of the lungs. Unconscious, the diaphragm diligently executes the expansion and
contraction necessary for maintaining respiration within the circulatory system. Since our connection with
the diaphragm is largely non-conscious, we cannot provide a subjective account of its sensations.
Nevertheless, when we embark upon the act of inhaling, the diaphragm promptly springs into action,
contracting to facilitate the breathing process.

Conceptualizing the diaphragm from another angle, one may envision it as an inverted salad bowl during
moments of relaxation and exhalation. However, as anticipation for a breath intake arises, it undergoes a
transformation, assuming the shape of a dinner plate. Mirroring this alteration, it effectively propels the
contents of the abdomen downwards, thus creating an expansive space for the lungs to descend and
occupy.

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Expanding the Rib cage
This is the motion of the diaphragm during sleep, where the ribcage remains relatively still as the
diaphragm carries out the action. However, in flute playing, a greater intake of air is required. Still
emphasizes the need to increase the ribcage area for better air intake and likens the ribcage to a barrel
that can expand. The way we expand the ribcage is through elevation.

To illustrate the expansion of the ribcage, note that most

of your ribs are attached to your sternum, and all of them
to the spine. The ribs themselves lift up and outward on
an in breath, similar to the handles on a bucket, as
pictured below (viewed from the side of the body). Note
the solid color image below, which is when the lungs are at
rest, and the dotted image, which depicts the position of
the ribs when the lungs are fully inflated. The front of the
ribcage is tremendously flexible, so we should feel this up
and outward motion significantly when we breathe.

However, good posture begins not with the ribs but at the
feet.

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Posture
Begin with even weight distribution on both feet, imagining them as tripods with three points of contact:
ankles, big toes, and little toes. Still cautions against leaning back on the heels, as it can create tension in
the front of the body, and also advises against leaning too far forward on the toes, which can lead to
tension in a different area. Proper breathing posture is aligned with the goals of the Alexander technique,
Feldenkrais, and Body Mapping, each emphasizing the importance of maintaining good overall posture
and alignment.

Locking the knees is fairly easy, but this is incorrect, as it causes the hips to buckle forward and the
shoulders to slouch. This misalignment puts excessive strain on their abdominal muscles, making it
impossible for them to raise their rib cage, impeding their ability to breathe freely.

Still emphasizes the importance of placing the knees in a neutral or slightly bent position. With the feet
acting as stable tripods, Still balances their hips atop their knees, in alignment with their ankles. By
maintaining their shoulders in line with this structure, they create a solid foundation for their head to
remain upright and poised.

Though this revised posture may appear unconventional, Still

draws parallels to the readiness displayed in martial arts or the
preparedness to catch a heavy object. They highlight the strength
and stability achieved in this position, emphasizing the slightly
bent knees, hips aligned with the ankles, and shoulders
sufficiently forward to maintain balance. In this alignment, the
head can effortlessly remain in an upright position.

Achieving this optimal posture allows Still to relax their stomach

muscles, adopting a "let it all hang out" feeling. With this
newfound relaxation, their ribcage can expand easily, facilitating
deep breaths and enhanced lung capacity, essential for musical
expression.

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Breath Exercise
Moving forward, Still encourages us to join her in an exercise that further demonstrates the benefits of
proper posture. With arms extended and thumbs pointing downwards, they instruct us to take a deep
breath in and simultaneously rotate our arms until our thumbs point backward. Look for the motion
occurring in the ribcage as the lungs expand.

Now, hold the air upon the end of inhale. Top off the breath with a little bit more! Drop the arms with all
that air inside you. The chest position pictured right is the goal. This exercise is an excellent way to warm
up and gauge the air we have inside us.

Things that can Interfere with Breathing

Moving on from this warm-up exercise, Still delves into common issues that can hinder proper breathing.
One such issue is the tension in the neck. From a flute player's perspective, bringing the head down like a
turtle toward the flute can result in excessive neck tension, which negatively impacts the sound produced.
To demonstrate this, Still invites students to stick their heads forward and observe the difference in the
quantity of air when taking a deep breath in.

Another factor that can impede effective breathing is shoulder tension. Contrary to popular belief, Still
explains that the shoulders naturally move in conjunction with the expansion and contraction of the
ribcage. To illustrate this, Still suggests students grab their collarbones and observe the motion that
occurs when moving their arms. By accepting that the shoulders will rise slightly as the ribcage expands,
students can alleviate tension and facilitate smooth breathing.

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Furthermore, tension can arise from excessive pressure on the chin when playing the flute. This

unnecessary force can contribute to neck tension and hinder proper breathing. To illustrate this, Still grabs

the head joint of the flute as a visual aid. By focusing on keeping the flute loose and imagining a slight drop

when breathing, the resulting noise becomes less gaspy.

Additionally, the shape of the mouth can influence the sound. Relaxing and opening the throat area can

create a more relaxed and open sound. Still shares a quote from Jacobs, emphasizing the importance of

feeling the air inside the mouth, likening it to taking a deep smell of a rose.

Still clarifies that the amount of space needed to open the mouth is not extensive. Try cutting a drinking

straw into several small pieces and holding them between your lips when breathing. Still finds the ideal

number to be about five bits of straw, or six if she needs to play very loudly. (Some students are happy

with three, so it really requires experimentation.)

She emphasizes that the focus should be on allowing the mouth to fall open naturally rather than

mechanically forcing it. Opening the face simply requires relaxation, as holding it closed takes effort. Still

humorously demonstrates their "relaxed open face look," noting its resemblance to a zombie expression.

Breathing Bag Exercises

Moving on to breathing exercises, Still introduces using a breathing bag to study and improve a student's

air management. While commonly used by brass players, the breathing bag can benefit anyone in

understanding their breath control.

Backstage, one may frequently encounter black neoprene rubber bags commonly used in medical

operating rooms. These bags are meticulously designed to measure the quantity of air necessary for an

anesthetist's use. Unfortunately, their precision and functionality come at a hefty price, making them

rather expensive and not very durable. Still's personal breathing bag, a witness to countless travels and

performances, bears the marks of numerous silicon patches to extend its lifespan.

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Conversely, Still perceives these bags as intriguing but finds the precise measurement of air quantity
insignificant. What truly matters is ensuring that students optimize their breathing techniques relative to
their individual body sizes.

Thus, to create an effective breathing bag, Still recommends acquiring 1) a substantial freezer bag crafted
from robust plastic material, commonly found in a hardware store. Next, get 2) a piece of gas pipe and 3) a
section of water hose, both easily procured at a reasonable cost. Additionally, 4) a rubber band is
employed to fasten the components together.

Beginning the bag's construction involves removing one end of the plastic bag. Get the largest size of
freezer bags you can find at the supermarket. Ordinary gallon-sized bags prove inadequate for this
purpose. While the next available size may appear excessively large, it is essential not to overestimate the
quantity of air required to fill the bag. For convenience, Still suggests retaining the zip intact by cutting off
the opposite end of the bag. This allows the bag to be opened and dry it out.

Still’s final creation boasts a plastic bag with an adaptable opening and a centrally placed piece of pipe
securely gathered and affixed with a rubber band. This innovative approach ensures a remarkably durable
breathing bag that caters to the needs of all musicians.

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Her breathing bag has not yet experienced any physical damage despite her typical tendency to misplace

them! They emphasize the affordability of this reliable tool, recognizing it as a valuable investment for any

aspiring musician seeking to improve their breath control.

The size of the bag becomes crucial in achieving the best possible breath. To use it, scrunch it up between

two hands, getting it very tight and wrinkly. Still takes a huge inhale and blows it up. It’s all right if the bag

is still a bit squishy and can further inflate. Should the bag require additional inflation, Still suggests

adjusting the size by moving the rubber band up the pipe and pulling more bag inside.

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Moving on to the practical application, Still highlights the importance of testing one's maximum breath
capacity using the breathing bag. They advise starting with a single breath to gauge one's current ability. If
the breath falls significantly short of the expected capacity, prompting a noticeably less inflated bag, Still
suggests a thorough evaluation of one's posture and mindset. They recommend focusing on proper
standing posture and visualizing the expansion of the ribcage to achieve maximum breath capacity.

Incorporating the breathing bag into daily exercises, Still describes a technique that involves inflating the
bag and quickly breathing the air back in, mimicking the actions required when playing the flute. She
emphasizes the benefits of practicing this exercise in front of a mirror, enabling self-observation and
correction of any slouching or other unfavorable habits that hinder optimal breath intake. Still also
encourages mindful assessment of tension levels around the ribcage to ensure a relaxed and unrestricted
breath.

Recognizing the importance of balance, Still suggests performing the exercise two or three times before
taking a break. They explain that while there is ample oxygen in the bag's air supply, excessive repetition
may deplete the available oxygen.

Counting Breath Exercise

Next, Still introduces another exercise for the player to practice - a counting exercise.

In this exercise, Still instructs the player to count in units of eight, with a focus on controlling their breath.
They emphasized the importance of starting with slow, deep breaths and gradually transitioning into
faster breathing. She demonstrates by taking a slow, deep breath in, counting one to seven, and then
exhaling on count eight. They repeated this process, gradually increasing the speed of inhalation and
exhalation.

Arnold Jacobs used similar techniques to calm his nerves during performances with the Chicago
Symphony, and Still explained that monitoring and controlling one's breathing is an effective way to
manage performance anxiety.

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Lung Capacity Exercise
Moving on to another exercise specifically relevant to flute playing, Still aimed to build the player's
awareness of their lung capacity in the moment. She uses a visual aid of pretending to play a trombone,
using her hand to measure air. She takes a full breath in and exhales completely.

This exercise breaks this into increments, beginning by dividing their breath into thirds. She challenges
herself to inhale two-thirds of her lung capacity and then take in the remaining third. However, upon
evaluation, it became apparent that they had taken in too much air during the first two-thirds. Adjusting
their approach, they then practiced breathing in fully, exhaling two-thirds, and finally exhaling the
remaining third.

This exercise might initially seem insignificant it’s very important for flute players. Being aware of the
amount of air in one's lungs and making informed decisions about when and where to breathe can greatly
enhance performance.

During her countless performances of the Prokofiev Sonata, Still has honed her breath control and
confidently understood the precise moments that required a deep inhalation or a gentle breath. However,
when faced with sight-reading a new composition, it’s much harder to know how much air you need and
when. Lung capacity exercises allow us to be much smarter about gauging how much air we have left and
how much we need to take in.

Gesture Motions
Jacobs was very interested in gesture motions and frequently mentioned the concept of envisioning one's
arms sweeping the air into the lungs and gently exhaling it. Some students associated this idea with a
rhythmic up-and-down arm exercise, while others saw it as a continuous motion, from the frog to the tip
of their instrument bow, embodying the sustained effort accompanied by controlled airflow. Still
emphasized the importance of exploring various movement strategies that could spark a breakthrough in
one's breath management skills.

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The “Horrible” Exercise
What Still refers to as the "horrible exercise" is a challenging practice that pushes the boundaries of one's
physical tolerance for air management. The exercise aims to maximize the efficiency of inhalation and
exhalation by taking breaths of remarkable magnitude and speed. However, caution is advised, and you
may want to find a comfortable seat to avoid any fainting episodes. Positioning oneself on the chair with
the back support pressed against the lower back or sitting on the edge of the seat, ensuring firm contact
with the sitting bones, is essential. Maintaining an upright posture is key, enhancing the perception of a
solid torso.

Breathe in rapidly, filling up as much as you can, and hold that air as long as you can. Then, let the air out
quickly and remain empty for as long as you can. Do three cycles of this and then rest. Jacobs heard
about this exercise from Navy SEALs to train their lung capacity.

Navy SEALs needed to train themselves to hold their breath underwater for extended periods. While
classical musicians may not be required to do the same, developing greater lung capacity could benefit
their playing. Tuba players, confident in the efficacy of this exercise, had even placed bets on its ability to
enhance lung capacity!

Concepts of Breath/Body Size

Moving on to the concept of breath in music, Still emphasizes the importance of considering breathing
spots as varied and unique. Instead of following a repetitive pattern, she encourages her students to
explore different sizes and placements of breaths. By doing so, they can make their breathing less
obtrusive and more musically expressive. Still warns against falling into the trap of playing only long
phrases, citing the example of Debussy's "Afternoon of a Faun" excerpt. While she is a larger person and
can typically play the entire phrase in one breath, she recognizes that this might be a difficult feat for
smaller individuals. Insisting on playing the entire phrase without taking a breath could hinder musical
expression and create an undesirable outcome.

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Still proposes a different perspective on striving to play a flawless, uninterrupted phrase. She suggests that
the desire to achieve such perfection might be most relevant in an audition setting, where impressing a
panel of knowledgeable musicians is crucial. In this context, the goal is to demonstrate exceptional
musicianship and creativity, rather than solely focusing on breath control. Still encourages her students to
consider the broader purpose of playing through a phrase flawlessly and emphasized the importance of
musicality in their performances. While fellow flutists may pay attention to your breath control, the rest of
the audition committee and audience are more interested in how the flutist expresses the music.

Still acknowledges that there are recordings of exceptional flutists who take breaths strategically
throughout a performance, and Still perfectly understands and accepts this approach. For younger or less
experienced students, Still suggests adopting a similar mindset. Additionally, Still points out that playing
long phrases without taking a breath can lead to oxygen deprivation towards the end.

Drawing inspiration from oboists, Still recommends hyperventilating slightly before starting a long solo
piece such as "Afternoon of a Faun" or the slow movement from Beethoven's Fourth Symphony. Initially
skeptical of the idea, Still admits that it actually makes a significant difference in how one feels and thinks,
thanks to the improved oxygen ratio in the air. Although it takes practice to integrate controlled breathing
and calm starting notes, Still believes that exploring this technique is worthwhile for advanced
performers.

Despite flutists generally focusing on finger dexterity and repertoire, Still encourages students to learn
from other instrumentalists who excel in different aspects. In particular, observing tuba players can
provide valuable insights into chest movement during inhalation. Just as watching a singer with proper
body posture enhances vocal resonance, Still recalls how Arnold Jacobs spoke highly of Dale Clevenger
and Gail Williams, two French horn players from the Chicago Symphony. Clevenger, a tall and strikingly
athletic-looking figure, contrasts with the diminutive stature of Williams, a shorter woman, underlining the
diverse body types and techniques found amongst successful musicians.

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The chart above comes from the American Thoracic Society and contains research done on non-
musicians. Interestingly, someone of Still’s age and stature should not be able to possess the lung capacity
that she does. In fact, it suggests that she should stand at a staggering seven feet six inches!

Of particular interest in this chart is the discrepancy in body sizes and its direct correlation to air capacity.
Renowned instructor Arnold Jacobs often referred to the examples of Gail and Dale, both exceptional
horn players. You couldn’t quite tell them apart until you really listened for their breathing spots. Jacobs
would say that truly beautiful music renders the breath invisible to the listener's ear. It is only when the
music lacks substance that the audience becomes aware of these breathing moments.

Lastly, one of the invaluable lessons Mr. Jacobs left imprinted upon Still’s pedagogy is the virtue of
patience when embarking on transformative endeavors. When she had the privilege of collaborating with
him during her early twenties, the concept of breathing completely transformed her understanding of
musical expression. However, with the utilization of a breathing bag, she experienced tremendous
progress within just a few months. In fact, her capacity increased from Jacobs' initial measurement of five
and a quarter liters to an impressive six liters.

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Improvement
To put this into perspective, imagine someone offering a million dollars to perform the splits, a feat
currently beyond reach. However, given ample time, motivation, and daily practice, marked improvement
is undoubtedly attainable. Similarly, our discussion revolves around stretching the body's capabilities in a
manner that may be unexplored. This process demands heightened mindfulness and a willingness to
embrace new practices.

As Jacobs would say, you can’t change an existing habit, but you can love to learn a new one!

About Arnold Jacobs

Arnold Maurice Jacobs (June 11, 1915 – October 7, 1998) was an American tubist who spent most of his
career with the Chicago Symphony Orchestra. He held that position from 1944 until his retirement in 1988.

Jacobs was considered one of the foremost brass pedagogues of his time as well as an expert on
breathing as it related to brasswind, woodwind, and vocal performance. Due to childhood illness and
adult onset asthma, his lung capacity was significantly impaired. He is best remembered for his playing
philosophy which he referred to as "Song and Wind."

Wikipedia

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