ClarinetFest® 2023 in Review
ClarinetFest® 2023 Day 3
Health and Wellness Expert Somatic Masterclass 2
by Amy Guffey
As an introduction to this masterclass, Shawn Copland shared, “The thing [Alexander Technique and body mapping] itself is not what we’re trying to teach, it’s the feel.” This mantra helped to create an open minded and experimental perspective for both the participants and the audience members who attended the Friday morning session. This was especially reassuring to somatic newbies, such as myself.
After brief introductions of the Alexander Technique and body mapping panel, the first participant, Macey, played an excerpt from Jonathan Russell’s Still Here for expert Bill Conable. Speaking in a calm and approachable tone, Bill encouraged Macey to “open up, inside and outside.” Asking the audience to stand, along with himself and the participant, he discussed body weight distribution and suggested everyone elongate our non-weight bearing leg. After playing the selected excerpt again, Bill asked the performer for immediate feedback. Macey noted a stronger, more grounded stance that resulted in an open tone and fluid phrasing. He asked her to consider performing as a means of taking care of the audience by thinking inward about yourself while simultaneously thinking outwardly about the music, audience, etc.
The second panelist, Jackie McIlwain, brought an equally positive and informed approach. When Kira, the second participant, was done playing an excerpt of Béla Kovács’ Hommage á C.Debussy, Jackie praised her for taking time to mentally prepare before she began playing. This simple comment created a noticeable sense of relaxation in Kira. Dr. McIlwain demonstrated several exercises to help her feel more comfortable while seated and also took a moment to incorporate a few more exercises to lessen hand tension and improve finger placement.
Similar to Bill, Jackie frequently asked the performer for feedback and would adjust her approach in response to their reply. I appreciated her intentionality to teach new skills in small movements that culminated into larger motions. Her pinky-lead hand positioning is the first time I’ve heard of finger placement approached in this manner.
The final participant of the session, Andréa, worked with Jackie on correcting a soft palette air leak. Jackie displayed empathy and familiarity by sharing her personal struggles with a similar air leak and encouraged Andréa to alleviate pressure from the soft palate. Jackie instructed the performer to think of the air coming up through the trachea and going downward to alleviate pressure from the soft palate. Jackie shared several exercises that can also be implemented without the clarinet to strengthen the soft palate between practice sessions.
At several points throughout the class, Jackie encouraged participants to “renew your intention.” I found this simple phrase to be refreshing, while it simultaneously gave participants permission to genuinely feel both the comfort and newness of these unfamiliar techniques.
The participants were encouraged to experiment, be patient, and reflective. Both presenters introduced concepts at a pace that allowed the clarinetists to digest their instructions but not so slow that the performer got frustrated or bored. It was evident throughout the entire session that Bill and Jackie are informed, articulate, and enthusiastic to share somatic wellness with our community. I look forward to adding Jackie and Shawn’s upcoming book, Body Mapping for Clarinetists, to my library when it is released this September!
