Qigong Standing Meditations For Healthy Flute Posture - The Flute View

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by Betty Bang Mather Privacidade - Termos
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Act without doing,
work without effort.
—Tao Te Ching, #63
(Stephen Mitchell’s English version)
For a recital in the early 1990s I played one piece on piccolo, one
on flute, one on alto flute, one on bass flute. This was a special
challenge for me since at that time I had little experience with
either the alto or bass flute: both were bigger, longer, and heavier
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than the concert flute I was used to. For the alto flute, I chose to
play an especially challenging piece, Harvey Sollberger’s
unaccompanied, 12-tone, 15-minute, 17-page “Hara.” Hara is the
Japanese word for ‘belly’ and also the title of an early book on Zen
Buddhism that Harvey and I read. Hara’s lengthy glossary of
breath sounds, and finger slides and slaps, derived from the
Japanese shakuhachi (end-blown bamboo flute favored by Zen
monks), added their own challenges. But I must have veered from
Interview with S…
S…
the Zen path while learning the piece, for when I first performed
it, my right arm slowly and steadily slithered to half mast. Next
morning I could barely swing that dangling arm an inch or two
forward or back. The first doctor I saw recommended rotator cuff
surgery. The second thought the cuff not torn but “just a little 00:00 24:36
tired from all that flute playing.” He sent me to Physical Therapy
and, over time, my rotator cuff released its tired tensions and
healed.
The Flute View I…
I…
Many professional flutists probably have similar stories to tell.
Our asymmetrical posture, even for the concert flute, is naturally
stressful so must somehow be balanced. Although our bodies
differ in many ways, Qigong Standing Meditations can help each
of us find our path to a healthy flute posture. 00:00 57:20
What Is Qigong?
The Chinese word “Qi” (pronounced “chee”) means air, breath, life
force, life energy. in Chinese philosophy, medicine, and religion,
Qi is the life force that circulates in every living thing and in the air
around us. The Chinese word “Gong” means cultivation, skill,
mastery. Qigong is the traditional Chinese medical art that works
to strengthen the life force in both sick and well persons. Privacidade - Termos
Strange as it may seem, the Chinese medical art Qigong is closely

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related to the Chinese soft martial art Tai Chi. Often the two
overlap to the point they group as one: Tai Chi Qigong (TCQ). jmarsh on EXPIRED! When Age
Ain’t Nothing but a Number
Almost all TCQ sources give detailed instructions for standing. (unless you’re over 32) by
Many include the two basic Qigong standing meditations, “Stand Fluterscooter
like a Tree” and “Holding the Orb.” Master Lam Kam Chuen’s janvinci on Beauty with
book, The Way of Energy, offers nine standing positions. Intention: Expanding the
Wealth of Flute Repertoire
Qigong standing meditations can help flutists’ posture in several
Christina Jennings on Beauty
ways. Like other Qigong practices, they focus our attention on our with Intention: Expanding the
bodies from inside out with the key Qigong principle of “non- Wealth of Flute Repertoire
doing.” Like other standing practices, they strengthen our legs suzteng on Sir James Galway
and torsos, correct our alignments, and balance our heads atop Birthday Tributes
our spines. Like other meditative practices, they give our mind Marcie Monaco on Elzbieta
and body time to relax, integrate, and reorganize; and they slow Wolenska Artist Interview
and deepen our breathing, calm the restless chattering in our
brains, sooth the tumultuous emotions in our hearts, and release
long-held tensions in our musculature and nervous system.
Non-Doing: wu wei
The two little Chinese words wu wei translate into English as

“non-doing” or “no effort.” These are Chinese yin/yang
contradictions. The yin “non” and “no” are shadowy, passive,
negative; the yang “doing” and “effort” are sunny, active, positive.
But Ancient Chinese philosophers always teach moderation, so
there is some yang (doing/effort) in the yin (non/no), and some
yin in the yang.
“Non-doing” does not mean doing nothing, and “no effort” does
not mean using no effort. Rather, these two contradictions
denote accomplishment achieved, not by great exertion, but
through inner awareness, intention, active relaxation (letting go),
curiosity, kindness, and patience. According to Lao Tzu, “In non-
doing, nothing is left undone.”
The yin-yang symbol perfectly illustrates the moderated yin/yang

contradiction. A wave of dark yin swirls intimately with a wave of
bright yang. But a spot of bright yang lightens dark yin, and a spot
of dark yin softens bright yang.
Pushing our effort toward 100% is always stressful and often

dangerous. Let us never grin and bear it, but always STOP if we
Privacidade - Termos
feel even the tiniest twinge of pain. Instead, let us stand

comfortably erect with “just enough, not too much” effort to just
barely withstand the downward pull of gravity.
Active Relaxation
How do we manage to use just enough, not too much effort? The
answer is another contradiction: “active relaxation” (relaxed
action). Yin letting go moderates yang efforting.
Let us explore active relaxation first while sitting.

1. Sit in a straight chair with your hands in your lap, palms
resting on your thighs.
2. Relax for a minute or two.
3. Invite the index finger of your dominant hand to rise about
an inch above your thigh. Invite it to lower to your thigh.
What do you notice? What did you feel? If you don’t
remember, repeat the two actions with more awareness.
4. Now do the same with less effort. That is, relax the finger
before you lift it, then use just enough effort to raise the
finger a tiny bit while still relaxing it, and continue the tiny
effort until the finger is about an inch above your thigh.
Allow your raising effort to be just a little greater than your
downward relaxation. To lower the finger, see if you can let
the downward relaxation be just a little greater than the
raising effort. What do you notice? What did you feel?
5. Practice the above with your non-dominant finger.
Now let us explore active relaxation while standing.
1. Stand comfortably with your arms relaxed at your side, your

fingers slightly curled.
2. “Relax your body.”… “Relax your thoughts.”… “Relax your
breath.”
3. Invite the index finger of your dominant hand to move up
almost to your thumb. Invite it to return to its starting place.
What do you notice? What did you feel? If you don’t
remember, repeat the two actions with more awareness.
4. Now do the same with less effort. That is, relax the finger
before you move it, then use just enough effort to move it a
tiny bit while still relaxing it, and continue the tiny effort until
the finger is almost to your thumb. Allow your upward effort
to be just a little greater than your downward relaxation. To
return the finger, see if you can let the inward relaxation be
just a little greater than the outward effort. What do you
notice? What did you feel?
5. Practice the above with your non-dominant finger.
The upward movement of your index finger toward your thumb

while you stand requires less effort than its movement away from
your thigh while you sit. This is because the muscles on the palm
side of your finger are stronger than those on the back side. The
point of all this is to make you aware of your sensitiveness to
small actions and small efforts. Now that you know what the
point is, allow yourself to repeat the above two explorations to
learn just how and where in your body you sense these small
actions and efforts. For while standing still in the Qigong Standing
Meditations, you’ll want to be aware of even such very small
actions and efforts, whether in your hands, spine, eyes, or belly.
First studies in Tai Chi
During the month of May 1992, my late husband Roger Mather

and I were performing and teaching flute in Shenyang, China.
Here’s a photo of Roger and me one morning at 5:00 a.m. in the
Shenyang University Park. What do you infer from the stances of
Roger, myself, and the fine old tree just in back of me?
Roger’s arms open slightly from his body in an “A-frame” posture,

but his hands flare out a little more, as if to help him keep his
balance. His feet however are relaxed and well grounded. His
shoulders are relaxed, his chest soft, and the two sides of his
body symmetrical. His face is relaxed and open to whatever
comes. But his chin is a bit high, and his occiput (lower back of
head) sits rather heavily on his spine.
Figure 2. Occiput
In contrast, I look like the meditation,“Stand in a Stream.” I

bravely face the oncoming current, but my feet are not well
grounded, my left foot pointing out from my right foot. My hands Privacidade - Termos
seek support on the imaginary surface of the stream. My

shoulders are raised and my neck and jaw stiff (common signs of
NOT letting go). My forehead shows a bit of stress, trying to be
cool in this strange pose (or strange land?). But my occiput is
raised and my chin nicely parallel to the ground.
Meanwhile, the tree stands sturdy and stable. Its roots bore deep
into the earth; its branches stretch out to offer shade, and then
reach high into the sky.
Virtual TCQ through 2020-2021 Pandemic
Much later, when Tai Chi classes stopped meeting in person

during the 2020-2021 pandemic, I began alternating my daily
work-outs between two YouTube videos, “Standing Tai Chi
Calisthenics” and “Traditional Tai Chi Elements.” Both videos were
then and still are taught by Peter Wayne, PhD, Harvard Medical
School research professor, and author of The Harvard Medical
School Guide to Tai Chi. After a few months I enrolled in Peter’s
zoom Qigong class and his zoom Level I Tai Chi class. The Qigong
class was my formal introduction to Qigong.
Before the pandemic I had often fallen, but once I started the
TCQ exercises, I fell no more. I credit TCQ for that happy
outcome. Also, the positive TCQ body shapes; the gentle, circular
flow of TCQ choreographies; and the kindness, patience, and
curiosity of TCQ teachings kept me ever upbeat and optimistic. If
something in my life went awry, I’d just tell myself, “That’s okay!”
and take the misfire as an invitation to explore something else.
One day Peter led our zoom Qigong class through a standing
meditation that felt particularly easy and comfortable to me.
Later I realized that that particular pose was close to the normal
flute posture, so of course it felt natural to me, a longtime flute
player.
But wait! That standing meditation was indeed shaped like the
normal flute posture, but it felt much easier, lighter, and
wonderfully peaceful. Incredibly, neither standing up nor bringing
the flute to my lips seemed to require any effort at all. Previously,
as I played a phrase, my arms and flute would gradually sink as
my breath petered out. But with each phrase since then, my arms
and flute drift effortlessly forward and up, keeping my head easy,
my breathing free, and the music flowing ever onward. What
Peter taught that day changed my flute posture and playing habit
forever.
That experience led me to write this article, in hopes that the

posture of other flutists might be guided by moving through
several Qigong standing meditations to a healthy flute posture.
In his Harvard Tai Chi book, Peter choses words and phrases with
care, to the extent that many recur almost as ritual in his zoom
classes. In this article I often set Peter’s sayings in quotation
marks, both to make them stand out and to give him credit.
Routine for Qigong Standing Meditations
Before standing to meditate we warm up for 5 to 10 minutes to

get our Qi flowing. For a minimal warm-up, we stand a moment
to get the feel of standing. Then we slowly pour our weight from
one leg to the other, our body swaying side to side. After awhile,
when our weight is most directly over one foot, we rotate our
torso as a cylinder over that foot, letting our arms swing freely
back, forth, and around. Then we let each forward-swinging hand
tap our opposite upper chest, then side of ribs, side of navel, side
of lower abdomen.
After the warm-up, we study the instructions for the day’s

standing meditation. We memorize the first few sentences and
practice the memorized sentences. Then we memorize the next
few and practice them.
During the first several weeks we practice Standing Meditation 1.

When our body tells us it’s time for further challenge, we add a
second, then a third, then a fourth. Some days we spend all our
time on one meditation, other days on two or three. Each day, we
let our body tell us when to stop. On some days we feel like
falling back to a shorter length of time. That’s okay.
At the end of each day’s meditation, we cool down for 5 to 10

minutes. Here is Peter’s ritual cool-down.
1. Stacked palms massage belly in circles.
2. Two fists massage lower back in circles.
3. Finger tips gently tap back of neck, skull, forehead, temples,
face, and jaw.
4. Fingers or soft fist slap down inside of opposite arm to finger
tips, then up outside of arm to shoulder, three times.
5. Fingers or soft fists slap down from kidneys (directly back of
navel) as far down the outer legs as can safely be reached,
and then back up the inner legs and around to the kidney,
three times.
6. Arms drop and hands cross at wrists, right under left.
Connected hands rise over head, part to opposite sides,
palms down, and gently float like little parachutes to land
stacked on belly.
While Standing
With curiosity and kindness we explore the inner regions of our

body. Some days we start with the crown of our head and move
down through our torso and legs to our feet. Other days we start
with our feet and move up to our head. We may close our eyes
gently or keep them open in a soft gaze.
As we scan our body, we invite it to relax, invite our thoughts to

relax, invite our breath to relax. “Don’t judge.” “Don’t try to fix
anything,” “Don’t even think much.” Just pay attention to what you
feel.
In time, weak points may take care of themselves. Peter says that
“just showing up and being present, without trying to change
anything, is one of the most challenging and deepest principles of
Tai Chi.” In fact, healthy change does happen without our
intention. Perhaps involved is the quality of our attention — non-
judging, curiosity, kindness, patience. An intention to change that
lacks these qualities can make us miss the finer points we see
only with the “soft inner gaze.”
During meditations we pay attention to our breathing. “Do you

feel where your breath is going?” “Do you feel where it's not
going?” The softer and lighter your body the deeper your breath
sinks.
Are you aware of any “squeezings” here or there in your body?

Squeezings damp energy vibrations. Gently place your attention
on squeezed places just as you might place a reassuring hand on

the shoulder of a friend.
Almost constantly we check that our feet feel the ground, our
head is “bobbilacious,” and that we are breathing. Can you
imagine standing on a planet with less gravity than our Earth?…
less pressure on our joints?
Let go all thoughts of the future and concerns about the past,
bring attention into the present moment. Whenever your
attention wanders, gently bring it back to the meditation. Just
stand. “You are safe.” “The coast is clear.”
As habitual holding patterns release, do you sense more room for

new energy to enter? Because our body changes from moment to
moment, we need to be constantly “present” and “aware” in order
to get to know it at each instant.
Little by little, you may sense a gentle tingling, pulsing, or even

throbbing energy in your hands, fingers and even deep in your
body. Peter often tells us to “Trust the Qi to move from where
there’s more to where there’s less.”
Each new Standing Meditation may be a daunting challenge until

we start to release our Qi blockages. In time, however, our
weighted bones strengthen, our stressed muscles let go and, with
awareness, curiosity, kindness and patience, we find ways to use
less and less effort to stand and play the flute.
Standing Meditation I. ”Stand like a Tree”
“Stand Like a Tree” is an ideal practice for helping flutists become

aware of their bodies from the inside. It gives us time to
strengthen our feet, ankles, and legs; align our limbs and torsos;
let go unwanted tensions; and improve our balance.
This is the shape for Standing Meditation 1.
Figure 3. Stand like a tree.
If possible, we practice this meditation near a strong, upright tree

in nature, or near an open window that looks out on such a tree.
If there’s no nearby tree, we hang a picture of a tree on our wall,
or find something in our home that imitates the strong verticality
of a tree. A four-drawer steel filing cabinet with lamp on top could
serve as the strong tree model. I sometimes think of the top Privacidade - Termos
drawer as my head; the second drawer as my heart and lungs;

the third as my belly, kidneys and kwas; and the fourth as my legs
and feet rooted in the ground. The energy of the lamp on top first
melts the contents of the first drawer, which dribbles down into
the second drawer, melting its contents, which oozes down into
the third drawer, melting its contents, and so on.
LET’S EXPLORE standing like a tree.
Take time to scan your posture from feet to head and back down.
Chris Cinnamon’s book, Tai Chi for Knee Health recommends the
following steps for a “neutral posture”:
1. feet parallel under hips,
2. knees unlocked,
3. tailbone relaxed downward,
4. midriff open,
5. occiput (back of head) rotated up and forward,
6. ams relaxed at sides with a sense of openness in armpits,
7. chest relaxed,
8. back open,
9. pressures in feet balanced.
1. If you sense that any elements of your posture are not quite
so, just notice them. “Relax your body… relax your thoughts…
relax your breath.”
2. Your feet are the roots of your tree, so deserve your initial
attention. Are they parallel under your hips? Do you sense Privacidade - Termos
them rooted in the ground like a sturdy oak tree? Do you feel
the force of gravity pulling them down into the earth? Do you
sense the soles HOME
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earth? Are the pressures in your feet balanced? Can you
allow contractions in their joints and muscles to relax (not
easy to do, especially for a novice).
3. Your legs and torso make up the strong trunk of your tree.
Are your knees unlocked? Is your tailbone relaxed
downward? Is your midriff open? Is your chest relaxed and
your back open?
4. Your arms are the branches of your tree, free to wave in the
breeze. Do they hang loosely at your sides? Have you a
sense of openness in your armpits?
5. We let our body decide when to stop, though we often set a
goal and see if we can persevere to make it.
Standing Meditation 2. ”Holding the Orb”
“Now that your legs are stronger, you can practice a stance to
strengthen your arms as well as your legs.
This is the shape for Standing Meditation 2.
Figure 4. Holding the Orb.
The “orb” of this Meditation is a large, weightless, invisible sphere

that we mindfully hold in our outstretched arms and invite to fill
with energetic Qi.
LET’S EXPLORE holding the orb.

1. Chris Cinnamon’s neutral posture is the beginning stance.
2. With no more than 70% effort, invite your arms to float up to
heart height. Pour just enough extra weight onto your heels,
legs, or buttocks to balance the forward weight of your arms.
3. Allow your arms to form an almost full circle in front of you,
as if they were embracing the trunk of a large tree.
4. To complete the circle, let the middle fingers of your two
hands point toward one another some 4 to 12 inches apart.
5. Invite your elbows to be heavy and your hands light.
6. Imagine that the orb is full of nurturing energy, healing light.
7. Let your finger tips feel “perky” (full of optimistic Qi). Are you
aware of a tingling, vibrating sensation in the tips of your
fingers? This is your Qi, your life force.
8. Let the Qi be helium-like and add “levity” (lightness) to your
whole body.
9. As you sense the lightness of your body, can you also feel
your feet? Too much focus on the helium lightness of the
body without reminders of its deep rootedness can invite
dizziness.
10. In time, you may feel those life force vibrations in your
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inside your entire body. These vibrations both strengthen
and tone the ligaments, muscles, tissues and sinews of your
shoulders, back, and arms. Your elbows and shoulders
become both softer and stronger, as does your entire body.
11. Also in time, you may sense other areas in your body letting
go, coming to rest: your neck and jaw, for example, or areas
in your back, hips, legs, knees, and feet.
12. At first, hold this stance for only about three minutes, but
increase the time most days.
“Standing Meditation 3. “Holding Your Belly”
This is the shape for Standing Meditation 3
Figure 5. Holding your belly
1. Start in Chris Cinnamon’s neutral posture.

2. Arms take position for Holding the Orb.
3. Arms relax downward to hold the orb at belly height.
4. While in this position, arms and shoulders relax, hands
“scoop” in a ‘not too loose, not too tight’ manner that permits
Qi to flow through the wrists.
5. Do you feel your feet on the ground, your head bobbilacious,
and the flow of your breath out and in?
‘Bow Stance”
An especially useful TCQ stance is the “Bow Stance.” With our feet
in a Bow Stance we can pour our weight back and forth from one
leg to the other and, when directly over one leg, can rotate our
hips from side to side along with the weight shifts. This gives our
hips a far greater range of motion than having our feet hip-width
and parallel.
“Cat Stance”
You may now be strong enough to stand for some minutes on

one leg alone. Your unweighted foot, the “empty” one, barely
touches the ground, like a cat waiting to pounce on its prey. This
strengthens your “full” leg far more quickly than standing the
same time on both legs. It also lets you practice emptying your
unweighted leg. In time you may be able to pour all your weight
into one leg as you lift the other foot 3 to 12 inches off the
ground.
‘Left Bow Stance” Privacidade - Termos
The Left Bow Stance is ideal for flute playing. It has the left foot
forward, pointing N, and the right foot back, pointing NE. Here
are directions for getting into the Left Bow Stance. The six moves
numbered below are illustrated as a crib sheet in a box.
1. 13.We stand in neutral posture.
2. 14.With most of our weight in our left leg we pivot our right
foot on its heel, turning our right toes toward the NE corner.
3. 15.We pour our weight into our right leg; our left leg
empties.
4. 16.We invite our empty left foot to step straight forward (N),
placing the heel where the toe had been.
5. 17.We shift our weight onto our forward left foot.
Figure 6. Crib Sheet for Left Bow Stance
To keep the two sides of our body balanced, we practice the Right
Bow Stance an equal length of time.
1. Feet parallel.
2. Weight moves to R foot, L foot empties.
3. L foot rotates NW.
4. Weight moves to L foot, R foot empties.
5. R foot steps N.
6. Weight moves to R foot, L foot empties.
Standing Meditation 4. “Raise Hands Right”
This is the shape for Standing Meditation 4
Figure 7. Raise Hands Right

1. Feet in Left Bow Stance (left foot front, pointing N; right foot
back. pointing NE.
2. Let your arms drop as in Meditation #3, “Holding Your Belly.”
3. Allow your weight to shift to 70% in the right foot.
4. Let your hips and torso rotate gently to the right, the
momentum allowing the arms to arc up like a pendulum.
5. 10.Steer the left hand up the midline, left elbow relaxed, left
palm and soft wrist facing the right shoulder.
6. 11.Your right arm arcs out further to the right, elbow
relaxed, right wrist and fingers still rounded, and palm facing
N.
Healthy Flute Posture
Now let’s morph “Raise Hands Right” into a comfortable, low-

effort, and effective flute-playing posture. Only a few small
changes are needed to transform Meditation #4 into a healthy
flute pose.
Figure 8. Healthy Flute Posture

1. 12. Stand in Meditation 4, “Raise Hands Right.”
2. 13.Subtle release of elbows and shoulders downward.
3. 14.Subtle flopping of right wrist, such that finger tips curve
softly over imaginary flute keys, and wrist, hand and fingers
appear to be resting on an orb.
4. 15.Subtle rotation and flopping of left wrist such that left
fingers face toward right shoulder, resting on keys of
imaginary flute. as if left fingers were resting on an orb.
“Backward” Flute Posture
Now, for fun and edification, let’s reverse the directions of “Left
Bow Stance” and “Raise Hands Right.” This may feel very strange,
showing just how natural and comfortable our habits—whether
healthy or not—become with long use, and how very unnatural
and uncomfortable any changes we make at first feel. This
“backward” pose helps keep the two sides of our body
symmetrical.
LET’S EXPLORE “Backward”

1. 16.Feet in Right Bow Stance (right foot front, pointing
forward; left foot back. on diagonal. Privacidade - Termos
2. 17.Arms drop as in Meditation #3, “Holding Your Belly.”

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arcs your arms up to the left like a pendulum.
4. 19.Right hand floats forward and up just above left shoulder;
right elbow relaxed, right palm and soft wrist face shoulder.
5. 20.Left arm arcs out further to the left; elbow relaxed, left
wrist and fingers still rounded, palm facing N.
6. 21.If you have a baroque flute or any keyless transverse
flute, you might experiment with playing a simple tune as
you hold it to your left. (With a baroque flute you’ll need to
rotate the foot joint outward about 90º in order for your left
pinky to reach its single key.) (An illustration would certainly
help this item, but it’s very hard for a flutist to look
comfortable playing “backwards.”)
Further TCQ Benefits
Standing Meditations are only one TCQ practice of value to

flutists. All TCQ practices deepen mind-body awareness (inner
focus, presence, attention), active relaxation (relaxed action), and
non-doing (seemingly effortless action).
Here’s a photo taken about a year ago of me and a llama.

According to the internet, llamas are gentle, shy but sociable, and
very curious animals, often used to shepherd flocks. Naturally
calm and full of good common sense, llamas lay their ears back
when agitated. This llama’s ears stand straight up, perhaps a
friendly gesture? My favorite Alexander teacher calls this photo
“wonderful,” especially the llama’s neck, and mine too! A retired
university flute professor, who daily plays baroque flute
“backward” for awhile to release his neck stiffened by a life of
flute playing, considers the photo “a good advertisement for The
Alexander Technique.”
Photograph 4. Betty and Llama
In normal times, in-person tai chi classes are available in most

communities of any size. Many books and articles are also
available, and more are being written. Following is a list of
sources I have found particularly helpful for my own posture and
well-being.
Betty Bang Mather taught flute at The University of Iowa for 44

years. She was the first woman president of the National Flute
Association, which in 2013 awarded her a Lifetime Achievement
Award. Her books and articles on Baroque and Classical
woodwind performance practices have given her an international
reputation.
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1/22/22, 5:45 PM Qigong Standing Meditations for Healthy Flute Posture - The Flute View

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