“It’s not good enough,” I say when my practicing isn’t going well. “It’s not ready yet,” says a student when the recital date is getting close.
What I find interesting about these statements is that they feel like statements of fact, but they are not. They are judgment statements. And although we may feel certain about their truth, our perceptions may need some adjustment.
Those statements are really comparisons, and we need to evaluate the validity of those comparisons before we pass final judgment. To be certain we aren’t comparing apples to oranges, we need to ask a crucial question: “Compared to what?”
It’s not good enough compared to:
It’s not ready compared to:
Some of those...
Last month I launched my first “Etude a Day Challenge.” The participants were challenged to play through one etude a day from a book of etudes I selected for the 25 day course. My goal in presenting the challenge was to give harpists the experience of playing through something new each day and working for quantity and breadth of experience, rather than for quality.
Does that sound like heresy to you? I don’t mean that we shouldn’t strive for perfection in all that we play and practice pieces to a finish point. But in my experience, it is very easy for students to get bogged down in their practice with the result that they limit their musical experience and growth. This is especially true with adult students, who in general work more carefully and are more determined to play correctly.
So the challenge was...
Memorizing music is a long process. Once most people have passed the first two stages, they think they are done. But that really is only the beginning.
In previous posts, I wrote about the first two stages of memorization: rote memorization and conscious memorization. Rote memorization relies on repetition to develop knowledge strengthened by physical habit. Conscious memorization requires committing the details to your conscious memory so you can recall them when you need to.
But it’s the third stage of memorization, intuitive memorization, where the magic really happens. This is the stage that changes your performance from a recitation to a creation.
Intuitive memorization is not about using your intuition. It is about developing your intuition for the piece. It is about knowing the piece so well that there is a sense of inevitability in your playing, one that blurs the distinction between composer and performer.
This stage requires the most time of any of the stages. It...
No, not tips for weird music teachers. Just some offbeat ideas to help with those difficult music lessons.
Your student didn’t practice this week? Did they forget to bring their music to their lesson? Maybe they need some help, motivation or inspiration? Or maybe they just feel stuck?
Sometimes teachers feel stuck too. But I have learned a few tricks over the years that help me turn a potentially frustrating lesson into one where the student makes progress and we both have fun. I hope these tips can help you too!
1. Sightread duets. My favorite, and it’s extremely helpful. If you don’t have two harps, you can always each play one hand of a piece and share one harp. Tricky but fun!
2. Play “Measure Lotto.” With a difficult piece or passage, I assign random numbers to each measure. The student chooses a number and then must play that measure. A fun...
Here’s a thought for the day: Music is about listening. Ok, so it’s not earth-shattering news, but sometimes we get so caught up in making music that we forget to listen. We practice, play and practice some more. But if we are not listening, we are not using our best resource for correction and inspiration.
So how do you listen while you are practicing, and what should you be listening for?
The “how” is the easy part. You simply have to pay attention. This means not taking a mental nap while you’re doing ten repetitions of a passage. It means staying focused every moment you are practicing, not thinking about what you need to do later in the day. It means being present as you play. It isn’t easy, but the good news is that it will make your practice...
Do you memorize instead of reading the notes?
If so, you’re not alone. Many people do this believing it is easier, at least for them, to learn the notes for a specific piece rather than learn to read them in general.
If you are one of these people, you are probably aware that you do it and that your teacher says you shouldn’t. But reading the notes is so slow for you and looking at the harp is a necessity. So you have taught yourself to play watching the strings and following along with the music on the page. Maybe you write in some of the notes.
When I was taking piano lessons as a child, my teacher prevented me from developin
g that habit in the time-honored way – she held the lid over the keys so I couldn’t watch my hands. As a consequence, I became a fluent music reader, a skill which has been key to my success as a professional musician.
And let’s face...
Charles-Camille Saint-Saëns (October 9, 1835 – December 16, 1921)
Today I would like to honor the birthday of composer Camille Saint-Saëns, born October 9, 1835.
The Saint-Saëns work we harpists most often play is perhaps “The Swan,” whether we perform it as a harp solo or accompanying a solo instrument. But of his three works actually written for harp – the Fantaisie, Op. 95, the Morceau de Concert, op. 154 and the Fantaisie for violin and harp, op. 124 – my favorite by far is the Fantaisie for violin and harp.
This piece was a product of the later period of his life, one that was very productive. Saint-Saëns had survived numerous personal emotional upheavals, and by this time was firmly established as a musical reactionary against the music of the young Impressionists like Debussy.
The Fantaisie was composed in March of 1907 on a trip...
How is your Alberti bass?
This familiar bass pattern is named after the Venetian composer and singer Domenico Alberti (c. 1710 – 14 October 1740). It bears his name due to its frequent appearance in his popular harpsichord sonatas. In the centuries since, it has become a stock accompaniment pattern. You can find it harp music from Dussek to Damase. And despite its ubiquitous presence, it can still pose coordination difficulties for us harpists.
The above quote from the Oxford Dictionary of Music is a favorite of mine, and highlights the love/hate relationship many musicians have for the Alberti bass.
But since we must play it, here a few basic facts and technical tips:
In essence, the pattern is an arpeggiated three note chord. The notes are played in this order: lowest note, highest note, middle note, highest note. While it most characteristically used in the bass, it can be used as an ostinato over a bass line, or even as a figurated melody.
The most usual fingering is...
It’s still nearly a month until Halloween, but it’s not too soon to begin planning for your holiday performances. In fact, now is the time, before the craziness of the holiday season closes in, to get everything in order so that you can actually enjoy the holidays this year.
1. Check your calendar. Make sure all your dates are written in correctly in your calendar now. Don’t trust your memory. As those last minute gigs come in, you don’t want to find yourself having to remember if you promised someone a rehearsal on that evening. Double check any tentative dates or times.
“But how do you make an audience like you?”
I really thought I had heard wrong. I was at a meeting of experienced chamber musicians who had just been awarded very generous grants. My flutist partner Joan Sparks and I were among the grant winners, and we were all getting advice from a music marketing consultant. One of the other winners asked the question, “But how do you make the audience like you?”
Every once in a while, someone will say something that you never forget. Perhaps it has a special meaning or is very profound. Or perhaps it is just incredible.
That’s what this question was to me. I found it nearly impossible to understand how a musician could achieve such a high level of success and still have this question. For Joan and me, having an audience like us was never a problem. It was never even a...