Does your left hand struggle to keep up? Your right hand seems to have its act together, but your left hand always takes longer to feel comfortable with the notes, no matter what piece you’re learning. Are you thinking that I have a hidden camera in your practice room? Not at all; it’s simply that I have had my own left hand issues too.
I used to think that if I were left handed I wouldn’t have these issues. But I hear many of my left-handed students, even the more advanced players, complaining about the same left hand awkwardness. So much for trying to become ambidextrous as a solution.
Even more frustrating is that the solutions I used to recommend to my students - the same ones I was using myself - really aren’t solutions at all. Sure they helped my left hand become more fluent and flexible, which I would call a big win. But I still saw my students struggle with left hand passages that should have been easily within their grasp. Or more precisely,...
What famous harpist has his 137th birthday this week? Carlos Salzedo, that’s who.
This harpist and musical innovator was born in Arcachon, France on April 6, 1885, and on today’s show I would like to introduce you to a side of his music you may not have encountered, including some music not only playable but even suitable for lever harp.
Before we get started, you will need to know a little of my own background. I was brought up in the Salzedo tradition. My teacher studied with Salzedo. I went to the Curtis Institute of Music in Philadelphia; Salzedo had founded the harp department there, and I had my lessons in the Salzedo Room. And so Salzedo’s tonal language became part of my musical education from the very first. I learned Tango - my first harp recital piece - and Night Breeze, which I will play for you later today. I learned the Preludes Intimes and Song in the Night (Chanson dans la nuit). Then I went on to learn the Five Preludes and the Modern Study Etudes...
Practice makes perfect.
Perfect practice makes perfect.
Exactly what are we making perfect?
There is truth in those two statements but they are misleading too in a potentially dangerous way.
The truth is that how we practice determines how we play.
The danger comes if we take this to mean that if our playing isn’t as perfect as we want it, we haven’t practiced hard enough. So when our playing falls short of our expectations, we practice longer or more carefully or with more grit and determination. Longer practice can lead to injury or boredom. Practice focused on being correct often fails to be musical. And grit and determination are not conducive to beautiful, relaxed harp playing.
But there is one kind of practice that causes our practice to translate into the kind of playing we want. If we practice in this way, we play better in our lessons, we are more relaxed and we are able to be more expressive.
This kind of practice is absolutely critical to our success, to...
Ask a group of harpists what the hardest part of playing the harp is and you’ll get a lot of different answers: the technique, playing hands together, reading the notes, playing chords, putting on a new string, or maybe even moving the harp. Every harpist has his or her own bugaboo, a particular challenge in their playing.
But we all agree that one of the trickiest parts of playing the harp is the fingering.
From the first day we started the harp it was impressed on us that we need to follow the printed fingering. Placing our fingers accurately and in the right order - all at once or one at a time - helps us battle gravity and stay physically connected to the strings. I like to think of us as musical acrobats - only without the death-defying aspect. So much of what our instrument demands of our technique requires us to be airborne. We have to lift our hands to prolong a sound, to relax our hand, to move from one octave to another. And unlike pianists, we are...
It’s almost St. Patrick’s Day, a day which is important to many of us, not just because we’re Irish (my last name is Sullivan, after all) or maybe just Irish for a day. As harpists many of us raise a glass on St. Patrick’s Day to celebrate the amazing legacy of the Irish harpers and to the modern day harpers who continue this rich tradition.
On today’s show we will pay tribute to another facet of Irish music with a tradition just as rich and as beautiful. I will share music by three influential Irish composers, not composers of traditional music but composers more linked to classical music: one who found his fame and fortune in the court of Queen Elizabeth the I of England, one who invented a musical form that became a staple of classical music composers, and one who is considered responsible for the resurgence in the 1960’s of the popularity of Irish traditional music. Three very different composers, all linked by a common heritage, a heritage I am proud to share.
Sometimes planning is counterproductive.
I know this sounds strange coming from me because I am a huge advocate of having a plan and working the plan when it comes to your practice. That’s truly the secret of being able to play the music you want and creating harp happiness over the long haul. There’s power in a well-conceived and consistently executed plan, particularly when it comes to your practice.
But planning doesn’t come naturally for everyone. The good news is that it isn’t the only path to progress.
In my house, my husband is the true planner. For example, while I was working on this podcast, he was browsing the web, planning out activities to schedule for a trip we have coming up. I like to do my research on these things too, but he likes to have everything planned out day by day as soon as possible. I prefer to get where we’re going and get the feel of the place before I make my decisions. I want to get my bearings, to sort...
Today’s show is dedicated to you, the podcast listener. I have gathered some of the most interesting questions from our podcast inbox and I will be answering them in this episode.
After all, advice is only good if it’s the advice you need when you need it. Obviously, a podcast isn’t the same as individual instruction, or having your harp teacher on speed dial, but it’s important to me to talk about the topics that matter to you, those things that will make a difference in your harp playing. That’s one of the reasons I like to give you an action step or two with each podcast. Taking action, doing something rather than just talking about it, is how progress happens. It’s how we grow. Just think; if we only talked about practicing and never actually did it, our harp playing would never improve. In fact, it would start to wither and die.
If being a harpist - or harper if that’s more “you” - is part of who you are, then...
Today you are going to get a promotion. Or rather, today I am going to give you a promotion. Or even better, today you are going to give yourself a promotion.
A promotion is exciting. It may come with a new title, or a certificate or a diploma. It likely entails new responsibilities and new challenges as well as new and as yet unimagined opportunities. It signifies a higher level of competence and the confidence that others, at least, have in your achievements to date and in your potential. And that gold star, that new job title, that salary raise is proof of your accomplishment.
But where is the proof of your harp accomplishment? How do you know that you’re making progress, or keeping pace with whatever goals or timelines you have set for yourself? Where’s the guidebook that says, “You are here,” and shows you how to get to “there?”
Yes, we do have some ways to gauge our progress. Music exam systems, like the ABRSM or RCM exams, provide an...
You and your harp are the perfect Valentine’s love story. You met your harp, fell in love and the rest is history. When I talk about harp happiness here on the podcast and elsewhere, I’m talking about that love connection you have with your harp - that magical feeling that you began with and about continuing that feeling, deepening it, nourishing it, helping it flourish.
Of course, sometimes harp happiness has its bad days, those days when the joy just isn’t there. Those moments of frustration are the bumpy part of a harpist’s journey, and today’s podcast is about one of the major bumps in the road for all of us harpists: playing chords. We want our chords to sound lush and lovely but sometimes they just come out like a disorganized cluster of random notes.
There are so many ingredients to playing a lovely-sounding chord.You must place multiple fingers quickly and accurately on the strings and then play them either at exactly the same...
Imagine you found yourself stranded alone on a deserted island. It’s a beautiful place or it would be if you knew a little more about it. Are there dangerous animals or poisonous plants? How will you survive? You need food, clothing and shelter, but you have no idea how to provide them for yourself. Out of necessity, you begin carefully and slowly, learning just as slowly by sometimes painful trial and error.
Sometimes harp practice can feel like that deserted island. You tune the harp and sit down ready to work. But you don’t have a clear direction. You don’t know if you’re doing the right things the right way. And there’s no one by your side to give you advice. You have plenty of notes from your last lesson, but essentially your teacher told you what to work on or accomplish, not so much actually how to do it. Are you wasting your practice time?
On the other hand, you’ve probably experienced the feeling after a lesson where your...
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