Practicing Harp Happiness

So you decided to learn a new piece for the holidays - good for you! When I think of all the years I’ve been playing the harp, it’s a little amazing that I still feel a little thrill when I pick up a new piece of music to learn, and I’m sure you feel the same. Starting a new piece is a voyage of discovery with the promise of adventure, new notes to conquer, a few challenges to meet along the way, and finally, a beautiful piece of music we can play.

Of course, the voyage is often a little rougher than we anticipate. It can take longer than we thought and can be more discouraging. We can’t always eliminate the difficulties or estimate exactly how long it will take us to learn a piece. However, we can give ourselves the biggest advantage we can by getting the strongest and fastest start we can to the piece.

One of my frustrations with the way harp learning is often taught is that it teaches the student to be slow. Certainly playing slowly and learning carefully are necessary to devel...

It’s nearly the end of October and already my daily practice is revolving around what I will need to play this holiday season. Yours might be too. The smart harpist knows that this is the time to plan your practice carefully so that you don’t have to cram practice time into an already overloaded holiday schedule. If we feel prepared to play going into the holiday rush, it makes everything about the holidays more fun.

So now is the time to plan. We have about six weeks from now until the end of November. In my own planning I usually use our Thanksgiving as my target date to have my music ready. If you’re not up to speed on American holidays, our Thanksgiving is the fourth Thursday in November, so date-wise, it’s a movable feast, but as it marks the kickoff for our holiday rush, it’s a great target date for music readiness.

Today, I want to share what I think is the easiest and most realistic schedule for making sure whatever music you have to play this December will be ready. I sta...

I once had a student say this to me: “But it doesn’t work when I do it that way.”

We were trying to fix a passage in a piece she was learning. When she played the passage for me, there was an obvious stumble spot, and I had a definite idea about what was wrong and how to fix it. But after a week of trying to implement my suggestion, she came back to me, saying that her old way, even though it wasn’t really working, worked better than mine and so she was sticking with her way. 

Please understand that the student didn’t doubt the solution I was offering. She had tried it, just as I had suggested. She had confidence in my ability to help her surmount this difficulty. The frustration for her was not just that the solution I offered didn’t work; it was that her old way was actually better for her, at least at that moment.

At that point in our lesson, I could have responded with the all-time favorite response of music teachers everywhere - you have to give it some time.  That would cer...

If I were to ask you what you think the most important skills are for any harpist, what would you say?

There are lots of obvious choices. You might include technical skills, like scales or arpeggios or putting hands together. You could mention skills like note reading, or sight reading, or rhythm skills or knowing basic music theory. What about working with a metronome or playing expressively? All of these are important, and none of them is particularly easy. 

While all of these are crucial, I consider them all just part of playing the harp. Every harpist develops these skills continually, every day, over a lifetime of playing. Some of them come more naturally than others, but we become more skillful in all of them over time. It’s also a fact that neglecting one of these essential elements - and my list was by no means a complete one - will limit our playing at some time in some way.

Today, though, I want us to think about a different category of skills, skills that are less abou...

Do you have to memorize your music? Of course not. How’s that for an easy answer. Okay, the podcast is over and we can call it a day. But of course, the answer isn’t that simple. 

No, you don’t have to memorize your music, but the fact that you’re asking the question tells me that you’re almost certainly thinking about memorization the wrong way, or at least very differently from how I have learned to think of it.

What I want to help you understand today is the role that memorization can play in your musical growth, how it can make you a better musician, how it can help you learn music faster, not necessarily because you are memorizing, but because the act of memorizing brings your focus to the music in a different way.

But not if you’re trying to memorize the way you may have when you were young. The kind of effortless assimilation that came so easily to me when I was younger, and perhaps to you too, doesn’t happen with my aging brain. I still memorize, but I use a process that ...

When I was a beginning harp student, the technical method I was learning - the Salzedo method - was something I took very seriously. From my very first harp lessons, I learned the important points of technique, as Salzedo taught it. I wasn’t studying with Salzedo, of course, but my teacher, Marilyn Costello, was a student of his, and his method was what she taught her students.

For a long time, I played the harp in innocent ignorance of the fact that there were other harp methods. In fact, it was a revelation to me in those early years when I discovered that most harpists in the world didn’t use the Salzedo method. Truly, all the harpists I knew in the Philadelphia area were Salzedo method players, and it never occurred to me that this wasn’t true across the wider harp-isphere. 

Once that realization hit, I went into what I’ll call Stage Two of my education about harp methods. That was the stage where I believed that everyone who didn’t play Salzedo method wasn’t playing the right...

I’m sure you’ve seen that famous optical illusion picture that can be perceived either as two faces in profile looking at each other, or as a vase. That image is named the “Rubin Vase,” after Danish psychologist Edgar Rubin, who authored a book in 1915 called “Visual Perception.”  This image, and others like it, have stimulated much scientific debate about how our brains understand and process images. 

What fascinates me is that moment when my understanding of the image shifts, that instant where I can see the second interpretation of the picture. Naturally, there’s a technical term for that; it’s called a Gestalt switch. A Gestalt switch occurs when you change your perspective from one view of an image, a sound or an experience. As with the Rubin vase, you first saw it one way - as a vase - and now you see it another way - as two faces. There is much debate about the cognitive processes that allow this switch to happen, but there seems to be general agreement that the switch is ha...

Imagine you’re looking at a box of chocolates, knowing you’ve already had at least three too many. Your hostess is holding out the box to you, saying, “Have just one more. It couldn’t hurt.”

It’s hard to actually know what one more would do. That “one more” candy might be the one that pulls out your filling. That “one more” episode of your favorite Netflix show might turn into an hours-long binge watch. That “one more” task before you leave the house might be the one that makes you miss your train.

But there’s the other side of “one more” too. The extra rep in the gym that builds muscle and stamina. The extra pinch of spice that makes a dish delectable. That extra touch to anything handmade that makes it unique and treasured. Those are just a few examples of the beneficial power of “one more.”

There are lots of opportunities for “one mores” in our harp playing, both helpful and distinctly unhelpful. When you know which of those extras you should avoid, you can stay out of some of...

How often do we say, “If I only knew then, what I know now”? Sometimes it’s about life experience, like surviving teenage drama. Sometimes it’s about turning down an opportunity, like not buying stock in Facebook before the company went big. 

Obviously, we aren’t able to go back in time and really have a “do over.”  I imagine that if we could, It’s more than possible that the result wouldn’t be what we expect. We can never know how our world would have been altered, if we’d taken the other fork in the road. We can only guess. 

Here’s my “if I only knew then” statement for today: If I only knew as a young harp student what I know now as a harp teacher. The fact behind this is key. The fact is that everything I learned about being a good student, I learned from trying to be a good teacher. If I had known as a student even half of what I’ve learned through my teaching, my harp life might have been so much easier. 

Most teachers of any subject will tell you how much they learn from t...

Mirror, mirror on the wall. If only my mirror could show me all.

We humans love our mirrors. At some deep-rooted level, we love to see ourselves. Maybe you remember the famous scene in the movie Lawrence of Arabia when Peter O’Toole playing Lawrence first puts on the white Arab robes and headdress. He is for the moment all by himself in the desert, so there is no dialogue. According to the film’s director, David Lean, the only instruction he gave O’Toole was to improvise what this young man Lawrence might have done in this situation.

O’Toole experiments with the sweep of his robes by running and spinning, feeling the gleaming white cloth swirl about him. Then he stops, and with no mirror to hand in the desert, takes out his shiny silver dagger from his belt and tries to use it as a mirror to see how he looks. David Lean remembers remarking under his breath during the filming, “Clever boy!” 

Looking into a mirror, though, only gives us a limited perspective. We can only see what i...