Practicing Harp Happiness

This past weekend was a big one for us in the United States. Not only were we celebrating our July 4th Independence Day as we do every year, but it was an anniversary year for us, our 250th. The parties were more festive, the fireworks more explosive, and all of the celebrations focused on freedom and independence.

I talk often about independence, but naturally I’m usually talking about Independence of our fingers or hands in our harp playing. A key focus of every harpist’s technical practice is developing more independent motion of the fingers and more independent playing of the hands. We want our fingers to be able to be equally strong, capable, flexible and expressive. We want our hands to be able to work together to create the music.

But today, I’m going a slightly different direction. I want to talk not about the independence of our hands, but about the interdependence of our hands. It’s not a battle where each of our hands is fighting for independence from the other, even if...

In 1782, Mozart was corresponding with a fellow composer about the art of composition. Mozart made the point that the true essence of music lies not only in the notes themselves but also in the spaces between them. That thought was echoed a century later by Claude Debussy who said, "Music is the silence between the notes." 

Silence is powerful. One part of the power of silence is its ability to define the notes around it. The spaces between the notes create rhythm. Lengthening spaces create a ritardando. Shortening spaces create an accelerando. Actual silence, created by a rest in the music, causes tension that is only relieved, or possibly heightened, by the next note.

For us harpists, creating silence as we play is challenging. Our music naturally rings and resonates as each string is played. In those moments when we need to stop the sound, it becomes a physical and intentional act. We create silence on purpose. 

But what of those moments between the notes, when we want a note ...

As I look back on my childhood and my very first music studies, I realize that I was incredibly fortunate, blessed, actually. Not because I was gifted or because my parents were not only willing but were able to support my harp lessons. Not because I was in one of the music capitals of the world and had access to world class teachers. Not because I had so many opportunities and people that encouraged me along my journey.

Well, yes, I was blessed because of all those things, certainly. But I want to talk today about a different gift that was given to me, one I didn’t realize the value of until much later. The gift was this: I was always encouraged to play music outside the box. Let me explain.

I started piano lessons when I was four years old, and my piano teacher was not only a fabulous musician, but a creative and generous teacher. My lessons included all the usual piano exercises - which I hated - and sonatinas - which I loved - and she also made sure that she gave me performanc...

Let me start by saying that technique was a struggle for me. You may have heard me talk before about how my double-jointed fingers wouldn’t do what my teacher wanted, let alone what I wanted. I had been playing the harp for nearly ten years before I was able to develop proper mechanics, to make my fingers play with the form and strength necessary for the level of playing I aspired to. Granted, I was still a teenager at the time, so my fingers have endured decades of technical work beyond that, but I want to tell you that harp technique is still something I work on daily, not because I want to, but because I have to.

It’s true that our technique gets stronger and more reliable over time. That’s the good news. The more we focus on developing the proper mechanics, along with flexibility and speed, the more dependable our technique becomes. However, the results of our technical work can leave us in a moment. 

There is a well-known quote attributed to the celebrated violinist Jascha He...

When I was a young harpist, there was no internet. I know that would shock a young harpist today who has grown up with the wealth of resources that are available with a single click. I was curious about when exactly the first internet-savvy generation grew up, so with a quick search - everything is clickable - I found the Gen Z’ers are the first internet generation, born between 1995 and 2010. That means those Gen Z adults are now between the ages of 16 and 30 or thereabouts. 

While the internet may feel like a birthright of Gen Z, the rest of us have come to rely on the internet too, and it’s a tremendous resource for us harpists. If my teacher wanted me to learn a new piece, I had to go to the record store (I’m hoping there are some of you who remember those!) to look for a recording. Most often, I was out of luck, but I got into the habit of buying any harp record I found in the store, just in case I might want it someday. 

Today, everything is turned around. There are more har...

I’m always wary of instant cures, of instant solutions. You know what I mean, those ads that promise you can lose 10 pounds overnight or become a fluent French speaker in 2 weeks. The funny thing is that nobody believes the promises in the ads, but still we buy the products - just in case. 

There is something powerful about an instant win. It’s the tantalizing idea that we could get exactly what we want for almost no effort or investment of time. It never seems to matter that the instant results seem improbable, The idea of something for nothing, or almost nothing, is too powerful to resist.

So today, when I tell you that I’n going to share three things that will make your music smoother almost instantly, I wouldn't blame you if you’re more than a little skeptical. But I’ll bet you keep listening. And I hope you do, because although these three things aren’t easy to put into play, they will make an incredible difference in how your music flows. It’s not snake oil; it’s just solid ...

When was the last time you took a moment to just play some chords on your harp and let yourself simply enjoy them? When you hear that rich, resonant sound, you know that this was what your harp was meant to sound like. Perhaps hearing someone else play chords like that was why you decided to play the harp. It’s goosebump territory, for sure. You can feel it in your bones, in your core. 

I don’t know that there is a more beautiful sonority than a big beautiful harp chord, perhaps lushly rolled. But, I also know that there isn’t a day goes by that I don’t have to stop in my practice to check my chord placing to make sure I can play those chords the way I want. Just because they’re beautiful, doesn’t mean they’re easy, but you already know that.

One of the first things we harpists learn about chords is that the key to a well-played chord is in the placing. Getting the right fingers on the right strings at the right time is the biggest hurdle we face. I’m reminded of a famous quote of...

If you came to me for a lesson and said you wanted to work on music theory, my first reaction would be to do my happy dance. I admit it - I am a theory geek. I love talking about the building blocks of music and exploring the way composers use them to create the kaleidoscopic variety of music we love to play. 

But after my happy dance, I would ask you this question: why do you want to learn music theory?  It’s not a test question; there is no wrong answer. But I have often found that harpists make assumptions about what theory knowledge will do for them, and those assumptions, if they aren’t completely wrong,  aren’t always on the mark.

Knowing more abut the inner workings of music, the nuts and bolts of it, is undoubtedly important for any musician. It is also certainly true that some elements of music theory are immediately applicable to our playing. Most harpists, for example, realize that if they understood more about how chords work, they would be able to learn their music mo...

Playing by ear is one of those things that musicians either know they can do or think they’ll never be able to do. Those who are practiced at it seem to have endless tunes at their fingertips. Name a tune, and if they know it, they can play it. To those who can’t do it - at least not yet - it seems nothing short of magical. 

But ask someone to explain how they work this magic, and you will likely get an answer that isn’t much of an explanation. They might talk about understanding and learning to hear chords. Or they might say they learned by trial and error, trying to play along with songs they liked. Or they might simply shrug and tell you they have no idea. But it’s only rarely that you encounter someone who will actually attempt to explain their process.

Notice that I said, “When you meet someone who is practiced at it.”  Playing by ear is something you can learn. Like so many other apparent feats of magic, there’s no real trick to it once you learn how it’s done. I’m not sayin...

Today’s show is a masterclass, a show where I get to dig in to how to do something. We aren’t just talking big picture concepts; we’re going to get down to the nitty gritty. 

I have to say this is my favorite kind of show to do, because it feels like teaching, almost like we’re right here together in the same room, and I’m sharing what I’ve learned to help you learn too. I love that.

And I really enjoy this topic too. 

Our topic is how to make an etude from a piece you’re trying to learn. Let’s say you’re working on a piece and most of the piece is ready to go, but there’s one part that just won’t come together. You could take that section and make an etude out of it. Or perhaps the piece you’re learning is really a little above your head, and you’re not really stuck, but the going is very slow. There are etude possibilities there too.

I’m sure many of you already do something like this, whether it’s playing that section in different rhythms or just keeping the tempo slow while ...