It’s one thing to talk about focus, and another thing entirely to find it. You can practice with focus and perform with focus, but what if you don’t really have something specific to focus on? How long can you create focus for yourself?
Focus, motivation, drive, inspiration. They are all slightly different manifestations of the same important element in music study: energy.
That’s Carla’s problem. She started the harp with a seemingly endless supply of energy. She bought books, listened to recordings, watched videos and went to seminars. She discovered that there is a wealth of information out there about how to learn the harp and she became an avid learner.
Until she came to an unexpected roadblock and her energy seemed to run out.
She has almost decided to give up the harp. It’s not just that it’s more difficult than she thought; it also feels pretty lonely. But there is hope for Carla, and for others like her, and it’s closer than she...
This blog post is the second in a three-part series of case studies that will show you how to bring more focus – and more harp happiness – into your practice and playing every day.
In last week’s post, Agatha learned how to stay more focused during her practice time and reduce the mental clutter that was preventing her from doing her best work.
In this week’s case study, we help a harpist who is ready and eager to practice but has no idea where to start or what she should be doing.
“It’s not the daily increase, but daily decrease. Hack away at the unessential.” – Martial Arts Master Bruce Lee
Imagine if you were able to focus your practice on only what truly needed to be done, not a minimum in terms of time or effort, but intensive work on exactly what was going to create results. You would eliminate excess repetitive practice, and make your practice more interesting. Your practice would be...
Wouldn't it be great if you could make your practice more productive, more rewarding and more enjoyable? If you could magnify the results you got each time you practice?
It's possible - with focus.
Just like a magnifying glass can focus the sun's rays, you can focus your energies in your practice to get the kind of results you want.
This blog post is the first in a series of case studies that will show you how to create more focus - and more harp happiness - in your practice every day. The scenarios in these case studies are not related to particular harp students. They are composite reflections of problems common to many students. The names used are for illustration purposes only.
Agatha is a talented and dedicated student. She has solo music that she is learning and a few harp ensemble programs in the works. She is also a very busy woman with a full family schedule plus her volunteering and her crafts.
Agatha sets a practice schedule for herself but her...
Center for the Arts, University of Delaware Photo by Jon Fox
(This post about college choices first appeared several years ago, but it's that time of year again. Here's to making a smart choice!)
With the incredible variety and number of options, how do you make a good college choice? How can you find the right music program to get you where you want to go? Is a music conservatory the right choice for you?
Rest assured, there is at least one college, and most likely several colleges, that would be a good fit for you. But how do you figure out which one is right?
I was very lucky in my college choice. I was able to go to the Curtis Institute of Music, one of the most prestigious music conservatories in the world. I was fortunate to have been accepted.
But I had given myself an ultimatum that could have ended my music career before it started. I decided to only apply at one other college. I would only go there if I weren’t accepted at Curtis. And if I weren’t...
“What method do you play?”
It’s part of the human condition to label, sort and divide. Classifying things makes them easier to understand.
We feel a bond with others that share our views. We form clubs and associations. We develop deep loyalties. We separate the sheep from the goats.
But labels can also cause misunderstanding and divisiveness. As a musician, no matter what instrument you play, you are almost certainly on one side of some fence. One of the biggest “fences” is the one between the partisans of different methods.
There are different methods, different schools of playing for every instrument, from banjo to bassoon. The statement “he plays well, but he’s the other method,” although it expresses a natural feeling, only serves to strengthen walls instead of build bridges.
At its essence, a method for any instrument is a unified philosophy of sound production. It aligns the technical requirements, the...
I need a hero.
A harpist’s life is not an easy one. I’m not complaining, mind you, just stating a fact.
The harp is a beautiful instrument, but one with lots of issues. Whether we are trying to tune it, play it or move it, we are not traveling an easy road.
Along my own harp road, I have encountered many people who have made my way much smoother, some simply by a thoughtful gesture, others who showed me the way with their own bright light. These are my harp heroes.
I know you’ve met them too, people who make your day brighter and your dreams possible. Do you know any of these harp heroes?
When you look at your music, is your vision bounded by the black dots, lines and spaces and the edges ofthe page?
Let’s get out of the flat two dimensional world of the printed page and look at music in 3D.
Melody is horizontal dimension of music. It is the narrative voice of music. Melody tells a story, sings a song, or paints a picture.
Melody is linear, but a good melody is never merely a line. Melody has direction, energy and flow. Like a well-crafted sentence, a melody must have a clear beginning, convey a thought and carry through to a conclusion.
Melody is often thought of as an arch, moving upward from its start to a high point and then coming back down as it ends. The great oboist Marcel Tabuteau developed a precise numeric system to help his students learn how to shape a phrase from beginning to the top of the arch and back. You can read more about that in this previous post..
For us harpists, playing a carefully...
You move that pile of music and there it is, underneath everything: your metronome. It stares mutely at you, reproachfully. You feel a brief pang of guilt, but you push it aside, telling yourself that the metronome is really too annoying and you’ll use it another time.
But your metronome is calling to you from under that pile of music. And if you would listen, you would hear it telling you everything it could do to help you play music better and more beautifully. It might sound a little like this…
I’ve been an essential training tool for musicians for hundreds of years. Generations of performers have known the value of using me to help them improve their technique, develop their musicianship and practice their repertoire. I could do that for you too, if you’d let me. In fact, here’s my promise to you. Use me daily and I will…
…keep you honest. This is probably the most frequent and the most dreaded use of the metronome. The metronome...
What is “mastery?”
The team is about to lose. Time is running out and in a last desperate attempt to win, the quarterback throws the ball down the field. The receiver barely catches the ball; he is clutching it behind his back. He must hold on to the ball and get across the goal line. He hugs the ball to the back of his legs and leaps. Touchdown. Team wins. Sportscasters replay that “impossible” catch over and over. How did he manage to hold on to the ball?
World class cellist falls off platform during Beethoven Triple concerto. Not only is unhurt but keeps on playing while he retakes his seat. Video goes viral.
How did each of these players manage to not merely survive, but turn a challenging performance situation into a win? What makes them able to perform “in the clutch” when so many others would fall apart? That’s the mastery trait.
The mastery trait can best be understood as a total commitment to a goal,...
In the last post , we examined the acoustical principles of harmonics. We also discussed the number one rule for playing a beautiful bell-like harmonic: you must stop the string in the exact center. Let’s go step by step through all four elements of playing a harmonic
This is the “center of the string” rule that we’ve already discussed. Remember that the center of the string can be found by measuring from the soundboard up to the lowest point of contact between the string and a pin, lever or disc. This will mean that the center of a string where the lever is raised or a pedal engaged will be lower than the center of a string with the lever down or the pedal up. Equally important is that the center is not where you place your thumb; it’s where you place the fleshy part of your left hand or your right index finger knuckle.
One trick to helping you remember the center of...