The scariest thing I found about compiling this list was that in the space of about 10 minutes I thought of more than 20 reasons. While you read this, I’m going to go practice…
10. The weather is too awful (or too nice).
9. I can’t find my music/lesson book.
8. My instrument is out of tune.
7. I don’t know what I’m supposed to do.
6. It’s too boring.
5. My fingers are sore.
4. I don’t have to because my lesson’s not until next week.
3. It’s not going to make any difference anyway.
2. I have to clean the house/walk the dog/do the dishes.
Drum roll please. And the number one reason you aren’t practicing is…
Have you looked at your summer calendar lately? Do you have a full schedule of performances? Or are you hoping some more work comes along so you can be sure of making the rent payment?
Here is a quick seven step system you can use to put your summer to good use. It will not only help you fill your calendar this summer, but it can help you long term to build your freelance music business.
There are seven questions that you need to answer. The more thought you give to your answers, the busier you can be. One warning – if you don’t write your answers down on paper, you won’t get the same results.
Something about seeing the facts in black and white gives the words more power.
I recently presented a workshop that I call “The 12 Habits of Highly Happy Harpists.” (My apologies to Stephen Covey.) Over my years of performing and teaching, I have noticed that the harpists who find more enjoyment and fulfillment in their harp lives have these particular habits in common. This is even more true for those harpists who make the harp their career. And I was pleased to present this at Philly Harp Day last March to a very active and inspiring group of harpists.
On my list of habits, Habit #6 is connecting with other harpists. We harpists are very social people, but playing the harp is rarely a social enterprise. We usually don’t have a large section in an orchestra where we can find harp friends. Getting together with other harpists to play can be difficult because of the harp moving involved. And sometimes, we live in a place that just doesn’t have a large harp community.
Nevertheless, keeping in touch with other harpists is crucial to our...
The most memorable concert I ever attended was a performance of Bach’s Goldberg Variations by pianist Edward Aldwell. This work, dating from 1741 (Bach died in 1750), is an aria and a set of 30 variations. The title page of the first edition includes this rather elegant description: “Composed for connoisseurs, for the refreshment of their spirits“. It is a massive work, and its beauty, variety and complexity make it an irresistible challenge for pianists and a special favorite of fans of Bach.
But this performance was special.
The piece came alive as I have never heard it before or since, and it felt as if everyone in the audience sensed the same thing. We were spellbound. The air in the room seemed to shimmer with every note.
Why was this so special? For me, it was the sense of inevitability inherent in each moment of the performance. As soon as he played a note, I knew that, of course, that was exactly how that note HAD to be played. There were no musical loose...
Each of us is a product of our upbringing. That’s no less true in music than in a family. Our teachers have a profound effect on us. For those of us who go on to make music an important part of our lives, we realize the impact of our teachers in our work every day. We recognize the place we hold, the responsibility we have to continue traditions and walk further down the musical road.
My teacher, Marilyn Costello, embodied the harp for me, since I began studying harp at age 8. I had long wanted to play the harp, and my piano teacher insisted that my parents take me to play for her. We lived in the Philadelphia area, and it was relatively easy to arrange an interview.
Miss Costello did not usually take young students, so she arranged lessons for me with a Curtis student for my first year. After that, she took me on herself. I studied with her until my graduation from Curtis, and was privileged to know her well long after that.
But she shaped my musical experience in other ways...
The big day has come – you are a pedal harpist at last! Pedals expand your musical horizons, free up your left hand, and give you two more limbs to coordinate.
Don’t get discouraged; the rewards far outweigh the inconvenience. And though you will hear pedal harpists complain about “the feet,” we wouldn’t want to give up playing the fabulous music that the pedals make possible.
So for those of you who have just taken the plunge – or those of you who want a refresher course – here are some basic pedal tips.
Chair height becomes even more important when you have a pedal harp. You still need to sit at the correct height for playing. But now, it’s no longer enough to be able to have your feet flat on the floor. Your feet should learn a “resting position” on the C and F pedals, heel on the floor and the ball of your foot on the pedal. You should be able to reach the farthest pedals without changing your body position,...
Wedding repertoire is usually predictable. Even with the occasional request for an unusual pop song or family favorite, most brides like to stick to the tried and true, the evergreen favorites.
So I am always delighted when a bride tells me to pick the selections myself. I usually ask her what sort of mood or atmosphere she envisions for her wedding. Does she prefer formal or romantic? Serene or joyful? Sometimes I take cues from the location, choosing different music for a garden, a mansion or a beach.
And then I let my musical imagination run wild. What have I always wanted to play at a wedding? I have a number of pieces that are favorites of mine that I am able to suggest to wedding couples, and I find that the couples are usually very receptive to my musical ideas.
Would you have some ceremony music suggestions ready to offer, should a bride ask? It’s a good idea to prepare a response, so you can sound assured and confident, which will help your bride feel confident, too....
A keystone is the pivotal stone in an archway. There are wonderful architectural examples like the ancient arch in this picture that demonstrate how a keystone can create a strong and secure strong. The remarkable thing about a keystone is that it holds the arch together without any cement or other adhesive, but just by the pressure its unique shape exerts on the other stones.
A keystone habit is a habit that works in a similar way. It is the habit that, when you form that one habit, it affects all the other areas of your life and work, causing change on a large scale.
An often cited example of a keystone habit is physical exercise. For those who are out of shape, unenergetic, and unmotivated in other areas of their lives, starting an exercise regimen can be a catalyst for other change. By forming that one habit of exercising each day, it can help create the positive framework for forward motion in seemingly unrelated areas. Work seems more interesting, personal relationships...
Subdivision of beats is the number one way to keep your inner metronome even and accurate.
How often have you been told by a teacher or a conductor to subdivide the beats? I know I was told more than once when I was a student. Now as a teacher, I find myself giving the same reminder to my students.
What is subdivision, and why is it so necessary?
Each beat is really not the instant the metronome clicks, but the space between the clicks. This space can be divided into any number of equal parts. In a meter that uses the quarter note as the beat, 4/4 for instance, we could subdivide that beat into 2 eighth notes, 4 sixteenth notes, 3 eighth triplet notes, etc.
Good so far. But if the note is only a quarter note, why should we be thinking about subdivisions when we play it?
Because it’s easier to be accurate with shorter spans of time.
Try this experiment: Look at a clock with a second hand. (I know it’s the digital age, but you must be able to find one somewhere.) Feel the...
There is a great article in Harp Column magazine this month by Nadia Pessoa. It’s all about survival skills and being prepared for musical emergencies. Not dealing with a broken string, but being prepared to play when you weren’t expecting it.
In the article, Erin Earl Wood mentions her teacher telling her to always have 20 minutes of music memorized, just in case. That’s excellent advice, and I have used my “emergency repertoire” more than once.
You don’t think you need emergency repertoire? Even if you’re not likely to be performing in public, you should always have pieces ready to perform.
Perhaps you will have guests come to your house, and they would like to hear you play. How embarrassing to have to say that despite some months or even years of lessons, you have nothing you can play!
Or your child or grandchild wants you to be their “show and tell” at school. For all of my son’s elementary school years, he asked me to...