It is easy to know when we don’t have a piece memorized. It is more difficult to know when a piece is “ready” to be performed from memory.Memorization is a process, and one that requires time and effort. It is not simply practicing a piece until © Yong Hian Lim – Fotolia.com
you don’t have to look at the music. It is a gradual absorbing of every aspect of the piece, a deep and fundamental understanding of its message, its language and its techniques.
You don’t have to be a musical genius to memorize well. And you don’t have to have a great...
From time to time, we all experience what I call “potentially terminal frustration.” This is the kind of deep frustration that causes us either to give up and walk away or break through and achieve.
The barriers can seem insurmountable. Consider what used to be considered impossible: breaking the sound barrier, running a four-minute mile, a decent frozen dinner.
At those moments of crisis there is almost always a choice, whether we see it or not. When it most seems like we are out of options, we are actually standing at a fork in our road. The way we frame our internal questions can be the determining factor between moving forward and moving on.
1. Understand the real enemy. The powerful force called Resistance is the biggest enemy anyone faces when they try to achieve. You can imagine it as an internal barrier of your own construction, but it can also be seen as an invisible cosmic force dedicated to keeping you from success. Stephen...
Sometimes it’s really fun to play the harp.
Practicing is pretty hard work, and while it’s rewarding, I wouldn’t call it fun, particularly technical work like scales and arpeggios.
But the other day, when I sat down to practice, I was regretting the coming end of summer. My train of thought lead me to the famous Gershwin song “Summertime,” and my scales adapted themselves to that rhythmic and harmonic flavor. This video shows the result.
By the way, this is a great way to dip your toe in the waters of improvisation. Without worrying about the theory of jazz like blues scales and modes, you can try singing or playing any melody over your scales. Experiment with levers or pedals, rhythms and patterns and see where it takes you!
This is the time of year to make plans. And if your plans include doing some extra playing in public and maybe earning a little money, you need to read this post.
Sometimes opportunities for playing are right in front of us, but we miss them. Instead we are staring at the phone or checking our email waiting for an invitation. You don’t need to wait to be asked; you do the asking!
Most of these performances will be only for tips, some only for exposure, some just for fun. They’re not high profile or resume builders. So why would you do them?
Maybe you want some practice performances before a recital. Maybe you’re a student and you could use a few extra dollars and some more experience. Perhaps you would like to build a fan base in your community or promote an upcoming concert. You might even just want to get out of the house.
This is far from a complete list. I hope it gives you some ideas and helps you be even more creative with ways to share your music with...
Here we are at the last official week of summer. The schedule is once again the ruler of our lives. with school, work, meetings, and performances.
I have always enjoyed this time of year. The beginning of everything holds such promise. I remember looking forward to the new clothes I would have for school, the new classes, the new friends.
But I looked forward most of all to my first harp lesson after the summer. It was always a little nerve-racking to play for my teacher that first time. I was hoping I had made enough progress over the summer, and that she would be pleased. If all went well, we would be able to plan an exciting new course of study for the year. If not, I would be doing technical work until I was ready to move on.
I was particularly worried the summer after my first year of college. At the end of the school year, my teacher told me that I was not progressing well, and that I may need to reconsider my...
I love cool gadgets, but when it comes to teaching music students, the best teachers go old school. They realize that having a successful and profitable teaching studio requires a few basic ingredients to run smoothly and create opportunities for their students to grow.
If you teach, you probably have all these systems in place already. But if you’re like me, there are always refinements you want to implement or ways you would like to make things better for yourself, your students and their parents.
So here are five essentials that will help keep you and your students motivated and organized. Please feel free to share your favorite tips in the comments below!
1. A written fee schedule
Don’t be shy about setting a fee and sticking with it. Write it down, so there can be no misunderstanding. Be sure to include price per hour, half hour or 45 minute lesson. State how and when students should pay. For example: “Lessons will be paid monthly in advance, due on the first...
I want to report back to you on my experience using the 40/40/20 plan as the structure for my emergency practice.
First, the results. I did get enough practice, despite two days of travel time when I could only manage one hour instead of two. Everything that needed to be prepared was ready. Would I have liked more prep time? Certainly! The concerts, especially the first one, took every ounce of concentration. While I always concentrate during performance, this time I had no wiggle room. And there were some elements that no doubt would have been more refined with some additional practice.
But the point of this experiment was twofold: could I prepare two difficult chamber programs of fairly familiar but challenging repertoire in only two hours a day for two weeks if I had no more time than that? My qualified answer if yes. And here are my top five takeaways:
We all have dreams and goals, but achieving those dreams and goals is not easy. There are endless traps and distractions. Often the hardest part is just getting started.
Maybe you’re the type that can’t sit down to practice until all your other daily chores are done, leaving you tired and uninspired when it’s finally time to start.
Perhaps that tricky passage or that lengthy piece your teacher wants you to practice seems like too big a nut to crack.
Maybe you have an exciting new project on the horizon – a recital, a composition, a work project – but you can’t see how to get over the first hurdle.
Here are a dozen quick ways to fight inertia and get your personal ball rolling!
It’s all in the wrist. Maybe not ALL, but certainly, a harpist’s use of the wrist is an important feature of technique.
Normally, I believe the wrist should be steady. When you play a scale, for instance, your wrist shouldn’t flex in and out to accommodate your fingers. Instead, it should be part of the support system for your hand. Your arm, starting with your shoulder, through your upper arm and down to your wrist, should be stable so that your fingers can play with certainty and place with accuracy.
NOTE: A healthy ergonomic position for your wrist is slightly bent inward at a natural-feeling angle. Keeping your wrist flexed at too great an angle can lead to injuries and carpal tunnel syndrome!
One wrist technique we harpists use is to “throw back” our hands by bending back at the wrists. This is most often used with a two-hand trill. I have heard it described as “plucking a chicken,”...
That hippest harpist Deborah Henson-Conant wrote a great blog post recently about mastery. She pointed out that the heralded “10,000 hours to mastery” isn’t what most adult learners are interested in. (By the way, you can read about the 10,000 hours in Malcolm Gladwell’s book Outliers: The Story of Success .) What they want, DHC writes, is fluency. And I totally agree.
I believe your mastery of the harp is the achievement of your personal goal, whether that’s playing in your living room, or your church, or joining a harp circle, or anything else. And that absolutely requires fluency.