This is a re-post of a podcast interview I did last year with Mindy Cutcher, principal harpist of the Pennsylvania Ballet. Mindy speaks about playing for the ballet and specifically the famous “Waltz of the Flowers” cadenza in The Nutcracker. She shares her thoughts and tips on learning and performing the cadenza, as well as some great anecdotes from the pit.
You can listen to the podcast and get a great insider’s take on practicing and performing this standard of the harp repertoire.
For a more detailed practice guide to the cadenza, you can purchase my course on the ARS Musica website. The course is a three-week study guide with written exercises. In Week One, the focus is on understanding the notes and the arpeggio patterns. Week Two develops the technique you need to play the cadenza evenly and smoothly. Week Three works on the melodic and expressive character of the cadenza and helps you put it all together. You can find out more here: ...
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Some people might tell you that a "successful working musician" is a mythical being. But those of us who are successful working musicians know that it is possible with hard work and determination. Those jobs, whether they are wedding gigs or an orchestra chair, don't just fall into your lap. You have to pursue them with a focused strategy.It takes some business savvy to set up and maintain a teaching studio, or to book concerts for your group. Music schools are getting better at teaching students about the music business and how to be business-like in their approach. And there are great books like Donald Passman’s All You Need to Know About the Music Business written to help musicians with the non-music details of being a working musician. But no matter what kind of music you play, or what kind of music business you want to have, there is one important ingredient that many musicians still overlook.
When my students start playing for...
At a house concert in Tennessee
While you may not have thought of it this way, we all start out playing house concerts. It's that first holiday after you have started taking lessons when your mother asks you to play for your relatives. If you continue your music studies, you may play for women’s club luncheons, made infamous by the musician/comedienne Anna Russell. You may play for local music societies. All of these functions are house concerts. After many years of playing in venues large and small, I can honestly say house concerts are my favorite concerts to play.
A House Concert (Hauskonzert, if you prefer the German term) is by far the best way to experience music, whether you’re performing or in the audience. It is both intensely personal and deeply bonding among the participants. It is simply music experienced as profound communication.
From a seat in the audience, you can expect to be drawn in to the very core of the music-making. The house...
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In Step 1, you learned the essential pattern for key signatures – movement by perfect fifth. And you are now able to recite the major and minor key signatures in order, as well as the sharps and flats that form key signatures.
If all you wanted to do was to memorize the key signatures, you wouldn’t need to do more. In fact that’s where most theory courses leave you. And that’s just the trouble. Being able to recite key signatures doesn’t tell you anything about what they mean, or how they came about. It doesn’t seem to relate in any meaningful way to playing music. And that’s why most people forget them.
But when you know where key signatures come from, you begin to develop a new depth of musical understanding, one that can help you learn music faster and play more expressively. And learning where key signatures come from is what Step 2 is all about.
For a scale to sound “major,” the seven...
© Andrey Ushakov
In a recent post, I discussed how to practice when you couldn’t concentrate. I offered some techniques for overcoming the mental block that may be keeping you from focusing on your work. Today I wanted to share with you an experience I had that demonstrated how powerful a mental block could be, and showed me the best tool we have for overcoming it.
I used to study martial arts, Okinawan karate, to be exact. I started taking lessons because I wanted my son to start, and I thought I would lead by example. He enjoyed the lessons, but I enjoyed them even more. It was so different from harp playing, and yet the discipline was so similar that it felt like a natural extension of my abilities.
But I did feel a little anxious when the sensei offered us the chance to break a board with our hands. Not my hands, I thought. But one of the instructors was also a musician, and he told me that I shouldn’t have any worries about hurting my hands. And so I signed...
“One of these days, I’m going to organize my music!” I have heard that threat many times from students and colleagues, and sometimes myself. Nothing is more frustrating than to be in a hurry to leave the house and be searching frantically for that one piece you thought was right in that stack under the table.
Everyone has their own preferred system to organize their music, but here are the basic methods and some good tips if you’re ready to clean up those piles.
Great Music Folder! Whether yours is sleek and attractive in basic black or a colorful design, nothing beats the folder for carrying music to your lessons or rehearsals. It prevents the edges of your music from being crumpled, and it keeps your current music in one handy place. Prefect for “grab and go.” This is a photo of a black folder made specially for music that we decorated at Harp in the Mountains Camp last summer. It’s big enough to hold even large editions...
We all have times when we don’t want to practice. We wish we wanted to practice, but for whatever reason, we seem to have lost our self-discipline. Maybe the house is too messy, the piece is too hard, we are worried about something else, the weather is too nice, the weather is too rotten, we didn’t get enough sleep, or we have too much homework.But the practice must be done.
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I was awful about practicing when I was a child. My parents threatened weekly to sell the harp or the piano if I didn’t practice. That was the only thing they knew would send me running to the living room to practice.
As an adult, I generally don’t have any trouble practicing. It has been a part of my life for so many years that a day without practice feels a little blank. But some days, the will to work just isn’t there.
Sometimes my students will complain about not being able to concentrate enough to practice. The commonly cited culprits are...
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Many music students hate learning key signatures. It can seem too much like “homework,” and too little like playing music. As a teacher, my job is to make sure that students learn key signatures thoroughly; it’s both necessary and important. (For the “WHY” of key signatures, see this previous blog post.) When students have mastered key signatures, they make fewer mistakes with accidentals, and we can move along to more interesting musical material.
I have two goals when teaching this subject:
1. To make the learning as relevant as possible to playing music, and
2. To make sure the students only have to learn the key signatures once.
I have developed a three-step method for teaching key signatures that addresses both goals, and helps students learn and understand key signatures . Basically, these are the three steps:
1. Teach students to write, recite and play perfect fifths. Without understanding this fundamental interval,...
If you are practicing for perfection, working to make a piece or an excerpt note-perfect, you may not be using your time wisely and you may be missing out on the real benefits of good practice. You may be frustrated, and even setting yourself up for failure.
A music student was telling me about his practice. He was discouraged; the things he was working on didn’t seem like they were getting any better, and it was taking too long to move on to the next thing. I could hear the frustration in his voice. His lack of progress was making him question whether he should even be studying music.
But as we talked a little more about the music he was working on and his specific goals in his practice, I realized that despite his best efforts, his practicing was all wrong. On the good side, he was practicing for hours and had particular areas of focus. But his overall focus was to “do it right,” which was setting him up for...
I’m new to Pinterest.
It usually takes me awhile to figure out new social media sites, but Pinterest intrigues me. I love to learn about people, places and ideas. I could wade through web pages for hours looking for an elusive bit of information or possibly just exploring, looking for a serendipitous discovery.
And Pinterest is the perfect “bulletin board” for organizing and sharing some of those discoveries.
Today I would like to share just a few of the quotes I have collected about things related to music, music practice and performance and the harp.
I have “pinned” them on my pinboard. Please feel free to share and re-pin. I expect to keep updating the collection as it grows, so don’t forget to check back!
In case you can’t visit the board right away, here are some of the quotes I have pinned so far:
A note of music gains significance from the silence on either side. – Anne Morrow Lindberg
We are what we repeatedly do....