Hot motivation

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It’s summer. It’s hot. No one really wants to do anything except perhaps go to the beach.

But soon it will be autumn and quickly after that it will be Christmas – so there’s practicing to be done and tunes to refresh and other tunes to learn – and to do all that you have to stay motivated.

And if you’re joining me on the Reading Challenge, staying motivated to read all those dots is essential. Likely, you also set goals at the beginning of the year and making progress on those means you have to stay motivated!

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Here are five ways to stay motivated while its summer (or any time really):

  1. Have a goal – keep the end in mind. You might be tired of hearing me say this but it is essential. You won’t be able to stay motivated if you forget where you wanted to go.
  2. Take it in small steps. How do you eat an elephant? One bite at a time! Identify the small tasks that make up the path to your goal and use those small steps to make progress.
  3. Sit a lesson from someone (or someone new). Few things are more motivating than having a lesson.  If you’re not taking regular lessons, participate in a workshop.  If you have regular lessons, take a lesson from someone else to gain a fresh perspective on what you are doing most of the time.  There are still summer workshop opportunities and the autumn workshops are just around the corner!
  4. Believe in your goal – and yourself. If you think you will fail, then you certainly will. Have faith in yourself and your work,
  5. Be kind to yourself. Listen to your self-talk. If what you say to yourself is something you wouldn’t dream of saying to someone else (picture your best friend), then don’t say them to yourself!

Happy 20th! It’s time for Camp!

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I am very thrilled to be heading off to 20th Anniversary Harp Camp. So glad some of you will be joining us! Kris and I are looking forward to a highly personalized and fun-filled weekend so you can extend your technical skills no matter where you’re starting.

Picture1Harp Camp has small class sizes so we can give each person personal attention. It is very intimate, we focus on very specific teaching at the harp, and away from the harp we include the sights, sounds, textures, and tastes that make our harp life full!

Our campers typically have a great time – and left tired and with their heads full – just like we like it! And we have a blast!

What a way to have summer fun! See you when we’re finished

2016 Harp the Highlands and Islands Tour!

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We are very excited to be planning the 2016 Harp the Highlands and Islands Tour – this will be our 5th year! We’re planning to go at the height of summer when the sun shines and it is beautiful!

We are looking forward to traveling 30 July – 6 August 2016.  See the beautiful, powerful sights of Scotland while we’re learning and playing and having a great time.  Picture1Our trip is designed for harp players at all levels. Each day we’ll have a harp event – learn a tune, add to your harp lore, and more all while experiencing the history of our musical heritage. Don’t play the harp?  We’re happy to have all musicians with small traditional instruments and appreciators of the music are also welcome – there’s no lack of interesting things to do!

We kick off from Edinburgh and spend the next eight days seeing the highlands and Skye.  Our tour is intimate, consisting of just six travelers on each outing. This very small group size allows flexibility so that each day we can see the very best Scotland has to offer as well as those special things that can’t be planned. And each tune will match our travels, experiences, and mood.

All this for just $3499/ppdo. Book early for a discount — book by 15 September and pay just $3000. Book by 31 December and pay $3200. Got a crowd? Call for options.

This schedule also positions you should you decide to stay on after our tour and go to the Festival, the Fringe or the Tattoo. I hope you’ll join us. For more details go to this year’s website (click on the button above for Tours of Scotland).

Is that a full stop?

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If you’re going to improve your music reading, you have to know what all the ink means!  So, let’s start with the . Yup, that’s a dot – a .

Nope, it’s not a full stop – in fact it means the complete opposite – it means add half again.

No matter what the note is, the . gives you half again as much.  Got a quarter note, add a . and then you have 1 and ½ beats.  Got an eight note, add an additional sixteenth note value.  Got a half note, add half its value – an entire beat.

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When you’re reading a piece of music, these . become very important.  They can be easy to overlook because they are small and there can be a lot of information on the staff, but they become very clear when you count the beats in the measure.  I know you’re counting each beat in every measure so you would know right away if you missed any of the .’s!  If, while you’re counting (including the .’s), you have too many beats (or not enough beats), you know right away that you need to go back and reread the measure.

Like reading words, at first finding the dots, remembering what they mean, and counting them out will be painful and will require painstaking attention and reading.  But with a little bit of work each day you will become a better reader!  Given enough time and practice, when you look at a page of music, you’ll know what to do with all the .’s!

Brain work – Enharmonics

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No one likes to learn theory. No one even really likes to think about theory. But one of the important things about theory is that it helps you build a vocabulary that you can use to talk with other musicians…and actually understand what they’re talking about.

And the words shouldn’t be the way we differentiate ourselves from one another, but often that is what happens – someone uses a word that sounds like you should know what it means but you have no idea what they are talking about! So, here’s the first of these – just so you can stay in the conversation!

So what are Enharmonics? Enharmonic is the word used to describe two notes of the same pitch that have different names. This is easier if you look at a piano –

Picture3For example – if you look at the right black key in the set of two – you can call this D# (if you are in the key of EMaj) but might also call it Eb (if you are in the key of B Maj). They are the same sound (this is not entirely true – if you’re interested we can address that later – but for our purposes, they are the same sound) but have two different names.

If you have your harp tuned to Eb Maj, you can either leave the A lever down (to have an Ab) or you can lift the G lever (to have a G#). You’ll get the same note (assuming you have tuned correctly!). The challenge is to remember what string to play when!

Enharmonics allow you to have both notes (either G or G# and or Ab and A#). Note that, unlike the piano, you can’t have both without flipping levers. And that’s ok – as long as you plan ahead!

You’ll get better at using enharmonics to get more out of your harp if you practice reading the music and “translating” the notes in your head as you play.

2015 Reading Challenge!

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We all know that we should be reading more. Reading takes practice. It is more challenging on the harp than on other instruments because the music isn’t propped up directly in front of us – we have to add turning our heads to all the other effort of reading.

Some of us complain that we don’t read well, or fast enough, or accurately enough. And we have forgotten how hard we had to work to learn to read initially…it was so long ago that it escapes us how hard it was to master!

There is a way to make reading easier – PRACTICE!!

Picture2But practice is also easier if we have a goal – so we’re going to have a Summer Reading Challenge! The goal is to practice our reading so it becomes second nature (or at least is closer to second nature than it is now!).

The Challenge will be on for six weeks. The plan is to read through as much music as possible in that time. You can select music that you are interested in. You can read melody lines or both hands – whichever will get you further along in reading the music you want to read more easily. The point is simply to practice your reading so it will get easier!

My goal is to read a new tune every day! I’ll post a list at the end and we’ll see how I do – hope you’ll join me – start keeping a list in your practice journal and you can send them to me in August! Start reading – you have until 26 August!

I’m off to Oberlin!

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I’m not going to try to kid myself that I’ll get a post off this week – I’m at the Ohio Scottish Arts School – learning from amazing tutors including Wendy Stewart, Haley Hewitt, Ann Heymann, Charlie Heymann, Sue Richards, and from my fellow OSASers who are incredible harpers in various stages of development – why aren’t you here?!?

 

The Dr. Is In

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Dr. Seuss is quoted as saying,

“It’s not about what it is, it’s about what it can become.”

What a great way to look at playing. We have to remember that even when we play our best, we can only play our best for this day…and tomorrow will be another, different day on which we may play very differently.

Which means that each day, when we work at playing, we have the opportunity to play well, or to learn from our playing or both. We also can learn so much that may (or may not) be directly tied to our harp playing.

Some days it feels like you aren’t getting anywhere. Other days, you make so much progress you wonder why you ever doubted. And, of course, you have a day each time you practice. So why is it that you only remember the days in which you had trouble? You only recall the “bad” days!Picture1To avoid falling down in the dumps about these bad days, keep a log. Each day write down what you did, what when right, what gave you some difficulty. You might want to develop a scheme for finding the good days (color the top corner green, fold the page over on the diagonal, keep good days at the front right side up and bad days at the back upside down) so you can remind yourself that you’re doing a great job and what you continue to struggle with.

Because you know that there will always be some things that are a struggle…but they don’t define you! Just keep in mind what the good Dr. said.

Improvisation

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No, don’t think, “Oh bother, I’m not reading this!”.  Bear with me.  Up until not too long ago, I thought improvisation was something my teacher thought up to make my life hell, I thought she just didn’t like me (ok, not really). But, every time the word “improvisation” was uttered, I could see it, hanging in the air like a cloud of smoke over a frying pan – smelling slightly bad and not improving my disposition.

I know now that my fear was unfounded but not baseless. I no longer quake in my boots at the thought of ripping out an improv…but that’s only because I have spent some time on some important fundamentals. Learn those fundamentals and you’ll be well on your way to comfortably filling the time between tunes, when you can’t think of anything to play, or just when your mind is blank.

Start with riff. A riff is a short pattern or phrase (melodic, rhythmic, both) that is repeated. Remember that the “re” in repeated means over and over and over and over…..I suggest keeping it simple – especially when you’re just beginning. You can do this!!

Picture1Here are four things to get you started:

  1. Start with a simple pattern – and I mean s-i-m-p-l-e! This is not the time to channel your inner JSBach! Three notes is all you need to start. Starting simple means that your brain doesn’t have to work hard just to keep the pattern going. You want something so easy you can do it without thinking – literally.
  2. Noodle around the pattern – this is the stone soup method of composing on the fly.  To your well established simple pattern, add stuff.  Try adding the root note, then try out the other notes in the triad, maybe give the 4th, the 6th, or the 7th a go and see what you like. Remember that tunes are made of the patterns, pitches, and SILENCES so you can add those too – use all the colors on your palette!
  3. Don’t forget your theory – it will help you make choices faster with less hunting and pecking. All that adding stuff is easier if you don’t have to muscle through it (you don’t have to have studied your theory but it helps to know ahead of time what sort of effect you’ll get with the 3rd as opposed to what happens when you use the 4th (for instance)).
  4. Practice – improv doesn’t just happen from the stage – all that nonchalance comes from hours of practice! The jazz greats (what most people think of when you say improv) know their music cold (like you will if you practice your 3 note riff) so they could select a pattern and build a riff on it. You have to practice doing improvisation! Don’t expect that sort of creativity to just jump into your head or into your hands – it takes work.

Start doing a little gentle improve in the safety of your practice space – just spend 5 minutes of each practice session seeing what happens if you suspend disbelieve and give it a try. If I can do it, you can too!

Time to tune up

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In the summer, there are so many camps, workshops, programs and they all suggest that you start early to get your fingers toughened up because you’ll be playing more than you usually do.

GREAT SUGGESTION!

But what does that mean? How can you get ready for these events? Here are seven ways to tune up for a workshop so you can get as much out of the last session as the first: Picture1

  1. Make a schedule – you know you have a finite amount of time to prepare, so plan to use it – each day increase your time on the bench a little (add no more than 10% each week – just like running).  A small increase allows you to build up without adding too much at once, which will help you stay on track). Be sure in also increase the number of times each day that you sit at your harp – the workshop might be 8 hours a day but that won’t all be on your bench so you might want to practice sitting to your harp 3 times a day rather than one really long stretch!
  2. Work your plan – it’s all well and good to make a plan but then you have to actually use it! Be sure that you actually do the things you set up in your plan
  3. Be realistic – if you never have time to practice on Sundays (for example) – build that into your plan, don’t think that suddenly the time will appear. This is especially true if you are working around your current schedule – if you only have 30 minutes a day to practice, do not think that suddenly you will find 3 hours a day to practice.  However, if you are so strapped for time that you can only practice for 30 minutes a day – know that you will need to modify what you expect to get out of each day of the workshop.
  4. Remember your braces: when you had braces, you didn’t expect all the movement at once – it was gentle progress you were after – same thing here – gentle positive progress will not only allow you to feel better about your work but will result in a noticeable benefit.
  5. Warm up – this is not the time to skimp on the fundamentals – do plan to spend a little time warming up (and when you get to your workshop, don’t forget to do this!)
  6. Stretch – just as you know that a good warm up is essential to avoiding injury, a good stretch at the end of your time at your harp is also important while you are increasing your time on the bench. And when you are at your workshop, stretching will also be important – you will be working hard.  In addition, workshop participants are often a little stressed (concentrating, wanting to “do well” (whatever that means – everyone is learning!), trying to learn a lot in a little time with the tutor all add to your stress).
  7. Journal – keep a record of what you are doing and how it is going – while this is always a good idea, it’s especially important when you are trying to prepare.

Summer workshops, camps, and other events are a great way to learn, meet new friends, catch up with old friends and really expand your harping – be sure you are ready to make the most of the event!