Performing

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Some people love to perform.  The thrill of being on stage, the excitement of sharing with others, the anxiety of it not going well,the possibility that it will be brilliant, the comfort of a well-known program.  Other people, not so much. 

Culturally, we revere performance and performers.  And as musicians we hold those that get on stage on occasion or all the time in high regard…precisely because we know what they are going through. And often we’re glad it’s not us!
But if you look at the etymology of the word “Perform” it is enlightening.  It comes to us through Middle English from the Old French Parfournir to see something through to completion, to accomplish something. 
Well, that’s not so bad….or terrifying, is it?  To see something completed is a goal for many people.  And to perform on a stage for a collection of interested listeners (see – doesn’t that sound less horrible than “audience”?) is certainly one fitting end to the hours of practice that you have put in to each piece you have painstakingly learned, refined, and polished.
You are leaning away, thinking that I am only talking about other people.  That you’re not interested in performing on a stage, that someone else will do such a better job of it.  And that is fine…if you mean it.  But if you mean it, why do you envy those that do it? Are you afraid that you’re not good enough?  Or that you’re not prepared enough?  The first is doubt driven, second is correctable if you do want to be on stage.
So, be certain to define your parfournir for yourself – define what seeing your practice to completion means…and then work your way there.  Performing can be done at many levels – just don’t stop at a level that is comfortable but doesn’t fit your definition of complete.

Relaaaaax

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We all know that we should close our hands when we’re playing.  Teachers make up funny names to help students learn and remember (clam hands, puppy paws, etc.).  We exhort our students to “Close!  Close!  Close!” 
And many of you know that the point is to allow your hands (and forearms) to relax, to let those muscles rest, ever so briefly.  That musicians are athletes of the small muscles.
But in the midst of learning something new, we are focused (or possibly stressed), trying to learn the tune, or to master the hard bit, or to get the timing just right.  We are focused on the notes, the passage, the phrase.  And what we’re not focused on…is our hands!  What can you do?  Here are three things to incorporate into your practice to improve your ability to relax while playing:

  1. When you are learning new things is it important to occasionally open your focus – knowing the notes won’t help if they sound terrible, strained or tinny.   
  2. Pay attention to what you are doing.  Just as you need to remember to breathe, remember to check your hands – how is your technique?    
  3. Slow down!  There is no race to learning – you will get the tune, learn the notes, master the passage – so quit trying to compete with everyone else – there is no race!

Enjoy – playing is enjoyable so don’t stress yourself out – just relax…and play

Summer weekends are not all for the beach

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There aren’t very many weekends in the summer and most of us do our best to have fun on every one of them.  But you can only spend so much time at the beach.  If you have already wisely chosen to spend one of those weekends at Harp Camp with me and Kris and another at OSAS, you will want to spend another one at Somerset Folk Harp Festival!
Somerset has only been going on for a few years but it definitely has a place on the well rounded harper’s calendar.  There are loads of interesting workshops taught by amazing harpers many of whom you might never even dreamed of getting to spend time learning from.   
There are so many workshops that it is often difficult to decide which one to participate in in each available session.  And then there are the concerts, the vendor hall and the opportunities to see old friends and make new ones.   And Scottish Harp Society of America will have a table!   
What more could you possibly ask?! See you there?

Listen, listen, listen

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If you’re reading this, it is likely that you are primarily playing traditional folk music.  One of the beautiful things about trad is that is has always had a significant aural component.  There was a time, according to the historians, that all harpers learned their music by ear.  In fact, they learned everything by ear – the tunes, the words to songs, the epic poetry, the histories – all in the aural (and oral) tradition.

This makes excellent sense – after all, music is aural – we all, musician and appreciator, participate in music by listening.  We know that how it sounds is essential.  In fact, when we make a mistake, we know it because it sounded wrong.  Not very many people will tell you they knew they made a mistake because it felt wrong!
But how are you to know how it should sound?  How does someone new to the music learn how to give it the lift, lilt, or jaggedness to make it sound right?  If you grew up in one culture, how do you know how to make a tune from another culture sound like it should? How do you make your Irish tunes sound Irish and your Scottish tunes sound Scottish and ensure that only your Welsh tunes sound like they came from Wales?  How do you know where they came from???
The best way is to listen!  Listen to the music.  And of course, really listen – find the nuances.  How does an Irish tune sound relative to one from Cape Breton?  What lets you know when the tune is from Scotland?  Can you tell your favorite harp players apart when listening? (Being able to identify my friends by their playing on their cds was a turning point for me – when I finally “got” how important listening is!).
And, of course, you have to do a little homework – it will help when you start causing yourself to listen to have some information handy (to know where the tune is from).  Once you get comfortable with actively listening to music then you can move on to listening while not knowing, guessing where the tune (or the player) is from and then looking it up to check your work.  Just be wary of tunes that are played everywhere (they’ll be tricky – these are typically very old or very popular!).  
And don’t forget to enjoy the listening while you learn how to bring those sounds into your own tunes.

What will you do on your summer vacation?

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As occurs about this time each year, it’s about time to plan your summer vacation.  There are many options, but here’s a harp opportunity for you to consider – come join us!
This is the 19th year of Lever Harp Camp 2014!  This year we will hold Camp 15 -17 August in South Central Pennsylvania.  This year’s theme is The Game of Music.  Harp Camp is easily accessible to harpers from anywhere and at any level. 
  

I am delighted to be teaching with my Co-Director Kris Nystrom Snyder again.  Harp Camp is a highlight in my year and I really look forward to it!  We work hard to bring you a highly personalized, fun-filled, supportive environment where you can extend your technical skills no matter where you are in your harp journey.  In addition you will be able to enhance your appreciation for our wonderful instrument. We also encourage all participants to try new things in a safe atmosphere and give you an understanding of the skills necessary to reach your individual performance goals.
Our format is tailored to you – no frustration of “not getting” material you aren’t ready for, nor will you be waiting for people with less experience to “catch up”.  You will experience three days filled with creativity and fun.  Workshops cover diverse topics from learning to performance to composition and improvisation.  We will have (music) Games, Creative and Directed Ensemble and other age appropriate activities that you are sure to enjoy!
We keep Harp Camp small and have a capped attendance policy.  This allows our class sizes to remain small – giving our attendees the personnel attention for which we are known.
DON’T MISS OUT!!  For more information, Contact us

Stretching – just do it!

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I don’t know about you, but I hate thinking about stretching.  Which is silly because stretching usually feels really good.  And yet we, many of us, skip this essential step.   
We know that when we practice we are working hard.  Nevertheless, we often finish, stand up, and walk away.  But stretching at the end of your practice is a smart thing to do and a good way to finish up.
Be sure to stretch within your range of motion.  Don’t keep stretching if you feel pain.  Stretch all of you – your neck, back, arms, shoulders, chest, and hands.  But just as importantly, stretch your glutes, your hip flexors, hamstrings, and all the way down to your feet.  Breathe while you’re stretching. 

You may need some deep breaths because so often when you’re working hard at your harp you are holding your breath.  
Make time for this – plan it into your practice time just like warm ups and exercises.  Make it a non-negotiable part of your time with your harp.

Teaching helps make you a better learner.

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When you are in a workshop, the instructor seems to have the easiest bit of the day – that person already knows the tune – it’s the participants that are trying desperately to learn the music being shared.  But is it actually easier to teach than to learn?  And what could be more fun than sharing a tune so you’ll have more people to play it with?  To get to that point, you’ll have to teach it!
Still, many of us have experienced the very real challenges that teaching to someone else poses.  Trying to share a tune with someone else highlights just how well we know it ourselves.  To teach a tune, you have to have a complete understanding of the tune. Well, at least it helps.
And so, sharing a tune with someone else will help you make sure you have that tune down rock solid.  If you want to teach it well you will also have to think through all the patterns, the fingerings, and the intervals.  You will have had to think about the phrases, how they related to one another, how many there are, how similar or different they are to one another, and whether those phrases are reminiscent of other tunes (thus, of course, increasing the confusability quotient!).
Wouldn’t be easier if you started out that way?  What if you took approach learning the tune as though you will turn around and teach it?  To get to that, you’ll have to be sure to really look and really listen.  Find the patterns or repeats, note how many phrases there are, look at their structure.  And think from early on how you’re going to teach it on to someone else – soon!

Join us on the Journey!

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Summer is coming fast and you are probably planning your vacation.  I really hope you choose to join us in September for the 2014 Harp the Highlands and Islands tour!
See breathtakingly beautiful Scotland with us – we are planning a great time for all.  Whether you are a harp player, play another small traditional instrument, or just appreciate Scottish music, you’ll enjoy a wonderful time.
Each year we build on the previous outings leveraging the resounding success of our previous Harp and the customized Scottish Highlands tours. We include music of course, but also history, stories and anecdotes that enhance your visit and make the scenery come alive!

We have expanded the tour this year to encompass the magnificent route through to the west coast of Scotland, the source of so many wonderful tunes.  And we are so excited to be able to be working with the Cromarty Arts Trust to offer you the opportunity to expand your trip and add on participation in the Harp Village.

This will be a veritable musical feast – I hope you’ll come along.  Details and additional information on www.jeniuscreations.com/

Just bloom

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You know I like to get inspiration wherever it appears…and recently I found this quote (I found it online – who knows who said it) –

A flower does not think of competing 
with the flower next to it.   
It just blooms.
It’s a good lesson…and one we could all stand to learn and review every day.  We often compare ourselves to other people…and often for no reason, or worse, for the wrong reasons.  Here are four reasons why you should just knock it off…and use that energy for something else – like practicing so you can be a good as you can be!

  1. Often you are wrong – you are not comparing yourself to that other person, but rather to what you think that person is.  You are working on an illusion and there’s no way you can compare to something that doesn’t exist!
  2. You’re missing out. When you are comparing yourself to others, you may be so worried that they’ll find out that you think you’re not as good as they are.  And that’s when you miss out, that you’re not open to learning from them.  Whether they are more experienced than you (or whatever it is that makes you think they are better than you) or just appear more confident – just think about what you could learn from them if you were open to it.
  3. You’re missing out of the fun of playing if you spend all your time and energy worrying.
  4. Eleanor Roosevelt may have said it best, “you wouldn’t worry so much about what others think of you if you realized how seldom they do.”

If you need objective quality evidence – record yourself each year.  At about the same time each year, record what you’ve been working (I like the holidays – you’re likely to be playing the same music each year and then you can really hear you far you have come!).

The person you can compare yourself to successfully is – you.  Look at how far you have come.

I know I should be chipper…

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but good friends have shared bad news and it has accumulated to drag down my heart.

So I will do those small things that will be soothing – to think on my friends, to wish on them some small measure of comfort, and


to sit with my harp, playing away any pain. 

Sometimes you don’t need to practice – sometimes, you just need to play.