Category Archives: Performance

Harpa 2015 Scotland!

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This year we are planning the first Harpa tour of Scotland! We will go through some of the most beautiful scenery to be seen anywhere and this trip will allow you to experience the majestic splendor of Scotland. We will leverage our Harp the Highlands and Islands tour and build in some fantastic concerts. We have a diverse group of musicians and I can hardly wait to hear us! graphicWe will start in Edinburgh and head out to Perth and from there we’ll begin nearly two weeks of exploring, enjoying, performing, jamming, and sharing! And all the while, you will enjoy the unspoiled beauty of well-known sites and off the beaten path sights you didn’t even know about.

Beth Kolle is the Arranger in Residence and Sue Richards is our Concert Mistress.  Here’s a little sneak peak of the itinerary:

May 17th – Collect at Edinburgh, on to Perth (overnight)

18th – Tour to Wick via Glencoe and Loch Ness (overnight Wick)

19th – Ferry/Coach tour to John O’ Groats (overnight Wick)

20th – Wick to Elgin via Dunrobin Castle (overnight Elgin)

21st – Walking tour of Elgin, rehearsal and performance for CLAN Cancer Support (overnight Elgin)

22nd – Drumnadrochit and free time in Inverness (overnight Drumnadrochit)

23rd – Urquhart Castle returning to Drumnadrochit for rehearsal and then performance (overnight Drumnadrochit)

24th – Lossiemouth via Aviemore Mountain day tour (Overnight Elgin or Lossiemouth – tbf)

25th – Moray coast, return to Lossie Baptist Church (LBC) for rehearsal, church dinner and performance (Overnight Elgin or Lossiemouth – tbf)

26th – Via Pluscarden Abbey to walking tour of Forres, rehearsal and performance at Forres Heritage Centre in Tollbooth Courtroom (overnight Elgin)

27th – Royal Deeside tour (overnight Elgin)

28th – Splits into two groups for Ballindalloch and Distillery tours with floating concert at Ballindalloch (alternate halves) (overnight Elgin)

29th – Return to Edinburgh… share good byes

As you can see from the itinerary have four confirmed venues for Concerts.  Each of the venues is looking forward to the fundraising opportunity!

Hope you’ll join us for this unique tour and opportunity. Contact me if you are interested or want more information.

Send your deposit as soon as possible to guarantee a seat. The balance will be due 20 March 2015. A single supplement is available if you like.

It’s beginning to look a lot like Christmas –

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It’s barely begun to cool down, the days have hardly gotten any shorter and the trees haven’t really begun to show their colors. It’s October! But it is also definitely time to start preparing for Christmas! From parties to church services, from fundraisers to celebrations, ‘tis the season to be asked to bring a little joy to people by playing for Christmas. Will you be ready? Here are 8 things you can do to be prepared this season:

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  • Start now – Christmas is right around the corner, but the holiday season is even closer. Holiday decorations had appeared in big-box retailers before Labor Day and the Christmas events will start after Thanksgiving if not before so you need to start now to be ready.
  • Make a preparation checklist – write down those things you need to do to be prepared (some of the items in this post might be helpful for that). Use your checklist to help yourself prepare.
  • Budget your time – be sure to manage your time effectively – refreshing tunes you’ve learned before, learning new material, whatever you need to spend your time on – arrange to have that time available.
  • Select your tunes – know what you are preparing for and use that information to generate a solid set of tunes (and specific tune lists).
  • Schedule practice – not kidding. The holidays are notorious for days filled up beyond reason, earlier than expected, and with way too much to do. Be sure to schedule your practice time in – or you won’t get any!
  • Use your practice time wisely – because your practice time will be at a premium, be sure you plan for that time so you can get the most out of every moment. No shillyshallying at the harp, no unfocused playing through – actually practice when you’re practicing.
  • Make notes for next year – some of your preparation will be very good, some will be no help whatsoever. Make notes to yourself for next year so have even better preparation in the future.
  • Enjoy yourself – the preparation is challenging, and the added stress of performing may get to you, but be sure to enjoy yourself. And also be sure to acknowledge any improvement in your performance, the level of difficulty of the music, the speed of refreshing tunes you had learnedin previous years – all those positive indicators that arise from your preparation.

Christmas comes but once a year – fortunately, it stays for a while and provides you a great opportunity to prepare and to play for family, friends, and customers.

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.

Stage fright Challenge

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People who have stage fright often think that the people they see on stage are different. That the people on stage don’t have any anxiety about being up there, in the spotlight, the object of the attention of all the people in the audience.  Boy are they wrong!

The only difference is that the people on the stage have mastered looking calm. I don’t know a single performer who doesn’t have some level of anxiety about performing.  Granted the level of anxiety and come of the symptoms are different, but everyone feels it.

The other difference is that performers have, one way or another, overcome the anxiety.  That is because the reward is too great to miss.  However, if you haven’t overcome the terror, you don’t know what you’re missing [it is also possible that it isn’t a reward to you!].  If you have set yourself the challenge to overcome your stage fright, there are a few steps you can take:

  1. Identify precisely what your “bugaboo” is – are you afraid you are not prepared? not good enough? going to trip on stage?  
  2. Once you have identified it, address it – not prepared?  practice more.  Not good enough? there will always be people who are better than you are…and you will always be better than others. Tripping?  well, that’s been proven to be endearing – at least on national television!
  3. Define what venue will be doable for you at this point in time – where can you play (or for which audience) that will be outside your comfort…but not too far?  Schools and nursing homes are great places to play with audiences that are thirsty for and appreciative of your performance.
  4. Acknowledge that you will feel trepidation – and that it will affect your playing…and go with it!
  5. Be prepared to learn from getting out there – you will be able to be proud of your accomplishment and you can learn what happens (not what you fear will happen but what actually happens!).  Leverage what you learn.  Then you can work on those things as you prepare for your next performance!  

And don’t go too fast – give yourself time to adapt…and enjoy the process!

Step out there

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Stage fright has an incredible power over people. There are well known, well loved performers who famously suffer from stage fright.  The problem with suffering with stage fright is that it cuts you off from opportunities – and most of us don’t like to have good opportunities disappear.  However, being afraid to get in front of a group and perform can significantly impact your harp life.  After all, why do we play if not to share our gifts with others? 
So how do you get to a point that you can perform for other people when you are terrified?  It is easy for others to tell you to get over it or to tell you that you need to focus outside yourself and share.  But if all that goes right out of your head when you’re about to set foot on stage, here are a few things to bring into your practice to help you be feel more easy and lower your stage fright.

  1. Practice the material!  Be sure that you know all the tunes you want to play in your program. 
  2. Record your self – at first you’ll be self-conscious…but keep at it – you’ll hear all kinds of things you don’t hear while you’re playing (both good and bad)…use this to build your practice, your program…and your confidence. 
  3. Practice improvisation – most stage fright comes from the fear that you’ll forget what you were going to play and will be left standing on the stage like a doofus.  The sure way around this is to practice improvisation to get you out of scrapes and to fill time while you think (I am not kidding). 
  4. Build up – first play for your cat, then your immediate family, then add your best friend, other friends, etc.  Work your way up to a room full of strangers. 
  5. Connect with your audience – it is one thing to be told that they want you to succeed.  But if you look up, look at them, connect verbally and nonverbally, you’ll finally believe it – you’ll see it in their faces.  They know they can’t do what you’re about to do…and they will be amazed! 
  6. Laugh – you will be tense…it probably helps that you’re a little tense…but be prepared to laugh, to enjoy yourself…and your audience will too. 
  7. Plan for the day – arrange to have time before you play to give yourself time to get there, get set up, breathe, and settle in. You will feel better if you’re settled than if you have to race in at the last minute.
  8. You are not alone!  Know that everyone has some level of trepidation.  Once you realize that everyone feels this way to some extent, you might not feel so marked out.

Stage fright is just another thing you can overcome with practice.  Maybe that should be a goal for this year?  Always play to enjoy – even if there is a little bit of fear mixed in.

Risky Business

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No matter how many times you might step in front of an audience, it is always a little stressful.  There is a lot on the line, whether you are playing to put someone to sleep or getting up on a concert hall stage – especially if it’s just you and your harp. 

Why is it stressful?  Because you are taking a risk!  It might not, on the surface, be as dangerous as we typically think of risky behavior, but there you are, taking a risk. And we learn from very early not to take risks!
One of the good things about leading a double life is that you have twice as much material to work with!  I was talking with a colleague about risk taking – he was talking about Alpine skiing racing (literally – he started his skiing career in the Alps!).  He’s even published work on this area: http://www.academie-air-espace.com/publi/newDetail.php?varID=180.  But I started thinking immediately about performing. 

We can take a page from the book of risk takers – the tightrope walkers, skiing racers, mountaineers, and others.  What do professional risk takers do to minimize the risks they take?  Well there are many things, but here are three to start with – you can use them to improve your comfort when you step on stage:

1. Preparation – successful risk takers are prepared.  They do not proceed unless they are prepared.  They spend a great deal of time and attention to assuring that everything they need they have.  You must also be prepared –know what “being prepared” means to you (determine what your comfort will require you to do), do not be bullied into performing before you are ready, perhaps schedule in “growing” time to perform for small, unthreatening groups (you might go from performing for your cat, to then performing for your sister, before venturing out to your church or other larger audience).

 2. Routine – develop, practice and solidify a routine.  The experienced risk taker understands that an established routine allows not only assurance that all is well beforehand but it also frees up time for your brain to do the heavy work you are going to ask of it while you are performing.  You need a routine – pack up and set up your harp in a particular order, use a checklist if you need one, practice your set list, in that order, etc.  Routine also allows you to reduce your worry (because it can improve your preparation) which allows you to focus on the music rather than on your fear.
 
3. Connectivity with people – Successful risk takers work collaboratively with other people.  This connectivity provides not only support but also feedback.  Build your connectivity with other harpers – you’re not in this alone.  Find a teacher, mentor, friend who will provide you with honest, kind, usable feedback to improve your performance.  Build what you learn from their feedback into your preparation and routine.  And to build your connection – be willing to share what you know with other harp players.

Go on – take a risk!

Harpa 2013

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I am so fortunate – lucky really – to have participated in the 2013 Harpa Tour.  It was a wonderful opportunity to travel and work with some amazing musicians. I’m back now and still reveling in the glow of memories.

Here are just a couple of photos (which the other performers shared on facebook) that really sum up the fantastic vibe we had going – a great group, a lovely place, and lots and lots and lots of tunes!

Isn’t just playing for fun the point!
 
Of course playing for an audience is a real joy too!

We had a successful kickstarter campaign and warm appreciative audiences at every venue.  What more could you ask! 

Look for the CD later this summer! There will also be a DVD that will be a snapshot of the fun we had.  While Beth says never again – I think you might be surprised…

If you’re looking to have your own Harp Adventure this year – there isn’t much time remaining to get in on the Harp the Highlands and Islands tour! Go to http://www.jeniuscreations.com/harp-tours-of-scotland/tour-2013/ for details and information. 

‘Tis the Season

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Wedding season that is.  The good news is that people are still getting married!  If we’re fortunate to be booked we know that we will add immeasurably to the event.  I heard a great characterization for waffling brides (or checkbook holders), “People won’t remember what you served for dinner but everyone will remember that you had a gorgeous harp!” (if I could remember who said this brilliant pearl I would definitely credit that person here!).

 
 
 


Some of the best parts of playing a wedding include:

  • Knowing that you are making an event extraordinary
  • Playing through your repertoire (out in public!)
  • Seeing some of the best architecture in your area
  • Seeing some of the nicest gardens where you live
  • Having a solid half hour to play before the main event (typically uninterrupted)

And if you’re not playing weddings – why not?  “I don’t want to” is a perfectly good answer.  “I am afraid to” isn’t as legitimate – and may point out things you should work on (we’re talking about music, not temperament!). 

What do you like best about playing for weddings? What do you play? Do you have any standards or chestnuts? If you had to play a wedding tomorrow, do you have enough music at your fingertips?  I hope you’ll what you like and what works with me!

Whisper down the shout

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Sandy Grason said, “Your inner wisdom whispers, your inner critic SHOUTS” (my emphasis).  It has been my experience that she is correct.

Especially when it comes to our music.  We know a large number of people who play better than we do.  And if we are adults who came to the harp in adulthood, many of them are still children!

Unfortunately, we let that shouting inner critic get in our way.  We can’t even discern the whispering wisdom – we are too caught up in swooning to the poison of the critic.  We focus on every “mistake”, every “failure”, every variance.  We note how the “real” harpers never make mistakes, have stunning repertoires, and can play any tune.
It is too bad that we are so focused on ourselves.  We typically are so caught up in our fear that someone else will be better than us that we don’t really listen to those that we idolize.  We don’t recognize that the “real” harpers:
  1. make mistakes when playing

  2. are learning tunes

  3. are sometimes chagrined when they are not having a good day (my experience has been that this is especially highlighted when teaching!)

  4. may also be feeling this same way – and with much more at stake!
So, if you find that you are listening to the stupid shouting rather than the wise whispering you can take action to change.  There are only a few things you must do:
  • Pretend the critic is talking about your friend, mother, spouse – wouldn’t you tell that critic to stop and start listing all the reasons they are wrong?  Of course you would!  The critic only has the power you grant – therefore if you defend yourself vigorously, the critic will recede.

  • Do not compare yourself to others – only to yourself.  I suggest that my students make a recording annually (usually at the New Year).  The idea is to record what they are doing at that point in time – playing whatever they happen to be working on.  They periodically go back and listen to the recording in its entirety so they can hear for themselves how much they have improved.  They can compare themselves to their previous performance – the only comparison that matters!

  • Listen to others – I guarantee you that only the meanest of people would seek you out to deliver a cutting critique.  When people hear you play and tell you how much they enjoyed your playing, when a respected teacher tells you what a good job you’ve done, when someone asks you to play – they are being honest!!! Believe them and enjoy knowing you’ve done well.
Listen carefully – and the whisper will grow louder!

Stand up for Harping

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You might have seen in the news lately that the new rage is to work standing up.  Stand up desks are popping up in all sorts of places – even on treadmills. Working standing up has many benefits including:


  1. Expending more calories than sitting
  2. Better alignment of the spine

  3. Improved flexibility of the large muscles of the lower body

  4. Better posture

  5. Reduced perception of fatigue.

You might think it is impossible to bring this trend to the harp, but you would be wrong.  There are a number of good reasons to play standing up –


  1. Better visibility of the harp and of the harper for the audience

  2. Better visibility of the audience to the harper

  3. Expending more calories

  4. Better alignment of the spine

  5. Postural improvements with concomitant breathing improvements

  6. It looks cool!

You might want to try playing standing up.  It is very effective for stage presence.  It is not so appropriate for background gigs (weddings, cocktails, parties, etc.) where the point it to become “sonic wallpaper”*

But when you are meant to stand out, standing is a good way to start. It is essential that you find a platform that is the right height (standing is not license to slouch).  The platform must be stable and you must be able to keep the harp on the platform safely while playing (and preferably while not playing).  The harp should not be wobbly, nor should you have to grip the harp while playing to keep it stable and upright.  Finally – you must practice with the harp in the standing configuration.  Many of your muscle memory cues will be slightly different.  Your sight picture will also be different so rehearsing standing will help you recalibrate.

So, give standing a try, see if it works for you – take a stand!

*thanks Kris Snyder for sticking this phrase in my head!