Which teacher do you need?

Posted on April 18, 2022 by Jen

In a previous episode we talked about what lessons are for (and what they’re not for) and a comment was made about learning going on forever. How true!

But you have to start somewhere. And we all have teachers. Even teachers have teachers! The question really is – which teacher do you need? Or perhaps more appropriately, which teacher do you need now?

Because we need different teachers for different stages of our harp life. These different teachers might all be housed in a single body, or you may move from one teacher to another. Or you might make a loop and eventually have the privilege of teaching your teacher! One important thing we’ve learned over the last two years is that we’re not constrained by geography any longer (which is excellent!) with teachers available online, you can learn a great deal. *

In your harp infancy, you need a Mother. A teacher who works with you to learn the things you need to know to be a competent harper without hurting yourself. This teacher gives you a foundation from which you can grow. You learn how to care for your harp, how to interact with it, and start to build a repertoire. Perhaps most importantly, the teacher initiates you into the tips and tricks that make playing easier (technique) and helps shape you into a musician. I think this is the most important thing people who are self-taught miss out on – these not so obvious things that make playing easier (Don’t worry self-taught people! You can get there too – read on!).

As you continue, you grow and your needs change. Once you’ve learned to play make sounds come out accurately, now you need a Professor. You are ready to learn the why for the things you do. It’s important for you to understand how your initial technique underpins more advanced skills, how all the elements are related, and to point out areas for focus to nudge your progress forward. And to corral you when you (inevitably) move backward a little – to help form you into a musician.

Then you are ready for a Coach. ** This shift is important because this is where you shoulder most of the burden of steering your own boat. Rather than sitting like a baby bird, mouth open waiting to be fed, you know enough to ask yourself questions – what is still weak? What is becoming your “signature”? What music do you want to learn? What music do you need to learn to fill in your repertoire? As the student, you push the envelope while your teacher helps you to structure your questions, honestly evaluate your feedback, constructively apply what you learn, provides suggestions for your continued growth, and helps you discover answers.

Finally, the Peer. This teacher is someone with whom you share the joy of playing – trading tunes, making suggestions (as needed), encouraging trying new things, and energizing you to keep on growing. This is a less formal teaching relationship and reciprocal. Don’t be fooled – you are still learning (perhaps more than ever before), still growing, as a musician.

You might move back and forth along these lines – as needed. And you might find all these in a single body. You might be in a regular relationship with one person, or you might go to all the workshops you can manage to get different perspectives and approaches.

Now for the tricky part – which do you need now? A good teacher will provide a bit of each of these, as needed, and in varied measures as you grow. Of course, early on, you will need more mothering. But don’t be fooled, I have more than one student who has come for lessons because, although they are advanced harpers, they recognized that they needed to go back to shape up their technique. And frankly, I’m grateful, because that helps keep me focused on examining my own!

It is also easy to slip into a crack – you might “outgrow” a teacher and decide you’re good on your own. And you probably are for a bit, but if you’re not actively teaching yourself (by doing all the things we expect the professor or coach to add to your learning), then you may lose ground, lose motivation, lose excitement. That would be sad. But it’s easily fixed by finding another teacher.

Remember that, like hairdressers, teachers understand that sometimes it’s not a good fit, or something has changed and you’re ready to move on. And like a good hairdresser, a good teacher will be sad to see you go, but wave you a cheery fare-thee-well and look forward to seeing you at a harp event soon!

Do you have a teacher for where you are now? Which teacher is the right fit for you? Are you in between? Let me know in the comments!

* I will stick a caveat in here – if you are geographically constrained and don’t live close enough to have in person lessons, be sure that your online option is a good teacher. One downside to everyone having an internet connection is that anyone can say they are a teacher – and as a beginner, you’d be at their mercy. Caveat emptor. In addition, if you are taking lessons online (and any competent teacher will tell you this…in fact, if they don’t, reconsider their competence) – go to workshops to work with other teachers in person whenever humanly possible. There are amazing options like the Ohio Scottish Arts School, Somerset Folk Harp Festival, the Harp Gathering (which I’ve not participated in but have heard great things about), Feis Seattle (again, I haven’t been to this, but I know a guy), Catskills Irish Arts Week (again, haven’t been but I hear good things), or individual workshops anywhere near you – and you will learn incredible things, and not just about playing the harp! Go! This isn’t an exhaustive list, just a sampling, just go!

** The Coach refers to an approach to teaching and isn’t necessarily someone who is presenting as a coach. It’s about the approach not the title.

When do you stop taking lessons?

Posted on March 28, 2022 by Jen

The other day, someone asked me when do you stop taking lessons? Sounds like an easy enough question. If only.

There are a lot of reasons to stop taking lessons – money, time, fit with the teacher, and more. Money I can’t do anything about for you, so we’ll just glide past that.

First, let’s get time off the table and let’s separate time available and time duration. We have to assume that you have time available – both for lessons and for practicing between lessons. As for time duration, you can’t really expect to set a timetable. If you’ve been playing the harp any length of time, then you already know that learning the harp is anything but a linear process. And that some things feel easy while others feel like insurmountable obstacles. If you haven’t been at it for long, you might still think that there’s an end – a point at which you’ll have nothing left to learn (quick hint – there is no end). Those of us who have had more experience already know – you will always have something more to learn!

OMG – is she saying that I’ll be taking weekly lessons forever?! No, that’s not what I’m saying. That’s not the right question.

The better question is:

What are lessons for?

There are at least four reasons for lessons:

Lessons can give you a foundation. The harp isn’t easy to play. It requires finesse and skill to play well. A teacher in regular lessons can help you build the foundations you can grow from so that you can (eventually) play the music you are moving toward.

Lessons can help to protect you – Leon Fleischer called musicians “athletes of the small muscles” and in lessons you’ll typically learn good technique which can help protect you from injury.

Lessons can teach you a framework – We don’t make music in a vacuum and lessons can help you build your own framework from which you can develop your musicality and musicianship.

Lessons can help you learn to teach yourself – I’m going to let you in on a dirty little secret – teachers don’t want to have you in lessons forever! (for a lot of reasons) But no teacher will want to “graduate” you until you have learned how to teach yourself.

A teacher can use the time in lessons to help you navigate the pratfalls of playing, make clear those things that are opaque, and illuminate the path so you make progress faster.

Of course, the flip side is just as important. So another good question is:

What are lessons not for?

There are at least four things lessons aren’t for:

Lessons are not to keep you motivated to keep playing. In the end, music is a solo pursuit. Even if you’re in a group, ensemble, band, or orchestra, there’s only you playing the harp. Only you can motivate you to play and while lessons might contribute to your motivation, they will not act as your sole motivation.

Lessons are not to provide you with accountability. Relatedly, if you only practice because you’re afraid to look bad at a lesson, you haven’t solidified your self-accountability. Lessons won’t change that.

Lessons are not to keep feeding you music. While we expect child students to need a lot of guidance on music, adult students would have increasingly greater latitude in music selection – which would include selecting the music you want to move toward. But you need to figure out what that is for you.

Lessons are not to prevent you from being a responsible musician. Lessons are not a substitute for thinking for yourself (ref earlier comment about teachers wanting to help you learn to teach yourself). This goes beyond selecting music and includes analyzing the music, self-critiquing (not self-criticizing!) your playing and developing your repertoire.

What other reasons are there to take lessons? And to not take lessons? Let me know what you think in the comments!

Color outside the lines?

Posted on August 2, 2021 by Jen

It’s all there in Black and White.

The treble lines, the bass lines.

Five lines of instructions (actually, 10 for us – plus ledger lines!). Play this note at this time…and all those other notes too, in order, as written.

So let it be written, so let it be done!

Except…wait a minute – last week we talked about the importance of asking questions…including my favorite – why? And a few weeks before that we talked about how sometimes meter and tempo get conflated and confused. So, this is sort of the same idea – We often make flawed assumptions about how we know what to play. And this week, we’ll talk about another flawed assumption that can make playing more difficult (and a way around it!)*.

Sometimes we mix up the register and the hand. This is especially easy to do because we are taught that way. And, to be honest, about 99.99999999999999999999999999999% of the time that is the right solution. But sometimes it’s just silly. Imagine if you were presented with this**:

Your experience, your practice and your efficiency all drive you to play all that mess in your left hand – even as the music tells your right hand to pack a bag and go on vacation! And you will likely tear yourself inside out trying to make it happen – possibly with the right hand sympathetically gripping the sound board tightly in terrorized support, hanging on like a terrified passenger on the back of a wobbly Harley.

Or what about this?

Same thing, only this time it’s the left-hand packing for a trip to the Bahamas!

Why do we do this? Well, because the ink said to, so we must.

It has always been thus.

But do we really? NO!!

Because while the ink tells you What and When –

it actually says n-o-t-h-i-n-g about How!

Read that again.

Of course, it’s easy to think like that –

Bass = Left hand and Treble = Right hand

And it’s easy to not think about what hand makes sense to be playing at that point. After all,

Melody = right hand and harmony = left hand

Sic semper tyrannis

But does it even make sense to do it that way?***

After all, you have one harp and all the sounds come from it. Harmony and melody – all from one source – so really, which hand you use doesn’t really matter.

Now, I’m not advocating that you throw away all that practice and tradition. Instead, I’m suggesting that when you are struggling to make some fingering work, try to work smarter rather than harder.

I’ll remind you: the staff tells you What and When but

not How!

There’s another benefit of thinking about “breaking” the arrangements differently – and that is that the more ways you can look at the music (divergently), the more you will see new ways to play it. You’ll also “discover” patterns that were previously hidden from you that can then be leveraged, and the more you will think creatively (yea divergent thinking!).

Remember that the ink is a guide, but you must make the journey!

Do you ever color outside the lines? What wonky passages have you struggled with and how did you overcome that? Let me know in the comments!

* Special thanks to Rachelle Morgan who asked this question in Ask a Harp Pro on Facebook!

** Unceremoniously pinched from Rachelle’s question but slightly modified

***I need to credit Sue Richards for teaching me to think this way. Otherwise, I’d still be fighting to make stupid stuff work out and playing slowly, unable to catch up.

Perfect – It was so much better at home

Posted on May 24, 2021 by Jen

As a teacher, one of the funniest things you hear in lessons is,

“It was so much better at home!”

It’s funny because we have all uttered those words as a student at some point. Of course, at this point in time, it’s especially funny because… we’re in zoom lessons – you ARE at home!

This does speak to an important point – it’s easy to be comfortable and low key about everything when you’re home, by yourself, doing your thing practicing or playing for yourself and it’s Perfect.

But it is completely different and more difficult when the situation changes and you’re in a lesson (or your family is actively listening, or you have a visitor who begs you to play for them, or the window is open and the neighbors might hear).

Back to the lesson – isn’t making mistakes in a lesson precisely the place you want to make an error? Why do we always fret when we make a mistake in a lesson?

We’re afraid our teacher will be unimpressed with our work effort for the week, or we’re embarrassed because we think all the other students were perfect.
We feel like we haven’t practiced as much as we should have and so we are unimpressed with our own work effort for the week.
We have set some arbitrary schedule for ourselves and we haven’t met it. As in, “I learned Katie Bairdie in a week, so I should only need a week to be able to play the harp solo from Lucia di Lammermoor!” Maybe that’s a bit unrealistic?
We didn’t set aside the time to practice and so we know we’re not as prepared as we would have preferred to have been for the lesson.

Does making mistakes in lessons matter? YES – but maybe not for the reason you think. Your teacher does not expect you to play perfectly (and if your teacher does expect you to play everything perfectly, you might want to find someone else to work with).

What do you learn from mistakes? LOADS

First, repeat after me – each “error” in a lesson is a learning opportunity…AND a teaching opportunity!

You learn where the music in your head is a little thin. When you’re practicing you get through it just fine but add just a smidgen of stress (now that you know your teacher is listening and your performance anxiety kicks in) and the veneer of “knowing it cold” may dissolve to “barely hanging on”. That helps highlight where you should focus as you continue to practice the music.
You get a different point of view. I used to have a student who always answered the question, “How did your exercises go this week?” with, “Perfect!”. Hmmm, maybe not so much. Sometimes you get a different perspective, or a calibration of your perspective. And that tweak to your perspective allows you to practice better and possibly to learn more.
You get feedback. It is frustrating when you keep hitting the wrong string or can’t preplace fast enough or just can’t remember the phrase. But your teacher will see all that from a different angle – and give you insight into what you are doing (and/or not doing) and what you might do get around the issue.
You get to learn from your teacher’s experience. One thing you can be sure of – your teacher has more experience than you do, both at playing well…and at making mistakes! The point of the lesson is not only to share that experience but to pass it down to you. It gives you a chance to learn about hard won gains so you can go on to make other, better errors!

Each time you make a mistake in your lesson, you have PERFECT opportunity to learn. In addition, you present a teaching opportunity for your teacher. And as you learn, what you can learn shapes and grows what you will be able to learn next. And frankly, as a teacher, I kinda live for that moment when it’s clear that you “got it”! I think all teachers feel that way. Some are exuberant about it, some are sotto about it, but the thrill of seeing that light bulb go on is central to teaching.

So, as you look forward to your next lesson, I challenge you to predict which mistake you might make, why you’ll make it, and what you think you will learn from it. And you know that Practice Journal I’m always going on about? Those are the sort of thing you might consider jotting down in there.

You stand on the shoulders of those who came before you so you can see over the wall, not so you can be on the top of the pile! What mistakes will you make in your next lesson? I’m looking forward to hearing about it – let me know!

Zoom! Bang!

Posted on April 26, 2021 by Jen

As a harper, I have been reading with interest the “sudden” spate of articles on the ills of working from home for over a year. As a Human Factors Psychologist and Systems Engineer, I am only surprised it took this long for the articles to hit.

Everyone who couldn’t get away from me has received lectures (from my professional perspective). I have related the importance of chair height and table height, arrangement of keyboard, monitor, mouse, lighting, and other elements of the workspace. I have hectored friends, neighbors, and people I don’t even know about drinking enough water and not drinking too much coffee; the importance of avoiding incessant snacking; building a schedule; getting some outdoor time; and keeping work-work and home-work separate (not trying to do household chores between meetings) – all things I know from my professional specialty and as a person who has worked from home for over 15 years.

But now, I’m going to direct all that energy at you … and suggest a way forward!

I know you’re used to me prattling on about injury at the harp, but one thing you might not have thought about is what our current altered reality has done to us. There are so many things we either did differently before or things we haven’t been able to do at all over the last year. That that time away can build the potential for losing focus and technique…all of which may result in injuries – at the harp or away from it.

Just this week I have learned of harpers who have sustained injuries away from the harp that are impacting their playing – ugh. One is a student who fell off a skateboard. Even if that wrist isn’t broken, it will need to heel. And that will be weeks away from the harp. Another was telling me about a big work project – at home, on a laptop doing work that would normally have been done at the office on a desktop – with its ergonomically designed desk and much bigger keyboard. So now we’re working on caring for the overuse injuries from typing in this new position – injuries to the same structures that are central to playing the harp.

As we have all languished at home, it has also been easy to allow our basic skills slide. If you don’t have in person lessons, your thumbs might fall, your shoulders might cave, your chin might jut, and your spine might crumple. In addition, so many of the cues teachers can pick up on from in-person lessons are missing or are flattened online. So, it is likely that there are elements of technique that are dissolving from your daily practice and are not highlighted in your lesson.

And that’s not good – ragged technique and poor posture are not just a challenge to overcome – they can be a gateway to injury.

So, what can you do? Have a zoom call……with yourself!

If you’re not familiar with zoom (zoom.us) it is a free application that allows you to have a video interaction with others. *

At the beginning of each day I do a zoom meeting with myself to verify my cameras are pointing in the right direction, that the lighting is good, and that everything is set up before my first student. As I’m teaching, I watch my student. That means that if I need to look at my harp, I would have to look away. But, I can see my harp on the screen which means I can still see both my student and my harp. After all, I want to be sure they are able to follow and understand what I’m doing or to verify that I need to do it again. One day while teaching, I noticed (and was really pleased with) my hand position (I know, silly things make me happy).

And that got me thinking about how on the screen I could see things I can’t see from “behind the harp”. Moreover, I could make small changes and see the effect right away.

You can do the same thing. How? You just have to host a meeting with yourself. Yup – host a meeting, but don’t invite anyone else! You have the full screen, you can see yourself clearly, and while you watch, you can make small adjustments. As you make these adjustments (move to the middle of the string? raise your arm just a tiny bit? create greater space between your thumb and fingers? actually preplace or use the fingering you worked out? the list could go on…) BANG! – you can immediately see the effect of each change.

And seeing can certainly be believing.

I often suggest that you video your practice so you can see what you’re doing…and what you’re not doing. It gives you a different perspective (and may make teacher comments mean more to you). I also always remind you of the big red delete button…because the point of the video is to learn, correct and go on, not to hold it for posterity. However, I also know that many of you still don’t do this. So this similar (but completely ephemeral) idea seemed like a good one. Watch yourself play but don’t record it. See what you’re doing (from the vantage point of your teacher) and make small adjustments until what you see matches what you’ve heard in all those lessons – high thumb, relax, close, place…breathe!

DO ALL THE THINGS! SEE ALL THE THINGS!

I also find that the meeting view is better – clearer and brighter – than on the video.

So, are you willing to zoom with yourself to help be bang on? If you do, let me know how it goes and what you learn. And if you’re not willing to try, I’d like to hear that too. I’m always looking for better ways to teach and I learn so much from your comments!

* And no, of course I’m not getting any compensation – but this is also not an endorsement. I have used zoom, skype, facetime, and messenger – as long as you have the function without actually having someone else on the line, it’ll work.

What Will You Do on Your Summer Staycation?

Posted on April 19, 2021 by Jen

With all this pandemic-ing going on and on and on, it’s easy to let planning for summer to fall out of your head. But that would be a mistake! While not everything will be happening this summer, there is a not-to-be-missed harp event that I would commend to you –

The Ohio Scottish Arts School will be online again this summer!

Now, you might think that it might not be as fulfilling as the in-person experience. You’d be wrong. Ask last year’s attendees – we did many of the same things we do when we’re in person. There were notable exceptions, but these were slightly ameliorated by being things we would have had to replace anyway.

Why would we need to replace things anyway? Because next year (fingers crossed) we will be in our new location at Baldwin Wallace University. We are very much looking forward to this change…and not just because it is air conditioned against those June-in-Ohio heatwaves! We will have to find new things to replace singing under the tree, wandering Gibson’s and the Ben Franklin, and going to the Bead Shop. And we will – we will have a new place to explore and enjoy!

But first – this summer.

This summer we have are so fortunate to have an amazing collection of teachers. Rachel Hair and Rachel Clemente will be with us again. And I’m so excited that we will also be joined by Sharon Knowles too! Oh, and me!

We are all excited about seeing everyone from near and far. We were so excited to have students from as far away as Europe but we can try to break that distance record! We’ll be like the Brady Bunch again with happy faces in small windows. And the tunes we’ll be teaching – Ace! (as we have learned to say from Rachel Hair). We will have teaching sessions and lecture sessions and fun sessions. There will also be opportunities to learn from the other arts (Pipes, Drums, Fiddles, and Dance). The evening activities will include the Instructor Concert as well as some new goodies the Thistle Family are cooking up. And – we will get to start each day as we traditionally have – with the piper!

If you’ve not been to OSAS, you have missed a treat! But you can fix that! OSAS is intended to provide students with comprehensive instruction in their chosen traditional art – Harp in our case. All the instructors in each art are nationally and internationally recognized. You will learn theory, skills and technique, and new material.

You do not need to be a significantly accomplished harper, but OSAS is not pitched to rank beginners – you should have some knowledge of harping. However, if you are comfortable learning and playing, come join us!

OSAS will be Monday, June 28 – Friday, July 2. Registration is now open – go to https://ohioscottishartsschool.com for all the details.

Please note that the class sizes are limited, and registration closes June 11^th. Don’t delay – get your spot! We were pretty full last summer. Have harp specific questions? Planning to be there this summer? Let me know you’re coming in the comments below.

Reading Reading Reading

Posted on February 22, 2021 by Jen

Last week we talked about music from paper. But for adults who don’t read yet, this can be intimidating. Reading does take practice. It always has. It’s just been a (long) while since you were at this same stage with letters. But if you think back to when you learned to read words, you will remember the big pictures of the letters over the board that showed you (constantly) what the letters looked like. Over time you learned to associate each shape with “its” sound. Then you learned how the shapes could be joined together and that you could link the sounds for the shapes and soon they were just like the words that came out of your mouth. And you learned the rules (and the exceptions!). You practiced every day. With time you got much better at it!

Let’s do a little math – if you practiced reading for 20 minutes every day at school when you first started reading, that means that you practiced about 60 hours just in the first-grade! That doesn’t count weekends. Most of us are significantly past first-grade, so if you did about 20 minutes of reading every day (granted, an estimation) you will have practiced reading nearly 500,000 hours by the time you eligible to retire! So, if you’re just learning to read music, you may still be at the stage of identifying shapes and linking them to their associate meaning. And if you get 60 hours of practice reading in the year, you will likely be at that first-grade proficiency. If you get more practice, you will become more proficient.

Keep in mind that each musical note has more information than each letter – you get pitch and rhythm and direction, so you might expect it to take more time to get easy with reading. And that’s ok – because it’s something you can add to your practice time!

If you’re struggling with your reading, here’s a suggestion. Find a piece of music (or use a Notespeller). Make a few copies so you can repeat the page – yup, we’re making “workbooks” just like we had in school. Start at the beginning and for each note:

Point to the note on the paper.
Say the name of the note out loud.
Point to the string on the harp – make sure you’re in the right octave!
Play the note.
Use all the tools/help you have (e.g., if you know the “tail” of the G-clef wraps around the G line, then start there and use your finger to move up or down the staff until your finger is on the right note. If you know the blue string is the F use your fingers to keep track of the distance to the note you’re pointing to on the paper.
Double check your work.
Move on to the next note.
Lather, rinse, repeat.

Because I’m parsimonious, you can do this “straight” (the way you would normally read the page) and then later, turn the page upside down – and make the staves whichever you like (treble or bass) and go through again (a whole new workbook page!).

One reason to do the same page multiple times is to just get more practice at the same level. You might remember that Dick and Jane ran up and down the street a lot. So, you can point to and play the G above middle C just as many times as Jane said, “Oh, look!” (or more)! And the more you do it, the better you’ll get at it. Another reason to do the same page again and again is to get more confident – the more you do it, the more comfortable you’ll be as you test and then incorporate those linkages.

Don’t be cowed by dense music either – when you’re learning to read, use music made for young readers – the notes are bigger and there are fewer of them so you can practice your reading more easily. Even if you’re a significantly experienced human, you might be very young in harp years and possibly even younger in music reading years! And just like word reading, as you get more practiced and confident you can work your way up to the “chapter book” types of music (densely populated with too many measures on each line and too many lines on a page!).

So, how about you? Do you practice your reading? Do you read as well as you’d like to? If not, what’s holding you back? Let me know!

Ah, Paper

Posted on February 15, 2021 by Jen

There is a lot of music out there. Probably millions of tunes through the ages. Last week we talked about the joys of learning by ear, which are many.

But for all the lovely tunes available out there, if you’re going to learn them by ear, you have to find a source from which to learn. And that’s not always a possibility. You might live in the hinterlands. Your SpotiTube could be clogged. You might have eaten your Apple tunes. It might be that no one has thought to record the tune. Or possibly that no one remembers it?

And this is where writing music down is so helpful. I’m sure even the most amazing of harper bards of old would have been hard pressed to learn, know, and use all the tunes available – then or now. So, I hope we can agree that writing the music down is a helpful thing – if only to try to keep track of (at least a little corner of) the universe of tunes. Ah, Paper.

This is true for any type of music. Don’t be fooled – even the hallowed classical music is not meant to be played strictly as written. Mozart made his stock and trade writing and performing his music. And when he performed – his shtick was improvisation – that is not found in the writing! And he is just one example.

There is an easy trap in believing that the printed music is better than aurally transmitted tunes. It absolves one of all need to really internalize the music. And unquestioning devotion to the dots (the notes) excuses us from putting in the effort to make the music our own.

Written music is simply a tool. It can serve as a memory aid or it can act as a framework from which to pull the music. But it isn’t unassailable, nor does it require strict adherence. Ick.

As a tool it has myriad uses including keeping a record of a tune for later use, holding a tune for others not present when it’s being played, and for memory keeping. Writing it down allows one to capture of ideas, snippets, measures (and other stuff), even if they’re not “interesting” just now (not everything is popular all the time – but eventually the wheel turns).

Like any tool, the written music has limitations. For instance, it can’t capture all the feeling or the interestingness with which individual players imbue a tune. It will, with time, lose parts of its meaning, leaving future generations to conjecture (ok, just guess) what was meant by what was written, how it was played and what it was for. Don’t think that’s true? Look at the Song of Seikilos (found on a grave marker) – I’m pretty sure they thought they were capturing that for posterity*….

Which highlights another limitation – the written music can’t really capture the “à la mode” or “dépêche mode” (like how I did that?!) for the tune – you’ll get the bones but not the juicy cultural meat – you have to research (or guess) what the tune might have meant. You can have dogmatic discussions all day long but, in the end, you’re going to play it the way you hear it in your head – because that’s all you can do with the dots.

But most importantly, the dots can serve another function – that is helpful in the concrete, rather than in the abstract. This visual representation of the music makes music more accessible to those who are not good at hearing (don’t process auditory information well). When you look at the dots you have another avenue to getting at the tune – the relationships between the notes are spaced in the plane of the staff rather than over time (as in auditory representation). Some people can better understand the relationships of pitch and rhythm when looking at them than when listening to them.

Perhaps the most important point is that there is no “better” – learning the tune by ear has many benefits and some drawbacks. Learning from the paper also has many benefits and some drawbacks. These benefits and drawbacks maybe different, but they point to a potential strength – using both!

Using both auditory learning (learning by ear) and visual learning (learning by reading) may help you learn even more faster and more better (yes, I meant to say it that way). Just like learning by ear, the more you read, the better you’ll get at it.

Ah paper, a wonderful tool!

* If you’re not familiar with the Song of the Seikilos, it is the oldest surviving musical composition, believed to be from the 1st or 2nd century. The composition was found on an ancient Greek grave marker https://www.classicfm.com/discover-music/latest/oldest-song-in-the-world/

Hear Hear!

Posted on February 8, 2021 by Jen

One of the most interesting things you might hear a musician say is that they can’t learn by ear.

Ok, when I say interesting, I really mean odd (and maybe a little horrifying).

Because it is kind of funny that people who enjoy making and sharing sound admit that they don’t think of themselves as being able to learn via that same sound! And I’ve heard a lot of harpers say they are not able to learn by ear. Typically, I hear this as I prepare to teach them … you guessed it, by ear.

But learning by ear is an important skill. It really is central to playing. And like any skill, it can be learned and needs to be practiced – and the more you do it, the easier it will feel and the better you will get at it.

You might be one of those who resists learning by ear. You might wonder why you should bother. After all, there’s loads of written music and it tells you everything you need to know. Or you might not be interested in playing traditional tunes, focusing on classical or modern music – and that’s all written*.

But there are loads of reasons to learn to play by ear:

You will learn music faster. After all, making music is an auditory activity, so listening is pretty much essential!
You will think about the music differently (than if you’re simply reading). Of course, when you look at the music you see relationships of the notes and rhythm, but when you listen you perceive those relationships differently and detect other relationships.
You might just be more playful and creative with the music – without the tyranny of the dots telling you what you must do, you might just branch out and play what you feel rather than what’s written.
You may learn things about your instrument while you’re playing (and maybe about yourself?).
You will learn to hear. Really hear, not just listen.
You will become a better musician (ear training is taught at conservatories!).
You will understand theory better – because you’ll be experiencing it in a new way.
You will gain confidence as you become more proficient…and you’ll not be held back by a lack of (sheet) music again!

All this for the low, low price of – listening.

Just listen.

Don’t be fooled – it isn’t easy at first. The first tune I learned from a CD took me forever. I had listened to it a lot, than then I started counting… I listened to the tune over 1000 times (after I started counting). I’d get lost. I’d be listening and then realize I was enamored with the accompaniment and hadn’t been listening to the melody. Or I couldn’t tell the parts apart (not realizing it was a four-part tune not a two parter). Even now, when I listen to music, I hear it in layers (and the most important layers hide from me until last … maybe I should have been a drummer?).

You’ve probably been told,

“If you can sing (or hum) the tune, you can play it”

If so, you have been given the nugget to begin to understand how this works. When you can sing the tune, you know the pitches, the relative lengths of those pitches, and the relationships of the pitches to one another (up or down to the next one? a small interval or a large one? a third or a sixth? (ok, that last one takes more practice)). But think about it – if you “can’t learn by ear” and I challenged you to find Twinkle Twinkle Little Star – you could do it. You know the tune and that’s a big part of the challenge. When you know where it’s going, you are a long way down the road of playing the tune!

Now, to find Twinkle, you might have to do some picking at the harp. After all, if learning by ear is new to you, you’re not practiced at finding the first note, nor are you adept at identifying intervals (yet). But you can find the tune (even if by trial and error) … because you know how it goes. And that’s all you need to get started.

Let’s not put lipstick on a pig – it does take practice and it can be frustrating. But stop comparing yourself to that person sitting next to you at a workshop – just keep at it. Practice on your own. Hear, hear. Listen and Hear. Start with something you can sing – and go from there.

If you want to build up your ear, practice, just like everything else we do –

Start by finding a tune you already know – Twinkle? Happy Birthday? Frere Jacques? Memory (from Cats)? Back in Black (from AC/DC)? What it is doesn’t matter as long as you actually know it and are patient enough to pick it out on your harp. I’d suggest you start with simple children’s tunes – they are designed to be easy to learn!
Be patient – you’re trying to capture and recreate an entire conversation (or soliloquy) – give yourself permission to take your time. And even if you’re a product person, try to enjoy the ride…because this ride will take you to many destinations!
Keep track of your progress. Remember that learning by ear is more than just finding the tune on your harp – this is just a first step to playing new music.
Don’t be afraid to mess up – if you really know the tune (can sing it) then you’ll get back on track quickly. And if you don’t – you’ll need to go back and practice listening to it more, but you also might find some cool stuff on your harp along the way.
Don’t forget to record it – use whatever mnemonic devices you need to keep what you’ve found available to you.
Like everything else we do, the more you do this, the easier it gets. But if you avoid it, when you “have to” do it you will not only not have that practice under your belt, but that lack of practice will chivvy away at your confidence.

Hear hear – work on learning by ear. You CAN do this! It might be a challenge, but you can do it. Focus on the music rather than on the voice in your head telling you that you can’t.

What are you learning by ear? How’s it going? Let me know in the comments below! Are you hopelessly lost or so frustrated you can’t speak? Let me know and we can schedule a lesson – I’d love to help you!

*BTW – classical musicians also learn ear training. Never mistake written music for instructions. If you learn to think of it as a “cheat sheet” – a quick and easy memory aid – you’ll temper your love affair with the staves! More on that another time.

The Other Modes

Posted on February 1, 2021 by Jen

It’s already February! But that’s ok, you have goals! You have thought about them, codified them, captured them – possibly in multiple ways. You’re ready to go! Woohoo! Your goals are where you’re going – mental joy ride time! But how are you going to get there?

You may have heard of the various modes of learning. You might even know what your particular strengths are. The question is – do you use these in your practice to help you learn? Before we go on, we need to agree that for our purposes, practicing is actually more about learning than anything else. And possibly even more about learning that your lesson!

In your lesson, you get the gist of what you’re meant to be learning. But even the best students learn relatively little while in the lesson. In the lesson is where you get the basic materials and the guidance needed to build your music. So, no, I’m not saying you don’t need lessons – we all need lessons! There is so much to learn. The lesson is actually not about you playing. Lessons are far more about the guidance you receive from your teacher than about anything else. This is especially true for adult learners. You are guided on how to interact with the music, how to coax sound from the box, how you might think about what you’re doing, and of course, the physical stuff you must do to accomplish your goals. Your teacher is helping you learn how to think and interact with the music so you can do it yourself.

So, of course you are being taught during your lesson. But let’s say you practice one hour each day that you don’t have a lesson. That means of the seven hours each week you spend at your harp, only 15% is spent in direct interaction with the teacher. The other 85% of the time is by yourself, leveraging what you got in your lesson so that you can learn the music. When you realize that, it’s clear that it will be while you’re practicing you need to spend your time wisely. This is when you will learn the most through implementing the information you received in your lesson.

Then the question becomes, how can you best spend that time, so you maximize your learning (while also maintaining your enjoyment)? Because now you really know that pointless, unexamined iteration is a waste of your time. What should you do then?

The first thing you might consider is how you learn best. You’ve learned lots of things over your life in many different ways. You’ve learned to talk, to read, to cook, to drive, to balance your checkbook, to play the harp, and so much more. And while being taught those things you might have noticed that you really prefer to be left alone to read the manual. Or you might instead prefer someone who knows what they’re doing tell you how to do it. Or you might want someone to do it while you watch and then watch you while you try. You might be very disciplined and work carefully through a piece. Or you might analyze and examine the tune before you start working on it. Or you might just pick at bits and pieces until something sticks. You have a preferred mode of learning.

All of those are good approaches – and using your best approach will certainly help you learn while reducing your frustration. You already know that not everyone learns the same ways and you probably intuitively know that when there’s a mismatch, you are likely to become exasperated – or just get in your own way.

So the second thing you might consider is which ways are not for you – and give those a wide berth! Using methods and approaches that you know do not work for you is just pointless (unless your intent is to learn nothing but to bother yourself in the process).

However, this leaves another pool of ways to learn – those that are neither your strengths nor your weaknesses. These all hold some (potential) promise. If you listen really well but read really poorly (that is, you are auditory but not visual), you can read the music while listening to it (yea youtube) thus combining them to give yourself a new way to think about the tune. If you are tactile but all over the place, you might set yourself the challenge of finding the similarities and differences in the fingering patterns throughout the tune. Combining modes of learning can help you learn better. This idea of pairing up two ways of doing it opens up some new ways to get the music into your head!

Next, we’ll talk a little more about some descriptions of ways of learning and how those strengths might apply. Until then, learn your practice. Are you visual? auditory? tactile? Something else (there are loads of ways to talk about how you learn) – let me know how you learn in the comments below…I’m sure between us all we have similarities and differences.

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Category Archives: Teaching and Learning