We just past Quitter’s Day – the day by which most people have let their resolutions fade out and die. It’s depressingly early in January to have given up. But really, days are long, especially if you’re trying to make a change in your day…or your practice…and motivation and willpower can only hold on so long.
How do we make a different choice and skip right over Quitter’s Day so we can continue to grow?
We develop habits that reinforce our continuing to keep going!
What makes a habit? Repetition and intention, focus and routine all build toward consistent learning, growth, and performance.
Pablo Casals was asked why he continued to practice given that he was 80 years old at the time. He answered that he thought he was making progress! And he lived quite a while longer, so he had loads of time to practice. He had a practice habit and so should you!
So, what’s the easiest habit we should have but might not? What will get us to confident, fluent playing which comes to mind as an appropriate end state for all of us. Let’s build one strong habit that can support that and helps throughout our harp lives.
Let’s build a daily habit of playing scales.
We learn from a young age that scales are boring. And they are if all you do is rip through them mindlessly! But just a little bit of thinking and they become not only a technical challenge but also brain work and a portal to music we know and music we haven’t learned yet.
Typically, we think of doing scales at the start of practice time – and they do make an excellent warm-up. But there is no rule that says you can’t do them at the end of your practice – like a desert. Or, for that matter, you can do them in the middle as a break between other tasks and learning.
No matter when you do them, scales are a tremendous habit to build. And once you have a small, strong habit built, others can follow. When will you do your scales? Let me know in the comments!
It’s January, so it’s still appropriate to be looking back at where you’ve been to help you look forward to what your next steps should be. As a teacher, I know that we are all over the map with this – some students already have a list of things they’d like to work on, pieces they’d like to play, events they’d like to participate in, etc. Some others look blank. So, who’s right?
Like so many things, there is no right answer, only the answer for you. The downside to not having thought about this is that you might drift because you’re not heading anywhere. Of course, the downside to having already made a list is that you can be too focused and could miss out on serendipitous opportunities.
Indulge me – jot at least a couple of things you’d like to work on this year (if you haven’t already). Could be technique improvements (because we can all use that – bad habits are slippery!). Might be to tackle a piece you have always admired but have been intimidated by. Maybe it is a social goal, like inviting people to play ensemble pieces together (formally or informally). Or possibly you feel like you need a challenge that will test not only your playing and learning but will really stress your mettle?
Once you have a couple of ideas, take a look at them – probably some are smaller, shorter term (I want to learn to play (insert beautiful but very easy tune name here)) and some will be bigger, longer term (I will play with others in ensemble).
Then you’ll need to suss out the steps that will get you there. For our short-term example that might be that you’ll need about 6 weeks total to study, learn, practice, polish, and finish that tune. In our longer term example that might be to identify 3 pieces of level appropriate ensemble music, find 3 people you would like to play with who are at or near your level of play, invite them to join you, assign the parts, learn and practice your part, set a meeting schedule and place, and secure a place to showcase those pieces. Obviously more steps, some that require 5 minutes, some that will require a little effort over some number of weeks.
Both long and short term require that you keep an eye on where you’re going while also monitoring your progress, being honest in your assessment of your activities and development, “fixing” things, and checking that the gap is narrowing (or not).
Once you’ve got the activities, you can then build out your practice time. We all want to be efficient with our practice time, so interleaving these steps will make a good practice plan – include steps for both small and big ideas. Look for ways to “double up” and hit multiple ideas with one activity (I’m looking at you, technical exercises!). This way too, you are never practicing just to practice – always narrowing the gap from where you are to where you’d like to be.
All this will be true whether you’re working with a teacher or coach, or are guiding yourself. How will you incorporate small and large steps into your practice? Let me know in the comments!
I know it’s nearly Christmas, so you’ve probably already learned all the holiday music you are going to for this year. So, the next likely question is, what next?
How do you select the music you should work on next? You can, of course, simply ask your teacher to point you in the right direction. This is a great idea if you are a beginner or low intermediate – you’re at the stage in your harp life that you may not be ready to go without some guidance.
But if you’re a super independent beginner, or a more advanced student, you want to be selecting your own next tunes. How do you do that? Well, here are seven suggestions to point you in the right direction:
Go with your Heart – If you L-U-R-V some tune – learn it! This is also true for arrangements by someone you simply adore playing. Don’t worry about whether you’re ready. Tunes can be simplified, arrangements can be flattened, you can learn new techniques, and/or you can invest more time into learning. I never tell a student they can’t play a tune – they may not be ready to play it, but we can work our way there!
Go with your Head – maybe you know that you are weak at something – rolled chords? Harmonics? Whatever your weakness – find a tune (or arrangement) that requires that thing and work on it until you are good at the weakness. Two birds, one stone – you correct a weakness and learn a new tune to boot!
Go with your Gut – if you feel like you are missing something, you probably are. Seek out tune types you might be light on. Do you have all the different tune types you need to make a well-rounded set? Do you have fast tunes and slow tunes? Major and minor (and other modes)? Can you build good sets from the tunes you already know? If not, your gut is pointing out to you that you need to fill some gaps.
Go with your Reach – like going with your heart – what tunes do you not necessarily lurv but every time you hear them, you think, “I should learn that”? Learn those. These can be a little slippery because these are the tunes that you like enough to want to play but not enough to lurv. So, keep a list and learn these along the way.
Go with your Smarts – If you have loads of tunes but they aren’t in the right keys to make good sets, work on learning the tunes in different keys. This could be dedicated time to learn tunes in new settings OR it can be deep work on transposition on the fly. Both of these will be good for your brain, good for your tune list, and good for your playing!
Go with your favs – Not everything you play has to be work. Make sure you have some playful tunes in there too! If you love Taylor Swift, you can play that. If you love Mozart – have at it. Just because you may have made yourself a niche doesn’t mean you can’t get out of it every once in a while. Holiday tunes are sort of like that, n’est pas?
Go with your hunch. Be honest, are you working toward your Julliard audition? No? Then pick music that is a little bit challenging to learn but is engaging enough to keep you playing. If you don’t like it (no matter what it is or who assigns it to you), you’re not going to play, so don’t pretend. Move on to something you will play.
For adult (and more experienced younger) players, you can step up for these choices. A good teacher will, of course, make suggestions to move you forward. But in the end, you’re the one who has to decide. Don’t push the peas around the plate – take a little time to determine what you should play next.
Let me know what you pick – can’t wait to hear! Share with me know in the comments!
It’s the week before Thanksgiving here in the US. This used to be the indicator that Christmas was coming. Now it’s more like Halloween starts the holidays countdown (but that’s a different diatribe!). I don’t know how you’re coming along in your preparations for playing throughout the holidays, but I find myself wishing I had an extra three weeks!
You might wonder how I know I need an extra three weeks – not two, not four, but three.* It’s because I can see where I am, where I want to be, and where I had planned to be at this point in time. (I originally typed “should be” but went with “planned” because should is such an evil, subversive word!).
How do I “see” this? I have a sticky system. Literally!
My system allows me to track each of the tunes I need to have ready for a holiday program(s) as they develop. It also allows me to see if something is just not going to be ready so I can replan for something that I will be able to play better. After all, the point of holiday gigs is to spread cheer and comfort – not to terrorize yourself trying to wow people with your brilliance! Save that for another time like competition or audition!
This graphic gives you an idea of what it could look like. And here’s a shot of mine just now.
You may have seen similar systems in your travels – this is much like kanban or scrum. Not surprising since I am a systems engineer when I’m not being a musician**, so of course I cross my tools between domains (goose/gander, etc.). The differences are that this is just for you, not a group (although you could use it for ensembles!), it is not as rigorous because we’re not building bridges (except ethereally) and we only need as much rigor as is required and not more, Finally, while on the one hand preparing music is a “project” on the other hand, it’s more than that – we’re making art not planning to pour cement or launch wonky code.
If you’re eager to start, you might want to know – what do you need to use this? Well…
First – you need sticky notes! You need as many colors as you think you need. Lined or unlined? It’s up to you!
Next, you need enough space for you to keep track of your work over time. I like the little stickies because I write small but if you need more room, use the bigger ones (they do come in sizes from 1.5 in x 2 in all the way up to 25 in x 30 in). Use the size that lets you write comfortably and fits in your usable space. I use a variety of spaces – a wall, the side of a bookcase, that photo shows one panel of a room divider and when I need to, I switch to a sheet of paper – depending on my mood and where I happen to be at the time (and if I need to take it with me). I write the name of the tune (and maybe the source if I’m reading) but you can put whatever else you decide to put there (maybe the key you’re playing in, etc.).
Now, you need a scale for time. Use whatever type of calendar you work best with. If I have a long time (e.g., tunes I might teach next year) I will use a monthly calendar. If it’s something more imminent (like the holidays) I use the week. I used to use a daily, but I found that kept me too focused on checking the box rather than learning the music. Frankly, for daily progress I use a journal so I can capture details that would just get lost on my big sticky board.
Now, you need a metric. I typically use what I have shown in the graphic – whether the tune is coming along, practically done, ready to go. This not only tells me how the tune is developing, it also helps me plan my practice – if I haven’t actually learned something at this point, it gets more attention so it can get “caught up”. You will always have some tune in this category of disrepair – how much you stress over it depends on how important it is (relative to the time you have to prepare). It’s important not to stress over these – if you’re not learning you’re not living!
You need maintenance. This tool will only help you if you set aside a little time to review and update it. In the graphic example, that would be once a week so you can see, identify, and enjoy your successes, replan your practice as needed, and keep your sanity. If you review too often, you’ll get lost in translation. This is a tool but it’s not a cudgel!
And finally, don’t forget to… Breathe.
Give it a try, play around with it. It’s not rocket surgery, but it also didn’t come down a mountain on stone tablets, so feel free to modify it so it can work for you! Then, let me know how it goes when you start. I’d love to hear what changes you made for yourself and how prepared you think you are for the holidays! Let me know in the comments!
* PS – I just learned that the em-dash is the exclusive province of AI…and me! I probably taught the model that. And I assure you, for good or bad, this is all me and NI (natural intelligence)
** Ha! I’m not sure I could be one without the other – being a musician makes me better at thinking systemically and being a systems engineer certainly informs how I think about, work with, and play music. Yet, I persist in pretending like they’re not on the same spectrum.
There are so many connections between seemingly disparate things – activities, ideas, technicalities. This concept of making appropriate estimates of ourselves resonated with me.
I was reading Arnold Schwartzenegger’s email today, and he had some good points that will directly align with our harp playing. He points out that we (humans) typically overestimate ourselves at a micro level but underestimate the quality of outcome at a macro level. What could be more true with respect to our practice?!
What does overestimating the small look like? How about expecting ourselves to be able to flawlessly sight read a brand-new piece of music on the first try? Or thinking that we will thoroughly learn a new tune in a single practice session? Or expecting a short number of repetitions will result in flawless performance?
These are all clear overestimations. We would never suggest to someone else that any of the above will result in the perfection we crave. So why do we make such overestimations of our own practice?
But equally, we discount how much we can accomplish with steady, consistent practice. A little time every day will result in more learning and accomplishment because it starts small (and manageably) and builds overtime. If we apply a structure over time, we will learn more tunes and be able to play them more successfully.
In other words, 20 minutes of practice every day will result in more growth than 3 hours of practice the day before your lesson. Other things we have talked about before also make it work better to – keeping track of what you get each day, deciding (specifically) what to work on that will help you make meaningful progress in both the short and long term.
But you also get more by small and consistent – you will also be more confident of your learning and playing. Because you haven’t crammed your grasp of the music will not be tenuous!
So, if you find yourself thinking that you’re never going to learn the music, stop underestimating yourself. Acknowledge you will learn – a little bit every day. You won’t master the tune in a week. But you can gain a little mastery each day, stacking your gains – no matter how small,
Don’t lose sight of the fact that you will want to overestimate the small gains but also that you’ll underestimate what you can build with consistent practice over the month, the season, the year, and over the years.
Doubt me? Pull out your Christmas music and prove the point to yourself. This is music you have practiced (somewhat) consistently on a long-term basis with “cram practice” (November?) but also long-term practice (how long have you been playing those tunes?)
Stick with it. Put in the time – but in small bites.
Because, as Arnold says, “when you stop underestimating yourself, you start becoming unstoppable.”
What can you achieve if you take it in small, consistent bites? Let me know in the comments!
Sometimes I have no idea what I should write here. I could launch on how the blank page is terrifying but instead, I decided to poke around the web for a better idea, and in about three clicks, I had it!
I came across a page on journalling. It had a load of prompts to help goad you into writing in your journal. That’s pretty helpful. But farther down on the page, there was an interesting list that I decided could be molded into something that would be helpful here. It had a list of prompts for each day. That is, there were day specific prompts that could be used to move your journaling along.
What does that have to do with us? Well, we can use the same approach to tailor our practicing. If we view each day of the week as having a focus, we could tailor our practicing to achieve more (and maybe with less work?). As I thought about it, I was reminded of the childhood song in which each day of the week had a chore – washing clothes, ironing, sweeping. While we were singing around the Mulberry Bush we listed what we were supposed to do each day of the week. Better still, it’s changeable so we can fit in our own chores – our practice chores! If we listed our “chores”, we could be focused while still getting in all our practice, and meantime probably learn something while seeing progress over time.
What might we put in our song? Technical (scales and etudes)? Reading? Musicality (phrasing, dynamics, expression)? By the time we get to the mid-week, when we’re losing sight of what we’re doing, slogging through relentless repeats, our song could help us stay on track. We shouldn’t forget to include fun (tunes we know and love), accomplishment (tunes that are just coming along), or joy (tunes that remind us why we love to play). And by week’s end we would have gotten to everything and been left with pride or satisfaction (acknowledging our work)!
Once we know these, we can sing our song to ourselves (nothing wrong with using the melody from Mulberry Bush – or writing your own!). If you can’t recall, here’s a starting point:
Here we go round the mulberry bush, The mulberry bush, the mulberry bush. Here we go round the mulberry bush, Practicing on a music day.
This is the way we play our scales, play our scales, play our scales. This is the way we play our scales, Practicing on a Monday.
This is the way we phrase our tune, phrase our tune, phrase our tune, This is the way we phrase our tune, Practicing on a Tuesday.
Etc for Wednesday, Thursday, Friday, Saturday.
This is the way we play for joy, play for joy, play for joy. This is the way we play for joy, Practicing on Sunday.
You can put your tasks in any order throughout the week. You can even use a different time frame if it’s right for you (2 weeks? 3 days? What’s right for you?). It’s up to you how many stanzas your song will have. The point is to keep focus – it might be just what your week needs.
What would your lyrics be? Can’t wait to hear! Send me some of your ideas!
We all do it. It’s especially clear on fast tunes, but every tune you learn goes through it.
“It” is the ugly phase. You know the ugly phase. It’s that time when, no matter what you do, it seems like you are stuck – or even going backwards – as you try to learn a tune and make it satisfying!
Your fingering falls apart. Your rhythm deserts you. Your memory fails. All the phrases sound the wrong and none are in the right order. The repeats are like torture. And when you add the harmony, nothing hangs together. It’s disheartening. It’s frustrating. And it feels like it will never end, leaving you with a tune in tatters. It’s so discouraging. It feels like the tune is winning and that you are losing.
But are you? No, you are not.
It is actually especially important for you to get through this phase, no matter how intimidating it feels. There is a lot of learning going on. Your brain is sorting through all the inputs (the notes, the fingering, the rhythm, the series of sounds, and more) and outputs (same list mostly) on its way to figuring out what goes where, when, and how. We consistently underestimate how much we’re trying to learn, how it is related and interleaved, and how challenging it can be to make music.
To weather this phase and get to the other side with a mature, satisfying tune that you can be happy with and proud to perform you, of necessity, need to keep track of what you have done and what you need to do next. How should you keep track of your progress and assure yourself that you’re getting somewhere and are “winning” the battle to learn? Document your progress! This ensures that you will see how you are winning even when you feel like you’re losing or going backwards! And it will help you see that even when you feel like you’re going backward (losing), you’re making progress (winning!).
It’s important that you do this in a manner that will help you follow your progress. This could be keeping a written journal to capture descriptions of your work and describing progress verbally. Or you could make audio (or video) recordings of your practice to hear (and see) what has changed across time. Or you can use any medium that records your thinking and your progress – draw your concept or do a puppet show! Whatever you need to see your progress over time! The form is not important. What is important is to acknowledge your progress over time and find what you should work on next to continue your development. While it is essential that this be a tool for your use, if you are actively taking lessons, you can work this with your teacher.
I know some of you have been consistent in capturing your work – let me know what form you use and any insights you might share with others. If you have kept track but haven’t been consistent – could you let me know what you think is preventing you from being consistent? And if you’ve never done anything like this before, what do you think would work for you? Looking forward to hearing about how you keep track of your wins!
We musicians are always learning, developing, growing. That may be the best part of being a musician. Our constant growth is good for us – keeping our minds working! And that keeping active still leaves us with room to grow!
And yet, we often hem ourselves in. We want everything to be easy and quick. Sadly, it doesn’t work like that. We need room to grow, and we have to take it. We need to acknowledge that need – and take that space.
We’re good (typically) about having the physical space for playing. Square footage for our creative growth and our musical life is a given. We also need to accept that we also need another type of space – time.
It can take a long time to thoroughly learn our music. There is so much to get under our belts – all those notes, fingerings, rhythms, harmonies, rests. The right order, repair points, and just plain ol’ remembering. Yikes!
The answer, of course, lies in giving ourselves enough room (time) to know the music. Because it’s much more than simply getting the notes into your head. How do you do that? Practice time of course, but also by using a strategy called distributed practice.
Distributed practice requires that you have a multilayer view of your practice time. Distributed practice is a more macro level of thinking about your practice time while daily practice is a finer view. Daily practice will be part of building each tune but it’s the summation of all those days over weeks and months that really solidifies the music in you. The other prize in distributed practice is repetition (and lots of it!).
Now, as a champion procrastinator, I’d be the first to tell you that allowing practice to be distributed over time is hard. It’s easy to tell ourselves some variation of: I learn really quickly! Look, I can play it! Christmas is forever away! Been there. Done that. Designed the T-shirt!
But is it really learned? Or are you fumbling along on momentum and luck?. Are you really playing it? Or are you jerking through the sore spots and hoping the left hand is faking it good enough?. Christmas gets earlier every year (at least it doesn’t start until after Halloween!).
It’s easy to fall into the trap of thinking you’re good and that you have fully learned your music. How do we assess our progress if it’s happening over time? That’s not as easy as watching our daily progress because we have to take the long view – but you can do it. How do you know?
I have a new (to me) metric for growth and progress that I use and figured you might be able to use it too. I look for “ease.” Yes, that’s vague and yet, you know it when you feel it. When you start learning a tune, there is so much to learn (as we mentioned above) that you struggle to keep it all in mind while you work on it. It’s like herding cats – everything is moving, you can’t keep track of where you are, and who knows which one to pick up next!
As you spend more time practicing, you know each of the elements a little better, and (if you’re patient) you’ll realize that your brain isn’t working as hard. It does start to feel easier. Later, it’s easy enough to comfortably play the melody and accompaniment at the same time – with ease. Eventually, it becomes easier to play the tune accurately under pressure (like in a lesson or when performing).
Eventually is the essential word there – because it is the most challenging part of establishing the room to grow. You can’t get there without it eventually coming together in the time space you created. And with time and space, the tunes really do solidify and become easy to play, no matter what else is going on.
Do you notice tunes getting easier as you continue to play? Do you think you could use ease as a metric for progress? Is there something that would be better? You know I want to know what you think – let me know in the comments!
I get it. YouTube is an attractive nuisance. After all, where else can you go to learn all you ever needed to know right now about how to change a tire, make a martini…or play the harp?
I’m not denigrating or disparaging people who are trying to earn a buck/rise to prominence/achieve world domination (by teaching harp?) – it’s a living.
But…
There are limits to what you can learn by watching someone else do something four dimensional in a 2D space. Especially if you get caught up and watch video after video after video… Made worse if the time you spend watching other people play uses up all the time you have for the harp. Then you are not coming out ahead. Because no matter how much you can learn by watching, the real learning is in the doing – you know, the actually touching your harp, p-r-a-c-t-i-c-i-n-g!
I’m not talking here about content for which you have paid, online courses by legitimate professionals, or online lessons. I’m also not talking about short stints of poking around all the offerings – good, bad, and ugly – to get a feel for the wider world. No, I’m talking about all the schlock that’s out there – the stuff by any yahoo with a harp, a phone, and connectivity. Those people embody “you do you”. You, on the other hand? Is watching their videos really the best way to spend the precious little time you have for harp each day?
No. Turn that off and practice the things you are working on. On your real harp, in your real life, at your current real level. You don’t need to play at some weird angle, or hold the harp like it’s falling, or any of the other crazy stuff you see. Because like all the other unfluencers online (in every genre), you’re only seeing the stuff that made the edit – the false glam, the fake ease, and the counterfeit first-take. You know what you don’t see? The hundreds of lessons and the hours of practice behind every second of the video. They have already done the work so that it looks flawless, easy, and common. Online, everything is easy and you can be just like them. And you don’t even need to practice.
Right….
But this the real world. Yes, of course a little inspiration can go a long way. You should definitely have harp heroes that you aspire to be just like – in your own way. And just like every other worthwhile endeavor, then you should turn YouTube off. The answer is not on YouTube, just in you.
You know how it feels. You learn a fast tune – a reel or a jig. You can hear it in your head – faster, faster, faster! Sadly, your fingers are not q-u-i-t-e ready for that! But we’re focused and so we push. We push the tempo so we can play as fast as everyone else. We want to play faster than everyone else!
So, we set ourselves the task of speed. And we repeat (a lot, as we talked about here). We push as hard as we can.
AND IT ALL FALLS APART. Why (whine)?
This happens because we are focused on the wrong thing. No tune is good if it isn’t accurate and well played. That’s true of airs but one could argue that it’s even more true in the fast tunes. In a slow air you have time to fix things in real time. But in a reel there’s no buffer – there’s only hanging on and hoping for the best! And that’s stressful.
Stress is not good for fast tunes. It seizes your hands, your arms, you brain! You need to r-e-l-a-x!
No really. Try playing some tune you think you know as fast as you possibly can. When you’re in the middle of the tune, stop playing and check-in with yourself. Is your hand relaxed? Arms? Shoulders? Butt? Legs? (no, really, check your legs too!)
As long as you are holding a lot of tension and stress, you will not be able to play your fastest. Sorry, but it’s true. You have GOT TO RELAX!
And to get relaxed, you have to play at a tempo that doesn’t stress you out! If that’s at Lento/40, so be it! There’s no shame in a well played tune at an approachable tempo. Only when that feels easy and all the notes are correct (no, really – all the notes, rhythms, harmonies, etc.) will you be ready. Then you can speed up a little (like to 44!).
Use the “feels easy” and accuracy as metrics for when you might try going a little faster. This is where you can push yourself a little – each time it feels easy and is accurate (and be very strict on this – accurate is accurate, not sorta accurate, not mostly accurate – actually accurate!), then go a little faster. If you like more precision, use your metronome for each speed and make it part of your accuracy metric. When you hit your limit (and you will – we all do), slow down a little bit and get accurate again, then run at it again. This is a process that will take a little time but will help you develop a tune you thought was cool enough to learn into a tune you love to play!
Give it a try – take on a new fast tune and work it up this way. Let me know how it goes (in the comments!). Don’t have a fast tune – you can always ask me!
