Practicing Harp Happiness

Does your left hand struggle to keep up? Your right hand seems to have its act together, but your left hand always takes longer to feel comfortable with the notes, no matter what piece you’re learning. Are you thinking that I have a hidden camera in your practice room? Not at all; it’s simply that I have had my own left hand issues too. 

I used to think that if I were left handed I wouldn’t have these issues. But I hear many of my left-handed students, even the more advanced players, complaining about the same left hand awkwardness. So much for trying to become ambidextrous as a solution.

Even more frustrating is that the solutions I used to recommend to my students - the same ones I was using myself - really aren’t solutions at all. Sure they helped my left hand become more fluent and flexible, which I would call a big win. But I still saw my students struggle with left hand passages that should have been easily within their grasp. Or more precisely, within their left hand’s grasp. 

That’s when it finally dawned on me. I had been training my left hand the same way I was training my right hand. While there’s no harm in that - and there’s really no doubt it’s tremendously beneficial - it clearly didn’t fix the problem. There is a simple reason for this. 

While our two hands do many of the same things and need to be able to do them equally well - things like scales, arpeggios and chords, for instance- each hand is also a specialist. Our right hand plays more melody; our left hand, more accompaniment. Our right hand thumb is key to a well-phrased melody. Our left hand needs to have a dependable fourth finger for those resonant low bass notes. Our right hand spins out the tune but our left hand provides the harmonic support and rhythmic stability that make that tune intelligible. 

In short, our left hand has a specialized vocabulary, certain techniques and patterns that are different from those our right hand usually plays. Most exercise books don’t address this; most teachers don’t emphasize this either. But on today’s show, we’ll review the things your left hand must know in order to be “literate,” to be comfortable with the unique tasks we ask of it every day. And of course, talking about them isn’t enough for us here on this podcast. So I will give you some practice strategies and I will share a free resource that will help you follow through on our discussion and develop your left hand literacy.

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Free “Left Hand Master Exercise” PDF
• Four Weeks to Finger Freedom course
• Quick Fixes for Left Hand Octaves  blog post
• Harpmastery.com

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-047

This harpist and musical innovator was born in Arcachon, France on April 6, 1885, and on today’s show I would like to introduce you to a side of his music you may not have encountered, including some music not only playable but even suitable for lever harp.

Before we get started, you will need to know a little of my own background. I was brought up in the Salzedo tradition. My teacher studied with Salzedo. I went to the Curtis Institute of Music in Philadelphia; Salzedo had founded the harp department there, and I had my lessons in the Salzedo Room. And so Salzedo’s tonal language became part of my musical education from the very first. I learned Tango - my first harp recital piece - and Night Breeze, which I will play for you later today. I learned the Preludes Intimes and Song in the Night (Chanson dans la nuit). Then I went on to learn the Five Preludes and the Modern Study Etudes and everything Salzedo from Scintillation and Ballade to Traipsin’ Thru Arkansaw.  

It was a little like I imagine it might be if you grow up eating the cuisine of your parents’ homeland, one which is very different from the food where you were growing up. For instance, kimchi may be your comfort food in a land where mac and cheese is more common. Because you essentially live in two different culinary worlds, you develop an appreciation for many kinds of foods. 

For me, I grew up on Salzedo’s music and it never seemed strange to me, although I could hear the contrast between much of his music and the music of other composers.

What I learned later was why his music sounded different, not just in terms of the ways he used melody and harmony, but in his entire approach to the harp, his idea of the instrument itself. 

Today I will share a little of the insights I have gleaned from studying his music. I will play a few short pieces for you too. And I hope along the way you will decide to try some of Salzedo’s music yourself. 

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Warm-ups with a Focus course
• Links to music heard in this episode:
• Little Jacques’ Lullaby
• Night Breeze
• Petite Valse
• For further reading on a related topic: Family Connections: Alphonse Hasselmans and Pentacle, by Marietta Bitter
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? Find all the show resources here: https://www.harpmastery.com/blog/Episode-046

Practice makes perfect.
Perfect practice makes perfect.
Exactly what are we making perfect?

There is truth in those two statements but they are misleading too in a potentially dangerous way.

The truth is that how we practice determines how we play.

The danger comes if we take this to mean that if our playing isn’t as perfect as we want it, we haven’t practiced hard enough. So when our playing falls short of our expectations, we practice longer or more carefully or with more grit and determination. Longer practice can lead to injury or boredom. Practice focused on being correct often fails to be musical. And grit and determination are not conducive to beautiful, relaxed harp playing.

But there is one kind of practice that causes our practice to translate into the kind of playing we want. If we practice in this way, we play better in our lessons, we are more relaxed and we are able to be more expressive. 

This kind of practice is absolutely critical to our success, to our harp happiness, yet we don’t know about it, don’t recognize its power, or just don’t know when to use it. 

But after you listen to today’s show, you will understand the right kind of practice, by which I mean the kind of practice you need to do to bridge the gap between your practice and your performing. And we will sum it up in a single word so you can remember exactly what to do and how.

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• 30 Days to Done Practice and learn your piece with the “playing” in mind. 
• Practice with a Kick, an Arrow and a Glass of Water blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-045

Ask a group of harpists what the hardest part of playing the harp is and you’ll get a lot of different answers: the technique, playing hands together, reading the notes, playing chords, putting on a new string, or maybe even moving the harp. Every harpist has his or her own bugaboo, a particular challenge in their playing. 

But we all agree that one of the trickiest parts of playing the harp is the fingering. 

From the first day we started the harp it was impressed on us that we need to follow the printed fingering. Placing our fingers accurately and in the right order - all at once or one at a time - helps us battle gravity and stay physically connected to the strings. I like to think of us as musical acrobats - only without the death-defying aspect. So much of what our instrument demands of our technique requires us to be airborne. We have to lift our hands to prolong a sound, to relax our hand, to move from one octave to another. And unlike pianists, we are working against gravity, holding our hands and arms in the air all the time we play. 

So our fingering is important. And learning the finger patterns that we play most often is important too. And if you are a harpist who has been following the fingering in your music, you get your gold star.

But there’s a next level of fingering, and you might never have been told about it. I can just about guarantee that you’ve had glimpses of it. Your first glimpse may have come when you began to encounter more advanced music that didn’t have the fingering written in. Perhaps you have noticed that you need less fingering written into your music as you have progressed in your playing.

Today I want to reveal to you some of the secrets of “next level” fingering. Fear not -those secrets aren’t new patterns you need to practice. They are different ways of working with fingering, ways that make use of the technique you have developed since those first days you played the harp. Remember those days? Your playing has grown a lot since then, and so should your fingering habits. We are going to look at five of the basic rules you were taught about fingering and show you how to break them and why you absolutely should. Or looking at it another way, why hanging on to them will cost you practice time and possibly keep you from getting to that next level of playing.

Before we dig into this more deeply, I want to share this thought from Rick Wakeman, the keyboard player of the rock band YES. Rick wasn’t talking about harp fingering certainly, but his words are still a great start to our discussion. 

“I always say that it's about breaking the rules. But the secret of breaking rules in a way that works is understanding what the rules are in the first place.”

So get ready to break some rules!

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Four Weeks to Finger Freedom course
• The Failsafe Fix For Fast Flexible Fingers blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-044

On today’s show we will pay tribute to another facet of Irish music with a tradition just as rich and as beautiful. I will share music by three influential Irish composers, not composers of traditional music but composers more linked to classical music: one who found his fame and fortune in the court of Queen Elizabeth the I of England, one who invented a musical form that became a staple of classical music composers, and one who is considered responsible for the resurgence in the 1960’s of the popularity of Irish traditional music. Three very different composers, all linked by a common heritage, a heritage I am proud to share. 

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• John Field Nocturne free sheet music
• For an unusual look at a link between classical music and sports: Classical Music and the NFL blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-043

Sometimes planning is counterproductive. 

I know this sounds strange coming from me because I am a huge advocate of having a plan and working the plan when it comes to your practice. That’s truly the secret of being able to play the music you want and creating harp happiness over the long haul.  There’s power in a well-conceived and consistently executed plan, particularly when it comes to your practice.

But planning doesn’t come naturally for everyone. The good news is that it isn’t the only path to progress. 

In my house, my husband is the true planner. For example, while I was working on this podcast, he was browsing the web, planning out activities to schedule for a trip we have coming up. I like to do my research on these things too, but he likes to have everything planned out day by day as soon as possible. I prefer to get where we’re going and get the feel of the place before I make my decisions. I want to get my bearings, to sort of smell the air. Every place has its distinct energy and atmosphere and I want to know what that’s like before I commit myself to an itinerary. My favorite moments on a trip are the serendipitous ones, like the places you find by accident or the locals you meet in a sidewalk cafe or pub. Fortunately, my husband loves those moments too and we manage to make our vacations a blend of things we plan and things we stumble on.

Of course you don’t want to stumble through your harp practice, and neither do I. But our practice time should be productive and creative, about making progress and making music.

If you’re the kind of person who resists planning their practice, or who thinks they should but can’t seem to stick to a plan, then this podcast will give you the permission you’ve needed to go with a practice style that feels more intuitive and natural for you. Or if you just need a change in your practice routine or something to get you through a low-energy day you’re going to love this one too. Or if you find yourself up against the clock - you have a busy day and not enough time to do the kind of practice you’d like  - I have some shortcut practice strategies that will keep your momentum going and put those nasty guilt twinges where they belong - in the trash!

This one is for all you free spirits, creative types, busy people or for any of us with a touch of spring fever. It’s time for a change of pace. 

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Check, Check, What's Your Level? Webinar
• How to Feed (or Find) Your Free Spirit – and Still Get Practice Done blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected] 

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-042

Today’s show is dedicated to you, the podcast listener. I have gathered some of the most interesting questions from our podcast inbox and I will be answering them in this episode. 

After all, advice is only good if it’s the advice you need when you need it. Obviously, a podcast isn’t the same as individual instruction, or having your harp teacher on speed dial, but it’s important to me to talk about the topics that matter to you, those things that will make a difference in your harp playing. That’s one of the reasons I like to give you an action step or two with each podcast. Taking action, doing something rather than just talking about it, is how progress happens. It’s how we grow. Just think; if we only talked about practicing and never actually did it, our harp playing would never improve. In fact, it would start to wither and die. 

If being a harpist - or harper if that’s more “you” - is part of who you are, then playing the harp, not just talking about it, or thinking, or planning, or journaling about it, is what you do. So while here on the podcast, all we can really do is to talk about it, I want to be sure that when you take those earbuds out, you have something that you feel energized and inspired to do. And I hope the questions and answers coming up on the show will motivate you in your practice today. 

Here are some of today’s topics:

• Would following a music exam system benefit me? And how do I get started?
• I’m a beginner and I need help with my music reading.
• Managing quick lever and pedal changes.
• How to simplify an arrangement that’s a little too challenging for you.Yes - there are some step by step things you can do for this and they can make the difference between having a piece you can play or having another piece that you stick in a file for later!

Plus, I will share a couple of my favorite tips for brand new harp players.

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Webinar
• Permission to Play blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-041

A promotion is exciting. It may come with a new title, or a certificate or a diploma. It likely entails new responsibilities and new challenges as well as new and as yet unimagined opportunities. It signifies a higher level of competence and the confidence that others, at least, have in your achievements to date and in your potential. And that gold star, that new job title, that salary raise is proof of your accomplishment.

But where is the proof of your harp accomplishment? How do you know that you’re making progress, or keeping pace with whatever goals or timelines you have set for yourself? Where’s the guidebook that says, “You are here,” and shows you how to get to “there?” 

Yes, we do have some ways to gauge our progress. Music exam systems, like the ABRSM or RCM exams, provide an organized way to be “promoted.” You work through the curriculum and move from one grade level to the next. And you get your paper that certifies your promotion.

But for those not following an exam system, which is most harpists, where does the assurance of growth and progress come from? We may not need that piece of paper to prove our accomplishment, like the scarecrow in “The Wizard of Oz,” but our harp happiness depends on our faith in our momentum. If we don’t think we’re getting anywhere, we tend to stop trying.

So what we are doing today is creating some clarity, clarity about the mysterious “levels” of harp playing, the specific signature skills that you need at these levels and how to create your personal plan for promotion. 

Now, if you’re thinking that because you are really only playing for yourself or that this discussion is only for “serious” harpists” or young people, you couldn’t be more wrong. Frankly, it’s easier for young students or harpists with a clear path to find those next rungs on the ladder. The course for them is clear. 

This discussion is for everybody else, those who want to take things at their own pace and want to enjoy their harp playing. Why? Because the path isn’t as clear so the progress levels aren’t as clear either. And if you don’t have markers for where you are now and where your next step is, you end up going around in circles. And that’s where frustration can creep in.

So let’s give you a promotion today. We’ll talk about those markers so you can find your next step forward, your next rung on the ladder. And then you give yourself that gold star or certificate or special treat that will mark your promotion. You deserve it.

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Check, Check! What's Your Level? Webinar
• Moving Up or Going in Circles? blog post
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected] 

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-040

 Of course, sometimes harp happiness has its bad days, those days when the joy just isn’t there. Those moments of frustration are the bumpy part of a harpist’s journey, and today’s podcast is about one of the major bumps in the road for all of us harpists: playing chords. We want our chords to sound lush and lovely but sometimes they just come out like a disorganized cluster of random notes. 

There are so many ingredients to playing a lovely-sounding chord.You must place multiple fingers quickly and accurately on the strings and then play them either at exactly the same time or with a beautifully modulated roll, and if just one finger sounds too loud or too soft, the entire effect is ruined. 

If you find playing chords challenging, you are not alone. In fact, harpists who have very little trouble with most of the music they want to play, still often find chord passages difficult. And there’s nothing worse than having a stumbling block like that slow the rest of your progress down.  Now, if you’ve been playing the harp a long time, you may not remember how hard it was to learn how to play chords. But maybe you teach as I do and are faced with the challenge of helping your students through this difficult stage. 

Whatever your challenge may be with chords, I’m going to make things a little easier for you on today’s show. I’ll talk about the reasons that chords are difficult. And once you know why they are so hard, you can work on the skills you need to develop so you can play them more easily. I will talk about the three basic elements you need to practice, share some of my very favorite quick fixes with you PLUS I will give you a free worksheet with drills you can use to make your chords as lush and lovely as you want them to be.

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• Chord Reading and Placing Drills PDF
• How to Play Four Note Chords Without Finger Fumbles
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected]

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-039

Imagine you found yourself stranded alone on a deserted island. It’s a beautiful place or it would be if you knew a little more about it.

Are there dangerous animals or poisonous plants? How will you survive? You need food, clothing and shelter, but you have no idea how to provide them for yourself. Out of necessity, you begin carefully and slowly, learning just as slowly by sometimes painful trial and error. 

Sometimes harp practice can feel like that deserted island. You tune the harp and sit down ready to work. But you don’t have a clear direction. You don’t know if you’re doing the right things the right way. And there’s no one by your side to give you advice.  You have plenty of notes from your last lesson, but essentially your teacher told you what to work on or accomplish, not so much actually how to do it. Are you wasting your practice time?

On the other hand, you’ve probably experienced the feeling after a lesson where your teacher helped you get to the next stage with a piece. You walk away from the lesson practically on a cloud, knowing that you’ve done meaningful and productive work. What if every practice session felt that way?

I’m pretty sure that feeling that good about every practice session isn’t realistic, but you should be able to feel certain that the practice you’re working so hard at is getting you where you want to go. That may not be the case for you right now. It certainly wasn’t the case for me in my early college years. And so today, I am going to share with you my own story about pointless practice and the discoveries that I made trying to turn that around. These are the discoveries that led to my Kaleidoscope Practice system and I’m going to share that with you too. It’s all about what to practice and why and even more importantly, how to do it right, using the five focus areas that I identified as critical to practice success and the key results and strategies for each.

PLUS if you stick around to the end of the podcast I have a special bonus just for my podcast listeners so hang in there - this one’s just for you! 

Links to things I think you might be interested in that were mentioned in the podcast episode: 

• The Harpist’s Playbook
• Revolutionize Your Practice by Learning from the Inside Out
• Harpmastery.com

Get involved in the show! Send your questions for future podcast episodes to me at [email protected] 

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-038