Practicing Harp Happiness

When I was a beginning harp student, the technical method I was learning - the Salzedo method - was something I took very seriously. From my very first harp lessons, I learned the important points of technique, as Salzedo taught it. I wasn't studying with Salzedo, of course, but my teacher, Marilyn Costello, was a student of his, and his method was what she taught her students.

For a long time, I played the harp in innocent ignorance of the fact that there were other harp methods. In fact, it was a revelation to me in those early years when I discovered that most harpists in the world didn't use the Salzedo method. Truly, all the harpists I knew in the Philadelphia area were Salzedo method players, and it never occurred to me that this wasn't true across the wider harp-isphere.

Once that realization hit, I went into what I'll call Stage Two of my education about harp methods. That was the stage where I believed that everyone who didn't play Salzedo method wasn't playing the right way and they would never be good harpists. Ah, the foolishness of youth! It didn't take me long to realize how ridiculous that was; after all, there were many harp legends I admired who weren't Salzedo players. Time for another outlook adjustment.

My outlook has undergone many such adjustments in the ensuing years, mostly due to the evolution of my teaching philosophy. The basic underpinning for my thoughts on harp methods can be summed up like this: the method itself doesn't matter. What matters more is that you follow one. Without a method, your technique and your technique practice is merely a collection of skills. The method is the organizational plan that brings together skills, sound, ergonomics, and more, and unifies them with a cohesive set of why's and how's. A method doesn't leave you guessing about how to do something; it gives you the system to find solutions.

In this episode, I will talk about the key points of technique that every method addresses and I'll explore a few of the differences in approach between some common harp methods and why each approach works. It's not about one way being right and the other wrong; it's about having a plan you can follow. I'm hoping that by expanding your ideas about technique, I can encourage you to consider how following a harp method will make everything about your technique finally make sense to you.

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

• Fast track your progress - work with a Harp Mastery® Certified Coach.
• Looking for a teacher near you? Check out our Accredited Teachers.
• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-227

I'm sure you've seen that famous optical illusion picture that can be perceived either as two faces in profile looking at each other, or as a vase. That image is named the "Rubin Vase," after Danish psychologist Edgar Rubin, who authored a book in 1915 called "Visual Perception." This image, and others like it, have stimulated much scientific debate about how our brains understand and process images.

What fascinates me is that moment when my understanding of the image shifts, that instant where I can see the second interpretation of the picture. Naturally, there's a technical term for that; it's called a Gestalt switch. A Gestalt switch occurs when you change your perspective from one view of an image, a sound or an experience. As with the Rubin vase, you first saw it one way - as a vase - and now you see it another way - as two faces. There is much debate about the cognitive processes that allow this switch to happen, but there seems to be general agreement that the switch is hard for an individual to control. Sometimes you just can't see the faces; you only see the vase.

Nevertheless, we are talking about the necessity for you to be able to make that switch in your harp playing.

Here's the premise for this show. Making your piece sound like music isn't about what you do; it's about your perspective. In case I've made this sound too difficult, let me reassure you that I am positive you already do this in your playing. You just haven't thought of it this way before. If you weren't making this perception change, you would stay stuck on one measure and never get to playing the entire piece.

What we're going to explore today is how to make that perception shift intentional. Why would we want to do this? Because when we shift our perspective from playing the notes to playing the music, we play the music better.

If this sounds a little mysterious, be sure to listen to the rest of the show, because this discussion will help you find more freedom in your playing. It will help you learn and finish a piece faster and allow you to play with more musicality and confidence. I know that sounds like a big promise, but I'm confident I can deliver on it.

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

• Join us at Back to School Night
• Are you ready to work with a Harp Mastery® Certified Coach? Click and find out.
• Work with a Harp Mastery® Accredited Teacher.
• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-226

Imagine you're looking at a box of chocolates, knowing you've already had at least three too many. Your hostess is holding out the box to you, saying, "Have just one more. It couldn't hurt."

It's hard to actually know what one more would do. That "one more" candy might be the one that pulls out your filling. That "one more" episode of your favorite Netflix show might turn into an hours-long binge watch. That "one more" task before you leave the house might be the one that makes you miss your train.

But there's the other side of "one more" too. The extra rep in the gym that builds muscle and stamina. The extra pinch of spice that makes a dish delectable. That extra touch to anything handmade that makes it unique and treasured. Those are just a few examples of the beneficial power of "one more."

There are lots of opportunities for "one mores" in our harp playing, both helpful and distinctly unhelpful. When you know which of those extras you should avoid, you can stay out of some of the most problematic pitfalls for any harpist. When you know which ones have the power to move your playing ahead, that's almost like magic.

But there's no magic to it, just a little information, and that's what I'm going to give you today. I'll give you the do's and dont's of the extra step, when it's worth it and when you'd be better off having stayed in bed. In fact, I'll share three things that you absolutely must avoid, and I'll tell you why.

And we'll counter those with seven "one more" things that will multiply your efforts in ways you might not expect. There's a lot to talk about, so let's get started..

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

• Join us at Back to School Night

• Are you ready to work with a Harp Mastery® Certified Coach? Click and find out.

• Work with a Harp Mastery® Accredited Teacher.

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-225

How often do we say, "If I only knew then, what I know now"? Sometimes it's about life experience, like surviving teenage drama. Sometimes it's about turning down an opportunity, like not buying stock in Facebook before the company went big.

Obviously, we aren't able to go back in time and really have a "do over." I imagine that if we could, It's more than possible that the result wouldn't be what we expect. We can never know how our world would have been altered, if we'd taken the other fork in the road. We can only guess.

Here's my "if I only knew then" statement for today: If I only knew as a young harp student what I know now as a harp teacher. The fact behind this is key. The fact is that everything I learned about being a good student, I learned from trying to be a good teacher. If I had known as a student even half of what I've learned through my teaching, my harp life might have been so much easier.

Most teachers of any subject will tell you how much they learn from their students. One of the most powerful things I have learned is how many different paths there are to being a harpist. Discovering how to craft a course designed with each student's strengths, needs, goals and desires in mind is not easy. But I have found it indescribably rewarding. I have such deep respect for my students - for their efforts, for their achievements, for their trust in me, for the incredible people they are.

But we aren't talking about me or my students today, at least not exactly. What I want to share with you are the four most important aspects of being a harp student or a harp teacher. They have nothing to do with repertoire or technique. They are applicable to every student/teacher relationship, and they apply equally, but differently, for both students and teachers. I'm offering them to you today in the hope that they inspire you to bring a different mindset or intention to your study or your teaching or both.

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

• Teachers Retreat registration closing this week. Register here.

• Level up! Work with one of our Harp Mastery® Certified Coaches.

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-224

Mirror, mirror on the wall. If only my mirror could show me all.

We humans love our mirrors. At some deep-rooted level, we love to see ourselves. Maybe you remember the famous scene in the movie Lawrence of Arabia when Peter O'Toole playing Lawrence first puts on the white Arab robes and headdress. He is for the moment all by himself in the desert, so there is no dialogue. According to the film's director, David Lean, the only instruction he gave O'Toole was to improvise what this young man Lawrence might have done in this situation.

O'Toole experiments with the sweep of his robes by running and spinning, feeling the gleaming white cloth swirl about him. Then he stops, and with no mirror to hand in the desert, takes out his shiny silver dagger from his belt and tries to use it as a mirror to see how he looks. David Lean remembers remarking under his breath during the filming, "Clever boy!"

Looking into a mirror, though, only gives us a limited perspective. We can only see what is in front of us. It takes multiple mirrors for us to be able to see our backs. Frankly, we have blindspots, spots that are difficult or nearly impossible to see. I always rely on a friend who can tell me if my hair looks okay in the back or if the tag on my shirt is sticking out.

From time to time it's a good idea to check your harp blindspots too. These blindspots are usually related to inefficiencies in our practice or skills we need to develop. They may be hampering or slowing down our progress. And the good news is that once you see the blindspot, just like the tag that is sticking out, you can fix it.

So in today's show, we'll review 7 common blindspots. If none of them are yours, at least not right now, that's great. You'll have some additional knowledge you can use to keep them in check. But if you think your harp playing should be moving faster than it is, perhaps one or more of these blindspots will show you what you haven't seen before, and you can get started removing that spot right away.

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

• New blindspot courses in the Harp Mastery® app!

• Want to take the Blindspot Quiz? Click here.

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-223

There's a moment — sometimes only after someone is gone — when we finally see the full measure of their influence. We may have known they mattered, but loss has a way of sharpening our perspective, of showing us just how much they shaped our world.

Some people use the word legendary too easily. For harpist Susann McDonald, it's no exaggeration.

Susann McDonald, who passed away this past May at the age of 90, left an indelible mark on the harp world. She was an acclaimed performer, a respected author, an extraordinary teacher, and a passionate advocate for our instrument. She co-founded the World Harp Congress and nurtured a global community of harpists, uniting people across continents through music.

But her story is more than a list of titles and accomplishments. It's about the way she created a sense of belonging — for every harpist, no matter your style or skill level. Whether you play concert halls or in your living room, her influence has touched you. And today, we'll celebrate that — her life, her music, her lasting legacy — and consider what it asks of us as harpists now.

This isn't just a biographical podcast, though. I want to explore the idea of legacy, of the connections we have to our harpist forebears that empower and guide our playing every day. Legacy isn't just about what's left to us; it's our springboard to the future.

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

• Watch our video series specially for harp teachers.
• Our Teacher Retreat registration is still open.
• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-222

Not all mistakes are created equal. Sure, some need to be addressed and fixed. But others? They're signs of progress. They tell you that your ears are sharper, your awareness is expanding, and your technique is evolving.

Let's put it in context. We live in a world that's constantly trying to correct us. Type an email, and autocorrect will instantly jump in. Google will underline a word in red, and we assume it's wrong—just because it looks unfamiliar. But autocorrect doesn't always get it right. And neither does your inner critic. Just because something feels like a mistake doesn't automatically mean it is.

In harp practice, this same principle applies. That little stumble in a piece might not be a sign of backsliding. It could mean you're playing at a higher level and noticing subtleties you didn't even hear before.

Consider this: I was deadheading flowers in the garden the other day. At first, I only saw a few to snip. But as I trimmed those, more and more faded blooms seemed to appear. I hadn't missed them before—I just hadn't noticed them. My attention had shifted, and I was seeing more clearly. Not because the garden got worse, but because I was more tuned in.

This is exactly what happens in harp practice. The more you refine your skills, the more aware you become of tiny imperfections. And that's not failure—that's progress.

But here's the tricky part: this increased awareness can lead you down a rabbit hole of endless correction, and that's where momentum can stall. If you're constantly fixing, reworking, and over-analyzing, it can feel like you're never getting anywhere.

In today's episode, we'll talk about how to change your outlook so you can recognize the difference between real issues and natural growing pains. We'll explore how to use mistakes as guideposts, not roadblocks, and how to keep yourself out of the pit of perfectionism. Most importantly, you'll learn how to keep your progress moving forward—even when your practice feels messy.

Just remember: all mistakes are not created equal. Not every mistake is a problem that needs to be addressed. Some mistakes are actually signs of growth and momentum.

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

• Finish strong in the final week of our Hub Summer Challenge

• Check out the new Learn section in the Harp Mastery® app.

• Join the group coming to our October Teachers Retreat

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-221

You've heard me say this before: I had wonderful teachers throughout my musical life. From my very first piano teacher when I started piano at age four, through my harp studies from age eight and my college years at the Curtis Institute, my teachers were all I could have wanted. They nurtured me, encouraged me, pushed me, and took me to task when that was required, and believe me, it was required from time to time. Most importantly - and this is one of my core teaching principles to this day - they were as invested in my musical journey as I was. They took my learning and my musical growth personally, not as a reflection on them, but as a mission that mattered to them because my music mattered to me.

It would be easy to say that they were the inspirations for my own teaching path, but truly, the path itself showed up more or less by accident. But as is the case with so many blessings, it showed up when I needed it and led me in directions I could never have expected. At each step along the way, I have learned more about what it means to me to be a teacher, and more particularly, to be the kind of teacher I want to be for those I am honored to teach. I'll share a few more specifics about some of the steps on that path in a few moments.

But my primary mission today is to share with you a few things I have discovered about how the ways we teachers think about our teaching, and how many students think about their learning, can be either useful and productive or possibly not. These are "big picture" concepts that may help you, if you are a student, get even more value from your lessons. If you are a teacher, perhaps these will inspire you to keep bringing the joy to the students you are privileged to work with. Or if you're a harpist who is neither teaching or taking lessons at the moment, there might be some ideas that will give you some food for thought, maybe even energize your harp playing in a new way. I certainly hope so. That's part of my job, coaching you here on the podcast today.

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

• Register for our October Teachers' Retreat

• In the Hub: Week 9 of our Super Summer Challenge

• Check out the new Learn section in the Harp Mastery® app.

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-220

I know I'm dating myself, but here goes…

Back in the 1960's there was a television show called "Sea Hunt." The show centered around a free-lance scuba diver named Mike Nelson, played by Lloyd Bridges. Mike Nelson was a former Navy diver and a member of the Coast Guard Auxiliary. As a free-lance diver, he was hired for all kinds of dangerous underwater work, everything from salvaging precious cargo from wrecked ships to rescuing people trapped in caves. Each episode had dangerous situations and villains who were ready to slash the hoses on Mike's air tanks.

In nearly every episode, Mike would have to make a hasty ascent from the depths, which he would attempt to time carefully to avoid "the bends," a potentially fatal condition more formally called decompression sickness. On occasion. Mike would have to spend time in a decompression chamber.

Watching this as a child, I was fascinated by the danger of too hasty a return to the surface. On the one hand, Mike would be running out of oxygen and would need to get back on the boat quickly. But on the other hand, making his return too quickly could prove fatal. Talk about a dilemma.

Today's show is not about the bends, but it is about the possible downside, although not a potentially fatal one, of returning to your regular practice routine too quickly after your vacation. If you're like me, you may come back from vacation with your fingers itching to get back on the harp strings. If you run right to the harp however, you might find it more challenging or even frustrating than you expected. Broken strings and creaky fingers are annoying enough to deal with, but the real issue is that the pieces we were working on seem so far from where we left them. In my experience, diving right into your usual kind of practice can instantly deflate your post-vacation high. Instead of being able to keep that feeling of freshness, relaxation and renewal, you're right back into the practice grind you left.

What's the fix? The good news is that we don't need a decompression chamber. All we need is the right mindset and a plan, and I have both of those for you today.

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

• Calling all Harp Teachers! Registration for our Teachers' Retreat is open!

• Listen to Episode 60: Enjoy a Guilt-Free, Harp-Free Vacation with the Perfect Re-Entry Plan

• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-219

Here's our question for today: what makes a piece of music a "harp piece"?

Does it have to have been originally written for harp? Or composed by a harpist? Or could any piece of music, no matter what instrument or instruments it was written for, be a harp piece if you play it on the harp?

I happen to think that the third answer is the correct one. Mostly. Let me explain.

If you play a piece on the harp, it has absolutely become a harp piece whether it started out that way or not. But that doesn't necessarily mean that it should have become a harp piece. Some pieces just don't work on the harp. Take the "1812 Overture," for example. This piece was written by Tchaikovsky to commemorate Russia's victory over Napoleon. It's 15 minutes long, It requires a full symphony orchestra (minus a harp), an additional brass band, a bell carillon and a battery of cannons - yes, cannons. How could a single harp play a meaningful rendition of this monster work? You could play some of the themes from the piece. You could shout "BOOM" when the cannons are supposed to fire. No matter how hard we try, though, it will never really sound like the original.

Okay, that's an extreme example. However, we harpists are known for borrowing music liberally from the piano repertoire. While that's a good idea in general - after all, the harp and piano have a lot in common - some piano pieces never make good harp pieces, even when the piece translates easily from piano to harp. Sometimes, something gets lost in the translation.

So what makes a piece of music a harp piece? What are the essential qualities and the specific characteristics that identify a piece as being written for harp, or that, on the flip side, mark it as definitely not a harp piece? Today, we will talk about those characteristics and how you can use them to spot pieces that might, or might not, be good ones to transpose or arrange for harp. This information will also be very useful when you're playing someone else's arrangement, and I'll tell you why in just a minute.

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

• Check out our brand new courses in the Harp Mastery® app!
• We're halfway through our Super Summertime Challenge. Are you in?
• Harpmastery.com

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

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-218