Ignite Your Creative Spark: 5 Must-Read Books about Creativity and the Creative Process

Over on my Patreon Harp Chat tier we talk a lot about Creativity and I always say the same thing - the best way to get good at ANY creative work is to keep doing it. Again and again. Create, create, create, no matter how messy and imperfect it is, at first.

But as we progress it’s common to experience fear and creative blocks and to find ourselves procrastinating. Almost all creatives have felt this at some point, so it can be useful to read about how others get through these struggles.

I’ve read many creativity books over the years and these are some of my favourites which I keep going back to. I hope they might also help you!

If you've ever felt held back by fear or self-doubt, "Big Magic" by Elizabeth Gilbert is the perfect antidote. Gilbert, known for her bestselling memoir "Eat, Pray, Love," shares her profound insights into the creative process. Through personal anecdotes and practical wisdom, she encourages readers to embrace curiosity, let go of perfectionism, and fearlessly pursue their creative passions. With a friendly and relatable voice, Gilbert's book will inspire you to live a more creative and fulfilling life, reminding you that creativity is a birthright we all possess. More info: https://amzn.to/3XwuoEK

2. "The War of Art: Break Through the Blocks and Win Your Inner Creative Battles" by Steven Pressfield

In "The War of Art," Steven Pressfield examines the internal obstacles that prevent us from fully realizing our creative potential. He introduces the concept of Resistance—an invisible force that manifests as procrastination, self-doubt, and fear—and provides practical strategies to overcome it. With a no-nonsense approach and profound insights, Pressfield empowers readers to identify and conquer the forces that stand in the way of their creative dreams. More info: https://amzn.to/3pjTj1z

3. "Steal Like an Artist: 10 Things Nobody Told You About Being Creative" by Austin Kleon

Austin Kleon's "Steal Like an Artist" challenges conventional notions of originality and creativity. He encourages readers to embrace the idea that all creative work builds upon what came before. Kleon offers invaluable advice on how to find inspiration in the world around us, nurture our creative voice, and transform our ideas into reality. Filled with engaging illustrations and practical exercises, this book is a treasure trove for anyone looking to tap into their creative potential. More info: https://amzn.to/3JxgPPs

4. "The Creative Habit: Learn It and Use It for Life" by Twyla Tharp

Renowned choreographer Twyla Tharp invites readers on a creative journey in "The Creative Habit." She explores the rituals, routines, and mindset necessary to cultivate and sustain creativity and emphasises the power of discipline, offering practical exercises and personal anecdotes to help you overcome creative blocks and establish habits that fuel your artistic endeavors. Tharp's friendly and encouraging voice serves as a guiding light, reminding you that creativity is not just a fleeting moment but a lifelong practice to be nurtured and cherished. More info: https://amzn.to/3PrdKUW

5. "The Creative Act: A Way of Being" by Rick Rubin

“The Creative Act” is a thought-provoking exploration of creativity and its transformative power. Drawing from his vast experience as a renowned music producer, Rubin delves into the essence of creativity as a state of being. He invites readers to embrace curiosity, vulnerability, and the willingness to take risks in order to tap into their creative potential. Through personal anecdotes and philosophical insights, Rubin challenges conventional notions of success and offers a fresh perspective on the creative process. This book serves as a guide to living a more authentic and creatively fulfilling life, encouraging readers to embrace their unique creative journey. More info: https://amzn.to/3r3JqWh

Conclusion:

Whether you seek guidance in overcoming self-doubt, embracing inspiration, or nurturing your creative habits, these books will serve as trusted companions on your creative journey. The books recommended above offer a rich tapestry of perspectives, techniques, and inspiration to fuel your creative endeavors. Embrace their wisdom, unlock your imagination, and let your creativity soar.

The Art of Self-Progress: Why Comparing Yourself to Others Hinders Musical Growth

In the pursuit of learning a musical instrument, such as the harp, it is natural to feel inclined to measure our progress against others. There are numerous online harp groups where learners can share their experiences and give tips and encouragement to one another, and for the most part this is a really wonderful thing.

However, it can be tempting to compare your progress with others who are also learning to play, and this can prove counterproductive, stifling growth and dampening your musical journey with feelings of self-doubt or distraction which can hinder your progress.

In this blog, I will delve into the reasons why it is better to avoid comparing ourselves with others and focus on our individual progress. By embracing this mindset, we can unlock our true potential, cultivate our unique musical voice, and find joy in the process.

  1. Every Journey is Unique

    Learning a musical instrument is a personal voyage, and each individual embarks on this journey with their own set of strengths, weaknesses, and aspirations. No two individuals learn at the same pace or in the same way. We all have our own unique learning curve and just because someone else is progressing faster than you does not mean that you are not making progress - progress is relative! Comparing ourselves to others disregards the fact that everyone follows a different path, has different goals, and progresses at their own pace. It is essential to remember that we are all unique, and our musical journeys should be celebrated as such. Instead of comparing, focus on appreciating and nourishing your own progress. As long as you are putting in the effort and seeing improvement, you are progressing!

  2. The Danger of Discouragement

    Constantly comparing our progress with others can distract you from your own goals and can lead to feelings of self-doubt, inadequacy, and discouragement. Music is a deeply personal form of expression, and when we constantly measure ourselves against others, we risk losing sight of our own potential. Each person's progress is influenced by various factors, including prior experience, practice time, and personal circumstances. Everyone has their own strengths and weaknesses. Some people may excel at reading sheet music, while others may have a great ear for music. When you compare your progress with others, you may be overlooking your own strengths and weaknesses. By focusing on your strengths and weaknesses, you can tailor your practice sessions to your own needs. This will help you make progress more efficiently and effectively. So, instead of allowing comparison to dampen our enthusiasm, we should channel our energy into self-reflection, setting achievable goals, and celebrating our own achievements. Whether it is mastering a particular piece or learning a new technique, focusing on your own goals will help you stay motivated and make progress. A practise journal such as this one can help you with your goal tracking - https://www.ailierobertson.com/harp-music-shop/practice-journal

  3. Celebrate Individuality

    Music is a beautiful art that thrives on individuality and self-expression. It is something that you are doing for yourself, not for anyone else. When you focus too much on what others are doing, you may lose sight of why you started learning to play in the first place. Comparing ourselves to others can stifle our unique voice and creativity. By focusing on our own progress, we can explore and develop our own distinct musical style, allowing our personality to shine through our playing. Embracing our individuality enables us to create something truly authentic and meaningful. Let us embrace the joy of self-discovery, uninhibited by the constraints of comparison.

  4. Enjoy the Journey, Not the Destination

    Learning a musical instrument is not solely about reaching a predetermined destination; it is a lifelong pursuit of growth and self-improvement. By constantly comparing ourselves with others, we risk fixating on the destination and missing the beauty of the journey itself. Music is meant to be enjoyed, and every step forward should be celebrated. By focusing on our own progress, we can savor the small victories, appreciate the learning process, and find fulfillment in every milestone we achieve.

  5. Foster a Supportive Community

    Rather than viewing other musicians as competitors, we should strive to build a supportive community where we can inspire and be inspired by each other. By shifting our mindset from comparison to collaboration, we create an environment that nurtures growth and learning. Sharing experiences, insights, and challenges with fellow musicians on a page such as ‘Harp Chat’ can enrich our musical journey and open doors to new opportunities. Together, we can celebrate each other's progress, learn from one another, and foster a sense of camaraderie.

Conclusion

In the pursuit of learning a musical instrument, comparing ourselves to others can hinder our progress and dampen our joy. By recognising the uniqueness of our own journey, celebrating individuality, focusing on our own process, and fostering a supportive community, we can break free from the limitations of comparison. Remember, it is not the comparison that defines us, but the progress we make towards our own goals and dreams.

Why learning the harp in later life is great for your health!

As we get older, we often begin to focus more on our health and wellbeing. We may try to eat healthier, exercise more often, and take steps to reduce stress. But there's one activity that is often overlooked as a way to improve overall wellbeing in old age – learning to play an instrument.

If you’ve been wondering if your harp lessons are worth the money, you can take reassurance in knowing that learning to play the harp is not only fun, but it also has many benefits, both for mental and physical health. In fact, research has shown that learning to play an instrument can help improve cognitive function, reduce stress, and even improve physical health (rb.gy/1h7fpi).

Here are some of the key benefits of learning an instrument in old age:

1. Improves cognitive function:

Learning to play an instrument has been shown to stimulate the brain and improve cognitive function. This is because playing an instrument requires the use of multiple areas of the brain, including the areas responsible for motor skills, hearing, and memory (rb.gy/oe78x7)

2. Reduces stress:

Playing an instrument has been shown to help reduce stress levels, which can have a positive impact on overall health. This is because playing an instrument requires concentration and focus, which can help take your mind off of stressful situations. (rb.gy/8vym4g)

3. Improves physical health:

Playing an instrument can also have physical benefits, particularly for those who suffer from arthritis. Learning to play an instrument requires the use of fine motor skills, which can help improve dexterity and flexibility in the hands and fingers (rb.gy/uyr7ca)

4. Boosts social interaction:

Learning to play an instrument can also provide a great opportunity for social interaction. Joining a community band or orchestra can help you meet new people and create new friendships.

5. Provides a sense of accomplishment:

Learning to play an instrument can also provide a great sense of accomplishment. As you progress and learn new skills, you'll feel a great sense of pride and satisfaction.

Learning the harp can contribute to all these factors, giving us even more incentive to keep practising! If you're considering taking up a new hobby, why not consider learning to play the harp? You'll be amazed at the positive impact it can have on your life. And if you’re already playing…keep up the good work!!!

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99 days left in the year!

There are just 99 days left now in 2022! This year is absolutely flying by and before long it’ll be time to break out the Christmas music!

With that in mind, it’s a perfect time to think about your goals for these final 99 days - what do you want to have achieved by the end of 2022? This is a good time to break out your SMART goals from the start of the year and update them to reflect where you are now and where you want to get to!

As a reminder, SMART goals stand for:

Specific
Measurable
Attainable
Realistic
Timebound

(As a reminder, here’s my blog from the start of 2022 about setting SMART goals! https://www.ailierobertson.com/harp-tips-blog/2022/1/4/goal-setting-how-to-set-and-achieve-your-2022-harp-goals)

As new school term starts it can be a good idea to think about making investing in a simple Practice Journal to help keep you on track. This is the one that I made for myself and my Patreon students a few years ago: https://www.ailierobertson.com/harp-music-shop/practice-journal

Keeping a written record of your practice and performance is important for keeping track of your progress. Write down what you did, what you need to do next, what went well or not so well, metronome marks that you’re working at etc, and be meticulous in documenting everything.

Whether you use a digital or paper version, bought or homemade, try to track your

  • Daily practice and your practice agenda for the weeks ahea

  • What exercises you practice and at what tempo you can play them.

  • What’s working for new techniques, and what isn’t.

  • Progress on pieces that you’re learning.

  • Music that you’re listening to and any questions related to that.

  • Notes from lessons.

  • Questions to ask your teacher

  • etc

Psychology studies have found that you are 42% more likely to achieve your goals if you write them down! Writing your goals not only forces you to get clear on what, exactly, it is that you want to accomplish, but doing so plays a part in motivating you to complete the tasks necessary for your success.

Reviewing the 'Harp String Buttons' from Dusty Strings

Hi everyone

For today’s blog, I thought I’d take advantage of a string that snapped last night and make a review video about the new ‘Harp String Buttons’ from Dusty Strings!

As you can see, I highly recommend them, so if you fancy picking some up you can find them here:

US: https://manufacturing.dustystrings.com/products/string-buttons

UK: https://www.morleyharps.co.uk/dusty-strings-string-buttons-c2x35711166

Remember to subscribe to my YouTube channel for more tips, video lessons and music!

https://www.youtube.com/c/LearnCelticHarp

What my bad crocheting has reminded me about harp practice

This week, upon being gifted a big bag of wool, I decided with glee that I was going to finally learn how to crochet! I chose my yarn, picked a crochet hook and dove into the first ‘beginner crochet’ YouTube tutorial I could find! It started off well, so I decided, hey, why not jump right in and make a cardigan(!) Before long I had my first ‘chain’ but 45 minutes later I was in a total mess. I couldn’t remember my ‘single’ crochet from my ‘half double’, I kept dropping stitches somewhere, and my technique for feeding wool was definitely not correct. What I had ‘made’ was certainly wooly, but it was full of errors and uneven rows and frankly, it looked a mess.

 

I gave up for the evening, but the next day I decided to tackle it again, but this time I stopped and thought, ‘what advice would I give my students if this was the harp?’. And of course, the answer was, master one technique first before jumping on to another!

 

So I spent the next 25 minutes just ‘chaining’ until it felt natural and easy and all the stitches were the same size. Then I allowed myself to progress on to a ‘single crochet’ stitch, and again, several hours of only doing that one stitch passed, until I had a pretty respectable looking dishcloth! Today, I’m focussing on just the ‘double crochet’ and then maybe by the end of the week I might be able to alternate the two. Maybe by Christmas I’ll even have managed to crochet that beginner level cardigan!

 

So how is this related to the harp? Because it’s human nature to try and run before we can walk! I see this all the time, particularly with adult learners – they do something a few times, think it’s ‘done’ and then move on to the next thing, whilst never really taking the time to get any action truly comfortable and fluid. And this applies at all levels of player – bringing in the left hand too soon, assuming your scales are fine because you can play them at a moderate pace, doing a few technical exercises before flipping to the next page.

 

I always go on and on about muscle memory but it’s really the key thing here – we have to give our muscles the chance to get used to a motion over and over so they can really consolidate it.

 

So this week I’m going to suggest to you, that you pick one thing, and really stick with it, and work it over and over until it’s truly so comfortable you could play it with your eyes shut, in front of 100,000 people and feel 100% confident! Give your muscles a chance to build that memory that they need!

 

Using imagination to go beyond the notes

Have you ever watched a performance where everything is ‘right’, but still it somehow leaves you cold? Sometimes, we can focus so much of playing a piece of music in a way where everything is “correct” in terms of the notes, rhythms, dynamics etc, that we forget about the emotion that the piece is meant to convey. We focus more on getting things ‘right’ than on the spirit of the music.

For me, the reason I love playing music is because it’s a way to communicate. In a performance I’m trying to communicating meaning to the listener about the emotions, character, imagery, narrative etc of the piece I’m playing. In order to do that effectively, I need to go beyond just what’s written on the page, and really focus on what I want to say with the piece as I’m playing it. When I’m performing I don’t want to be thinking about my fingering or an upcoming lever change; rather I want to put my attention onto the emotion of the piece.

Now, music is of course subjective, so the changes are that the listener won’t have exactly the same narrative in their head as I do playing it, but the hope is that they experience something that transcends the mere notes that I’m playing. 

For example, when I’m playing ‘Sands of Hosta’ I’m imagining the waves gently lapping the shore and the pure white sand, and the smell of the ocean breeze.

When I play The Parting Glass, I’m imagining the lyrics and their meaning in my head, even though I’m not actually singing.

If I’m playing a set of dance tunes, I’m imagining a roomful of dancers, and trying to give them the swing and lift they need to dance!

These all really help me to get into the feel of the piece, and ultimately to play it better and to connect more with my listeners.

No matter what you’re playing, remember that the notes are a mere starting point for deeper communication. Think about how you want your audience to feel. What do you want them to imagine? What emotions do you hope they’ll have when they listen? By engaging your imagination when you play, you can help add life to your performances, letting your music expand beyond being merely a literal rendition of the notes and into something that is magical for your listeners.

Is ‘Shiny Object Syndrome’ slowing down your progress?

A very common issue I see with adult learners is a type of procrastination that’s known as “shiny object syndrome”.

Business Insider defines someone with Shiny Object Syndrome like this: “They're constantly coming up with new projects to take on — and then getting bored with them a week later. They're intrigued by the latest trend and will be quick to implement but not follow through.” (https://www.businessinsider.com/main-types-of-procrastinators-how-to-avoid-accountability-coaches?r=US&IR=T)

Does this sound like you?Are you constantly getting distracted by the next new piece to practice or video to watch or exercise to try? You might even find yourself justify it by saying “it’s good for my sightreading” or something similar! Now, these ARE all good and worthy things to look at, BUT if they distract you away from the action you’re supposed to be taking, what happens is you never make enough progress in one direction to see clear results. This in turn can become demotivating because you don’t feel any true progression over time. 

First of all, don’t give yourself a hard time - what this shows is that you’re a highly motivated person and that you’re not afraid to start new ideas and try new things, and that’s really important when you’re learning to play the harp! 

The danger however, is that you become a jack of all trades, master of none, because you don’t spend enough time to become truly good at your pieces. A huge amount of the learning with any piece comes from what I call ‘the final 20%’ - that’s the part when the ‘note-learning’ is done, and the actual work on tempo, fluency, phrasing, dynamics etc begins. This is definitely hard work, but ff you always skip over this part, you’ll never improve in this area, and this is what moves you from being a Beginner to an Intermediate to an Advanced player. 

So, know that you’ve identified the issue, here are some ideas to help:

  1. Before starting that new thing, ask yourself,

    • Am I just avoiding doing the hard work on something else?

    • Is this what I really need right now?

    • Will it add value to my playing?

    • What are the pros vs. the cons of doing this?

    • Will it still be there in a few weeks?

  2. When you have a new idea, talk to your teacher members about it. Ask them what they think, and if it’s a suitable direction for you at this moment in time. They’ll be able to help you see when you’re moving too fast, and help you redirect your attention back to where it needs to be.

  3. Keep a note book with a list of your ideas - write them down and then revisit them when it’s the right time.

Once you get clear on your main priorities, you can make sure that all your actions are truly aligned with your goals, and start seeing real progress!

Download Carol of the Bells and donate to Save the Children’s Ukraine Crisis Relief Fund

In light of this weeks horrific news from Ukraine, I am offering a free download of my lever harp arrangement of the Ukrainian tune Carol of the Bells. In return, please use the button below to donate to Save the Children’s Ukraine Crisis Relief Fund. Every donation, large and small, will make a difference.

Ukraine’s children are in grave danger of physical harm, severe emotional distress and mass displacement. Your donation to Save the Children’s Ukraine Crisis Relief Fund can help provide children and families with immediate aid, such as food, water, hygiene kits, psychosocial support and cash assistance.

Once you have donated, you can download the sheet music here: https://www.dropbox.com/s/8jdjoavalq973qp/Carol%20of%20the%20Bells.pdf?dl=0

Practising fingering away from the harp

This sounds a little strange, but I do a huge amount of practice away from my harp, and there’s a particular technique I find very useful for practising both fingering and speed.

Since I was a little girl I’ve always driven my family crazy by drumming my fingers on the table. What they didn’t realise was that this wasn’t just random, but I was pretending the table was my piano, and I was practising my piano pieces on it! But it turns out I’m not the only one who did this! Check out this amazing article about pianist Andrew Garrido using a similar method.

I still do a lot of ‘finger drumming’ these days, but now it’s mostly harp i’m ‘practising’. It let’s me practice when I’m sitting on the train, when I’m waiting in line at a checkout, and even as I push my trolly round the supermarket. But it’s more useful than just a convenience when I don’t have a harp - I use it actively even if I DO have a harp available.

Now, I know the first thing you’ll be wondering is “why would I practise like that if I have my harp in front of me?”, so bear with me! There are a couple of reasons I find this really useful:

1) It lets me really find out if I know the correct fingering or not. If I’m going to make a slip because of fingering on the harp, the chances are I’ll also make it with this method. But now I can’t blame it on anything else! I know it must be a fingering issue that’s tripping me up - somewhere the correct sequence hasn’t wired into my brain quite enough.

2) It’s great for practising rhythmic coordination between hands without the added pressure of the notes. Try to ‘play’ your Right and Left hand parts on the table, and see if you have all the coordination and syncopation in the right place. This is particularly useful when working on very rhythmically complex pieces.

3) It helps your internal rhythm - again by stripping away some of the elements, you’re just focussing on the rhythmic sensation of your fingers moving, so this can really help with your rhythm.

4) A lot of speed on the harp simply comes down to developing your ability to react and prepare quickly with your fingers. By getting used to using our fingers rapidly, they get quicker! I find it really useful to sit and drum out scale patterns and dexterity patterns (e.g. 1,3,2,4 1,3,2,4) with my fingers to increase my speed, which then in turn transfers to the harp. You can use patterns from my Technical Exercises for Lever Harp book and transfer them to this method!

Anyway, i know it’s a little unorthodox, but it really helps me, so maybe something to try! Have fun and get in touch if you have any questions

Robert Burns and a new arrangement of Ae Fond Kiss for harp

Today is January 25th, which in Scotland is Burn's Night - a celebration of the life and poetry of the acclaimed Scottish poet Robert Burns (25 January 1759 – 21 July 1796).

In this week's Harp Blog I wanted to give you some history of Burns and his vast contribution to Scottish Music.

I also made a new arrangement of one of his most famous love songs, “Ae Fond Kiss” - it's an intermediate level arrangement, suitable for harps with 25+ strings and you can find the sheet music here and there’s a video of the arrangement at the end of the post: https://www.ailierobertson.com/harp-music-shop/ae-fond-kiss

Robert Burns was born on 25 January 1759 in the village of Alloway, near Ayr (https://www.scottishpoetrylibrary.org.uk/poet/robert-burns/). Despite his short life (he died aged just 37), Burns left a huge catalogue of poetry and songs. In 1786 at the age of 27 that he rose to fame with the publication of his first collection of poetry, Poems, Chiefly in the Scottish Dialect. This “masterful collection made a huge impression on Edinburgh's literary elite, and propelled Burns to celebrity status” (Visit Scotland). He also spent many years collecting and preserving traditional Scottish songs for the future, many of which were published in the Scots Musical Museum.

In his personal life, Burns had 12 children, nine with his wife Jean Armour. However, Jean was not the only woman to gain Burns’ favour. One of his most famous affairs was with Agnes 'Nancy' McLehose and resulted in the writing of Ae Fond Kiss, written in 1791. The song was first published in 1792 in James Johnson’s Scots Musical Museum. (Burns Museum Website)

Ae fond kiss, and then we sever;
Ae fareweel, alas, for ever!
Deep in heart-wrung tears I’ll pledge thee,
Warring sighs and groans I’ll wage thee.

Who shall say that Fortune grieves him,
While the star of hope she leaves him?
Me, nae cheerful twinkle lights me;
Dark despair around benights me.

I’ll ne’er blame my partial fancy,
Naething could resist my Nancy:
But to see her was to love her;
Love but her, and love for ever.

Had we never lov’d sae kindly,
Had we never lov’d sae blindly,
Never met-or never parted,
We had ne’er been broken-hearted.

Fare-thee-weel, thou first and fairest!
Fare-thee-weel, thou best and dearest!
Thine be ilka joy and treasure,
Peace, Enjoyment, Love and Pleasure!

Ae fond kiss, and then we sever!
Ae fareweeli alas, for ever!
Deep in heart-wrung tears I’ll pledge thee,
Warring sighs and groans I’ll wage thee.

5 tips to help you relax your shoulders when playing harp

Tense shoulders are a common issue for harpists. We often sit for long periods of time at the harp, and that can cause our shoulders to become tense, stiff, and ‘raised’. Often this happens without us even noticing - until they start to ache after a practice session.

The problem is that, in addition to potentially causing pain, as our shoulders get higher, flexible, relaxed harp playing becomes increasingly more challenging. When your shoulders are relaxed, your entire upper body will respond differently, which will hugely help your playing.

The key to successfully relaxing your shoulders as you play, is to become aware of the relaxed feeling.

Step 1

The first thing to make sure of is, are you sitting at the right height? Make sure your harp isn’t too high or too low for you, as that may cause your shoulders to lift.

Once you’re comfortable, move on to step 2

Step 2

Sit at the harp and completely relax your upper body. Let your arms fall and swing down by your side, until they feel ‘heavy’ and loose.

Now, tense and raise your shoulders, until they rise up to your ears! Hold them here for 5-10 seconds. Note the feeling of tension and discomfort. Then, relax them and let them drop back to the first position, with your arms swinging loosely by your side. Do this several times, feeling the difference between the two positions.

Step 3

Place both hands on the strings (without playing any notes) keeping your shoulders down, and make sure your arms, elbows and hands are totally loose and ‘heavy’. Tune into how your body feels - we want to get you accustomed to the feeling of relaxation in the usual harp playing position without the distraction of actually playing.

If this feels very new or different to you, try just resting one hand on the harp at a time, so you are able to release any tension in that shoulder, arm and hand, and then swap to the other.

 

Step 4

Now it’s time to play, keeping aware of the relaxed feeling. Short exercises or simple scales provide perfect material to try out your relaxed position. Play them slowly, and as you pluck each string, keep focused on your shoulders.  Notice how your upper body reacts as you play various note patterns. Try playing in different registers of your harp, and make sure your shoulders don’t rise.

Keep playing slowly, keeping your concentration on your shoulders, until the feeling becomes a habit.

As you move on to practising your pieces, ensure to direct your focus to your shoulders at various points as you practice – you could even write this in the score as a reminder.

 

Step 5 

After a few weeks of focussing on your shoulders as you practice, you’ll hopefully be more aware of them and how they should feel when they’re relaxed. Over time this will become more and more natural feeling, and soon you won’t need to think about it!

 

Goal Setting - How to set and achieve your 2022 Harp Goals?

Do you enjoy setting goals? I’ll be the first to admit I’m not one who usually writes down a specific list, such as New Year’s Resolutions. However, when I’m talking about setting goals within my music, I love them! I find they really help me stay on track when deciding where to focus my attention with practicing.

I think it’s really useful to begin by thinking about your 1-year goals - where would you like to be with your playing in 1 year’s time. Now, what are the steps you need to take to get there? By breaking down a big goal into smaller chunks, you start to a) make it more achievable, b) not get overwhelmed by it and c) start to see what you need to be doing on a monthly basis in order to reach you final goal.

Many harpists have very vague goals like “get better at playing fast” or “improve my sight-reading”, and these are certainly worthy ambitions, but the problem is, they are not very specific, which can lead to not feeling a sense of progress and it can be difficult to layout an effective plan to accomplish your goal.

So how do you make goals that you can actually achieve?

By being S.M.A.R.T.

SMART goals are ones that are Specific, Measurable, Achievable, Relevant and Timely

SPECIFIC

When you’re setting a goal, it should be as specific as possible. For the harp that could mean playing a certain song or scale at a specific tempo.

Having specific goals will help you evaluate whether you have achieved them.

And if your goal is specific, that means it will also be:

MEASURABLE

Having a measurable goal means that you will be able to tell if you are on the way towards achieving it. If your goal is not measurable, then how will you know if you’re getting closer to it? How do you EVER achieve it?

For example, if your goal is to play the E major scale at 80bpm. You can track your progress towards achieving it. You might start out at 60bpm, and after a couple of weeks be up to 70bpm.

That’s measurable progress! You KNOW you’re getting better and closer to the goal. It’s also a great way to stay motivated.

Speaking of motivation, this next point is very important, because it’s probably the biggest reason why people fail:

ACHIEVABLE

Your goal has to be possible. It’s as simple as that. It can be challenging for sure, but it needs to be within reach.

If you set wildly unrealistic goals, most likely you’ll end up disappointed and frustrated, and ultimately feel like you failed. And if you feel like a failure, you’re not going to want to practice, which means you’ll never achieve your goals.

RELEVANT

This is a big one, and it’s another thing I see people get wrong a lot of the time. Try to make sure that everything you do on the harp is RELEVANT to your goals.

If your goal is to play Celtic Music, then spending days and weeks learning pop pieces is probably not the best use of your time. If you want to get better at playing fast then you need to choose some fast repertoire rather than slow pieces.

What you practice should align with your end goals.

TIMELY

The final point. Your goals should have a time-limit attached to them. That means setting yearly, monthly, weekly and even daily goals.

It helps to break the daunting tasks down into manageable pieces, and it allows you to see progress much quicker.

These are not new concepts, but knowing something and doing it are different things. Now is such a great time to take a step back, evaluate what your goals are, and then make a plan to achieve them.

And if you’d like help at any stage, just let me know.

Have fun!

Your 2022 Harp Diary

If you’d like to take your harp playing to a new level in 2022, then a harp festival is one of the best ways to take instruction from some of the top harpists in the world, and immerse yourself in music for a few days.

Take a look below for some upcoming harp festivals, both online and around the world that might be just what you need this YEAR.

(n.b. there are a few others who haven’t announced firm dates yet but I’ll update the list as I get info of them)

ONLINE

Jan 14-16 (+6 month playback) Winter Harp Festival - With Kim Robertson, Park Stickney, Ailie Robertson and Marianne Gubri

Jul 1 - Oct 1 Somerset online

UK

Jan 28-30 Halsway Harp Weekend (England)

Apr 8-11 Edinburgh International Harp Festival (Scotland)

Apr 12-13 Wales Harp Festival (Wales)

May 15-22 Warwick Harp Week (England)

Jul 22-28 World Harp Congress (Wales)

Jul 29-31 Harps North West Festival (England)

Aug 1-5 Marlborough Summer School (England)

Aug 24-27 Glasbury Harp Summer School (Wales)

Oct 22-26 Harp on Wight Festival (England)

Nov 11-13 Higham Hall Weekend (England)

Europe

Jan 6-9 Harfenwinter (Germany)

May 7-8 Dutch Harp Festival (Netherlands)

May (exact dates TBC) Tuamgraney Harp Festival (Ireland)

Jun 16-19 Harfentreffen (Germany)

Jul 13-17 Dinan Harp Festival (Brittany)

Jul 30-Aug 3 Harfensommer (Germany)

Oct 20-23 Nordic Harp Meeting (Finland)

North America

Mar 25-27 Virginia Harp Center Festival (Virginia)

May 12-15 Harp Gathering (Ohio)

Jun 12-18 Midwest Harp Festival (Illinois)

Jun 21-24 Somerset Folk Harp Festival (New Jersey)

Jun 25-30 Ohio Scottish Arts School (Ohio)

Jul 18-23 Grand Manan Harpers Retreat (New Brunswick)

Sep 15-18 Harp in the Glen (Wisconsin)

Sep 21-15 Spanish Peaks Harp Retreat (Colorado)

Oct 14-16 Huron Harp Festival (Ontario)


AUSTRALIA

Jan 8-15 Harp Holiday (NSW)

Mar 3-6 Boxwood (VIC)



25 years of Harp

On Tuesday I turned the ripe old age of 38, which means I’ve now been playing the harp for 25 years! Incredible how time flies!

So, I thought I’d use today’s blog as a chance to reflect on 25 years of playing and think about my top tips as a player and teacher in that time. Hopefully you might draw some wisdom from them too

1)    The first, and I think the most important of all, is the importance of listening. Listen to as much music as you can. Listen to harp players, but also listen to other instrumentalists in the style you want to play in e.g. if you play Celtic music, also listen to fiddle players, pipers, singers etc. The more you listen to good players, the more you will absorb. If you limit the music you listen to, you limit your creativity.

2)    Be realistic – Mark Salzman wrote a wonderful book (The Soloist) about a cellist seeking perfection. Of course, you cannot achieve perfection and that can be paralyzing for people, so you have to find an equilibrium between what’s realistic and what is ideal.

3)    ENJOY your practice – practise shouldn’t be a chore, and it certainly shouldn’t just be because you want to please your teacher or your peers or your parents etc. When I practice it feels like a total joy because it’s time I’ve CHOSEN to set aside, to spend time trying to unite my body, and what It can do physically, with what the sounds that my ear and my brain want to hear. I try to really enjoy those moments, and to keep searching for exactly the sound I want to make.

4)    Learn your theory – so much about playing music ‘clicks’ when you understand and engage with the theory behind it. If you understand why you’re playing the chords and shapes that are written, it makes it much easier to commit them to memory.

5)    Play with others – I think the vast majority of my musical education and enjoyment has come from playing with others – this works on two levels – first of all, the sense of community you get from making music with other people cannot be beaten, and second of all, it really hones your rhythm and ability to play in time. Playing with more advanced musicians than yourself will be particularly helpful! If you need tips for this, you can still get the replay of my Playing in a Session Workshop

6)    Practice smarter not longer – I’ve written lots of blog posts about this already, but fundamentally, you don’t need to be playing for hours a day to improve – you need to be focussing on your weak spots and finding ways to improve them. Don’t keep ‘practising’ the things you already know you can do – practise the things you can’t do!

7)    Mental practice is as important as physical practice. I think I spend as much time practising away from my harp as I do actually playing it – this sounds silly but try “air-harp” for a tune you’re working on – can you still do exactly the right fingering and rhythm, and get the coordination between the hands. Does your brain know exactly what each hand should be doing and how it should sound?

8)    Seek Guidance – there are a wealth of online resources out there now, but having a trusted mentor you can check in with, whether that’s every week, once a month or even just once a year will make the world of difference to your progression. I know there are a few trusted people I can go to with my music for advice and help, and it’s so reassuring to have that sounding board you can trust. Even if you’re self-taught, consider seeing a teacher every few months to help you meet your goals.  

9)    Go to concerts – this relates to no. 1 but it’s even more intense when you attend a live concert – it lets you not only hear beautiful music but also get a sense of stagecraft.

10) Let go of mistakes – I don’t think I’ve ever played a concert in my life where every single note was correct. And as a result I’ve enjoyed many ‘happy accidents’ on stage. Of course you need to work in your practise sessions to make sure things are as flawless as possible, but when performing, try to let go of the slips – they are part of the reality of playing music live, and no one will hold them against you!  

A Harpist's Christmas Wishlist

Hello! I though i’d write. a post to draw together some of my top harp picks for Christmas gifts this year.

Even if you’re done shopping for the holiday season, this guide might give you some inspiration for your harp journey.

  1. Harp Journal

    I love this 90 day harp journal and practice planner. It’s suitable for all types of harps and all ability levels and features journal pages, to do lists, blank lined pages, space to brainstorm and a 90-day diary to log your practice. Keep notes on lessons learnt, repertoire, songs you would like to learn, light bulb moments from lessons and feedback, harp maintenance, status of strings and more.

2. Snark Clip-on Tuner

The Snark Clip-on Tuner is such a handy little tuner to have in your bag - it’s fast and accurate, and the battery life is really good! It’s especially if you have to tune in a room full of other people!


3. Harp Cookie Cutter

This Harp-shaped cookie cutter is so cute and will add a musical theme to your baking!




4. Dusty Strings Harp Buttons

These amazing little harp buttons were launched this year by harp-maker-extraordinaires Dusty Strings, and they make changing harp strings sooooo much easier! An innovative new string anchor that takes the the stress of tying that pesky harper's knot.

I was skeptical that they could really work, but they hold fast and make string changes a lot less stressful!


5. Magnetic Pencil Holder and Pencil for your Music Stand

This Magnetic Pencil Holder and Pencil for on your Music Stand is an incredibly simple idea, but if you’re anywhere as disorganised as me, it’s a life saver when practising. Keep your pencil magnetically attached to your music stand, and never be hunting around for it again!


6. Technical Exercises for Lever Harp Book

I launched my Technical Exercises for Lever Harp book in August, and it’s been wonderful to see harpists of all abilities, from all around the world using it, and seeing the difference it’s made to their playing! Available as a spiral-bound hard copy or in PDF version.





7. Christmas Harp CD

French harpist Xavier de Maistre is one of the best in the world, and Christmas Harp is his latest album, which features arrangements of famous Christmas carols as well as melodies by Schubert and Tchaikovsky. In addition, Xavier de Maistre has selected a number of fantasies and paraphrases of international carols by one of the twentieth century’s greatest harpists, Carlos Salzedo.

8. Leather Celtic Harp Tuning Key Holder

Deceptively simple – but attractive and functional. These tuning key holders are hand crafted in 1.6 - 2.4mm vegetable tanned leather, individually embossed with a Celtic Knot, dyed and sewn with robust, attractive, leather thonging.

9. Online Harp School Subscription (Level 1 and 2)

These 10-week Online Harp School courses have been carefully designed to introduce techniques one at a time, systematically, week by week, based on what I know WORKS from 15 years experience as a teacher.  And even better - it's from the comfort of your own home, and can be done at your own pace - with the reassurance that you can contact me for help any time! 

Level 1 is for beginners, and level 2 then builds on what is learnt in level 1.

10. Disney Songs for Harp

Sylvia Wood’s book of Disney Songs is a firm favourite with many of my students. This fun book spans 60 years of beloved Disney songs from movies, TV shows, and theme parks. The songs are fingered, can be played on either pedal or lever harp, and have both lever and pedal changes marked in the music. Some of the songs are very easy to play, while others are more difficult.

The Pareto Principle and Harp Practice

Today’s topic is working on what really matters. I want to discuss the Pareto principle and show you how it can benefit your harp practice.

The Pareto Principle, or the 80-20 Rule, is named after Italian economist Vilfredo Pareto, who noticed that during 1906, 80% of the land in Italy was owned by 20% of the population, and that 80% of the peas in his garden came from 20% of the pea pods!

The general idea is that 80% of our results will come from 20% of our efforts; most of what we do when practising has a smaller impact on our results than other much more significant things. This is very good news. If we focus on the important stuff we will gain much greater improvement in a shorter time frame. (Medium.com)

The 80/20 principle is not about “doing the bare minimum,” rather it is about focusing your energy on what really needs it in your harp practice sessions. If 80% of your positive results flow from only 20% of your overall effort, that precious time needs to be treasured.

What you need to prioritise is of course not the same for everyone - it’s based on your goals, your genre of music, and your current skill level among other factors and may be completely different from what was necessary for someone else.

By analysing the time you’re spending practicing and applying the Pareto principle to it, you can make better decisions as to how you spend your time practicing and, inevitably, speed up your progress.

The problem is how do we determine the most important 20%? We need to work out where the largest gains can be made and focus on those. Prioritise exactly what is important in any one harp practice session, rather than wasting time going over parts you can already play well.

Not everything we do in our practice session is equally important, and this needs to be reflected in how much time we give it. “Because you have spent 30 minutes practising something does not mean you will have twice the results than if you had spent 15 minutes practising it. It might only take 15 minutes to achieve the result you are looking for.” Know when you’ve done enough! If repeating a section 3 times produces the result you want, practising it 30 times will not improve this result tenfold so is not efficient use of your time.

The Important 20%: Any weaknesses that prevent your strengths from being used to their maximum effectiveness must be dealt with first, as priority. This might be a specific technical problem that needs addressing, a passage in a piece that you can’t quite grasp, a more general skill area such as sight reading, etc.

What are the things that you need right now? These things can change over time, but you need to identify your 20%.

The Pareto Principle is a valuable tool that reminds us to focus on what is important. If you are doing something and don’t see improvement then you may want to consider if it is really part of that 20% that makes the 80%. Have fun finding that 20%.

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Harp Music for Weddings

Whether you’re a learner or a professional, most harpists will, at some point, get asked to play at a wedding.

Whether its for the arrival of the guests, the entrance of the bride, during the signing of the register or the recessional, it’s important to find the right piece of music to create the perfect atmosphere.

It can often be hard to find lever-harp friendly arrangements, so here are some arrangement’s that I often use

  1. Canon in D

    Johann Pachelbel’s celebrated Canon in D is one of the most popular requests for weddings. This arrangement has versions for small harps (26 string) and 34 string lever harps

  2. A Thousand Years

    “A Thousand Years” from the movie Twilight has become a recent wedding classic. This arrangement by Michelle Whitson Stone is available in an Intermediate or Advanced version for lever harp.

  3. My Love is like a Red Red Rose

    For a Scottish wedding, this is one of the most famous love songs ever written. This arrangement is suitable for elementary or intermediate players.

  4. Perfect

    “Perfect” by Ed Sheeran, is another contemporary love song that has become very popular with brides. This arrangement by Amy Turk works for pedal and lever harps.

  5. Bridal Chorus (Here Comes the Bride)

    The "Bridal Chorus" from the 1850 opera Lohengrin by Richard Wagner, is often played for the bride's entrance at weddings. In English-speaking countries, it is generally known as "Here Comes the Bride". Wagner’s piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick William of Prussia in 1858. This arrangement has elementary and intermediate versions, and is suitable for small harps with 22+ strings