Practicing Harp Happiness

Is playing the harp harder than you thought it would be? Ever wish you knew the secrets to learning music that only the experts and the eight year old YouTube stars seem to know? Want to finally finish the pieces you start and play them with ease, confidence and joy? Harp Mastery founder and Harp Happiness expert Anne Sullivan believes every harp player can learn to play the music they want the way they want. Tune in as she clears the confusion around topics like fingering, technique, sight reading and practice skills and shares the insider tips that help her students make music beautifully. Whether you’re playing the harp for fun or you’re ready to take your playing to the next level, each Practicing Harp Happiness episode will reveal the strategies and insight you need to fire your imagination, enjoy your practice and love your harp playing.

Why Every Harpist Needs a Method - PHH 227 09/22/2025

Why Every Harpist Needs a Method - PHH 227 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 - . Looking for a teacher near you? . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/38299960

Perspective Over Perfection: The Secret to Playing with Freedom - PHH 226 09/15/2025

Perspective Over Perfection: The Secret to Playing with Freedom - PHH 226 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: Are you ready to work with a Harp Mastery® Certified Coach? Work with a . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/38207520

The Surprising Power of Just One More - PHH 225 09/08/2025

The Surprising Power of Just One More - PHH 225 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? Work with a . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/38106605

Teacher to Student: If I Knew Then What I Know Now - PHH 224 09/01/2025

Teacher to Student: If I Knew Then What I Know Now - PHH 224 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. Level up! . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/38034140

Banish Your Practice Blindspots - PHH 223 08/25/2025

Banish Your Practice Blindspots - PHH 223 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? Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/37931800

Susann McDonald: A Legacy of Connection - PHH 222 08/18/2025

Mistakes as Milestones: A New Mindset for Growth - PHH 221 08/11/2025

Mistakes as Milestones: A New Mindset for Growth - PHH 221 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 Check out the new Learn section in the . Join the group coming to our Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/37467320

5 Things Your Teacher Can’t Do For You - and 5 Things She or He Can - PHH 220 08/04/2025

5 Things Your Teacher Can’t Do For You - and 5 Things She or He Can - PHH 220 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 In the Hub: Week 9 of our Check out the new Learn section in the . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/37467305

Back to the Harp—Without Killing the Vacation Vibe - PHH 219 07/28/2025

Back to the Harp—Without Killing the Vacation Vibe - PHH 219 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! is open! Listen to Episode 60: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/37467275

What Makes Any Piece a “Harp Piece”? - PHH 218 07/21/2025

What Makes Any Piece a “Harp Piece”? - PHH 218 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 ! We’re halfway through our Are you in? Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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 /episode/index/show/harp-happiness/id/37467235

The Secret to Dexterity: Crosstrain Your Hands - PHH 217 07/14/2025

The Secret to Dexterity: Crosstrain Your Hands - PHH 217 Happy Bastille Day! This isn’t a French themed podcast episode, and we won’t be breaking the bars on any prisons today. However, while the French national motto of liberté, égalité, fraternité is sounding across the globe, we should give some thought to the unequal treatment we give our hands. I mean the difference in the demands we place on our right and left hands. Probably you’ve thought about the very different roles that our hands play musically. Most often, the right hand plays a melody and the left hand plays an accompaniment. But think about it in a practical, action-related way for a moment. If our right hand specializes in melodies, then it likely is accustomed to connected, legato playing, along with some chords and arpeggios. Our left hand, though, because it serves to support the melody, is more used to jumping between low bass notes and chords above them, or playing a series of octaves, or playing continuous arpeggiated accompaniments. That is a very different skill set from the one your right hand has. Just try playing a left hand accompaniment with your right hand or a right hand melody with your left hand, and you will find it a little uncomfortable. Try playing hands together with that role reversal, and it may feel extremely awkward. If you’ve ever had to try to balance a left hand melody line with a right hand accompaniment, keeping the right hand softer than the left, you know how deeply ingrained those right hand/left hand roles are. Of course, most of the time, each hand plays the kind of playing it does best. But what about those occasions when the roles are reversed? How do you prepare for them, so they don’t stop you in your tracks? That’s part of what I will help you with today. Even more importantly, I’ll give you a plan for developing more independence between your hands, and that sounds like a fitting topic for Bastille Day. Links to things I think you might be interested in that were mentioned in the podcast episode: Join the Are you keeping up with the Summertime Challenge? Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-217 /episode/index/show/harp-happiness/id/37341635

Celebrating of Summer - 20+ Pieces Just For Fun - PHH 216 07/07/2025

Celebrating of Summer - 20+ Pieces Just For Fun - PHH 216 This week I started my yearly ritual of going through my drawers of music and pulling out new pieces to play. Actually they aren’t all new; some are old friends that I haven’t played in years. Others are pieces that have been sitting around waiting for me to get to them. Others are favorites that I seem to pull out every summer and play for a while. It’s a summer thing for me. Perhaps because my playing schedule is a little lighter, I don’t feel as pressured or as driven. Also, though, I just want to play music, music that fits my vacation mindset. So this week as I was looking through the stacks, I thought maybe I could give you some ideas of pieces that might fit your summertime mood. Or if it’s not summer weather for you right now, maybe these pieces will add some sunshine to your harp playing. Some of these are classics from the harp repertoire or classic transcriptions for harp. Others are newer compositions you may not know. I’ve thrown in a couple popular music selections, just because. And I’ve themed them in a very summer-ish way: music about water, the sky, the garden and daydreams. It’s a little fanciful, but that’s really the whole idea. I’ll play some bits and pieces of some of them for you, too. And if you feel inspired to check out any of these for yourself, I’ve put all the selections I am mentioning today in a handy list for you, which you can download right in the show notes. You’ll be able to find these at the usual harp music retailers, like Harp Column Music, Atlanta Harp Center, Vanderbilt Music Company, Harp.com and more. If you have trouble finding one of them, just post a message in the Harp Mastery® Hub, and we’ll help you find it! Links to things I think you might be interested in that were mentioned in the podcast episode: . . . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-216 /episode/index/show/harp-happiness/id/37300280

The Superpower of Shortcuts and Why You Need Them Now - PHH 215 06/30/2025

The Superpower of Shortcuts and Why You Need Them Now - PHH 215 There’s a third kind of shortcut, though, that I want us to think about today. It’s the kind of shortcut that comes with experience. I remember when I was learning to sew and following all the directions very carefully so that I wouldn’t mess up. I even learned which pattern companies had the clearest directions, and which seemed to presume that I knew more than I did, so there were steps missing. Those missing steps weren’t shortcuts, per se; they were just knowledge that a more experienced sewer would have. One day, I watched a professional seamstress start to cut out a dress. She was making a concert dress for me, and I was excited to watch her start on it while I could watch. What turned out to be an even bigger thrill was to see that instead of painstakingly pinning the pattern onto the cloth, the way I learned in Home Ec class, she just laid a few weights on the pattern to hold it lightly in place and cut around it. What a shortcut and a timesaver! And why had I never thought of that? Of course, I had never thought of that because I didn’t have the experience and the confidence that comes with that experience to see that as a possibility. I was still following the directions, step by step. That step-by-step method was an important part of my learning, because it showed me what was necessary to get the best result. It wasn’t necessary to pin every pattern piece in place. It was necessary to lay out the pieces on the cloth correctly and to cut them carefully; the pins were a helpful tool, when you needed it, but not strictly necessary. Harp playing has those kinds of shortcuts too. There are practice and learning strategies that are important at some stages of our harp journey that we can rethink and adapt as we gain more mastery. If we cling to our old learning habits too long, we end up slowing our progress and growth. So today, I want to help you learn about harp shortcuts, not specific shortcuts, although I’ll mention a few, but how to look for and discover the shortcuts that could make a difference for you right now. This is about using your experience and your knowledge from all the harp playing you’ve done to help you learn faster, practice more effectively and play more confidently. It’s about making it easier, and who wouldn’t want that? Links to things I think you might be interested in that were mentioned in the podcast episode: Our Christmas in July celebration is starting and you’re invited! Join the weekly live calls, videos and mini-workshops from , our , or our ! Our is in full swing! Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-215 /episode/index/show/harp-happiness/id/37211590

Recovering from Burnout - the 5R Framework to Recover and Reset - PHH 214 06/23/2025

Recovering from Burnout - the 5R Framework to Recover and Reset - PHH 214 It’s summer time here and time for a little R and R, rest and relaxation, maybe even time away. You might be feeling like you need some time away from whatever stress you’ve been experiencing. I hope it isn’t your harp playing that’s been causing the stress, but even playing and practicing the harp can cause frustration and burnout. If you’re feeling like you need a break from your harp playing, I’m here to help and to make sure you take that break in a way that will bring you more confidence and more joy in your harp playing again. Actually, at the time you are listening to this, I am on vacation with my husband. We are in Bermuda, which is one of our favorite places to vacation. We went there for our honeymoon and loved it so much that we planned to go back every five years. We’ve missed a couple of those five year milestones; COVID was one of the reasons, of course. But this year, we’re going back and I can’t wait. Often people will ask me if I take a harp when I’m on vacation, and I rarely do. If it’s an extended trip, or I have a special project or performance coming up, then I will take one, but I firmly believe that no matter how much we love the harp, it’s beneficial to take some time off. Like the old Coca-Cola slogan, “it’s the pause that refreshes.” It’s good for us physically to relieve our fingers of the stress of practice. It’s even better for our perspective. It forces us to pick up our heads, let go of the busyness of practice, and reconnect with the harp and with music. Aside from having to coax slightly sluggish fingers back to work after we get back, there are no negatives to taking a break. I realize we have podcast listeners all over the world, and if you’re living in the southern hemisphere, you’re starting a winter season, not a summer one. But you don’t have to wait for summer to try out this framework. It can help keep you balanced all winter long! Links to things I think you might be interested in that were mentioned in the podcast episode: Related podcast: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-214 /episode/index/show/harp-happiness/id/37097700

Freedom to Choose - How to Make Any Piece Sound Right - PHH 213 06/16/2025

Freedom to Choose - How to Make Any Piece Sound Right - PHH 213 Have you ever made something and it turned out ok, but somehow it just didn’t look right? Maybe you thought those two paint colors would go together, but now you’re not sure. Or maybe the furniture arrangement in the living room looked great on paper but it sort of doesn’t work now that you see everything in place. I think we’ve all had those moments. I had one not long ago with a photo I was doing. It wasn’t quite right, but since I had to get it done, all I could do was to shrug and sign off on it, whether it was right or not. But if a piece of music we’re working on doesn’t sound right, we want to fix it, not forget it. I’m sure you know what I mean. You’ve been working hard on a piece. You muster up your courage to do a recording of it and after a lot of takes, you come up with one that you think is pretty good, without noticeable mistakes or hesitations. Then you listen to it, and something’s not right. Is it too slow? Are you not making the dynamics clear? How come it doesn’t sound the way it sounds in your head? This is truly a challenging point, because it can be difficult to know the precise things you need to do to make the music sound the way you want. Assuming that the notes and the rhythms are correct and that you’re playing reasonably expressively, what else is there? That’s the question we’re going to answer today. I’m going to identify three things that are essential to make any piece of music sound “right.” These three are the same whether you are playing a classical piece or a folk piece or a hymn or a pop tune. When each of these is in place, your piece will sound like you want it to. And the bonus is that you have choices. Every one of us harpists makes these choices, but you may not realize the power behind them. These choices are what makes one harpist’s interpretation of a piece sound different from another harpist’s, even though they both may be beautiful performances. My friend, you have the power to make your music sound right to you; all you need to do is exercise your freedom to choose. Links to things I think you might be interested in that were mentioned in the podcast episode: Our 2025 Super Summertime Challenge starts today in the Hub. ! . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-213 /episode/index/show/harp-happiness/id/37011995

3 Exercise Books You Should Know and How to Use Them - PHH 212 06/09/2025

3 Exercise Books You Should Know and How to Use Them - PHH 212 Since you’re here with me today, I know you are the kind of harpist who knows that technique matters. You take your warm-up seriously. You have exercises and etudes that you play regularly, maybe even religiously. You subscribe to the motto, “If your fingers can’t play it, you can’t play it.” But there may be times when you, even as dedicated to your technique work as you are, need a new direction, some more motivation, inspiration and know-how to move your technique to the next level. Here’s the thing we don’t want to think about. We have our favorite exercises and they fit perfectly into our practice routine. We know how they go, so we don’t have to struggle with notes, and we can focus on our fingers. Unfortunately, if we are that comfortable with them, they probably have lost some of their value for us. Now I’m not going to tell you that you have to abandon the exercises or drills you love. I’m just like you; I have my favorites, and I am not about to give them up. But I am going to suggest - very strongly - that you need to switch them up with some that will provide you with a little more challenge. When I started doing this in my own practice, I found that it sharpened my technique, not just because my fingers were learning new patterns, but also, precisely because I had to pay attention to the notes for a change, I was even more focused on what I was doing. No chance to go on autopilot, even for a minute. So today, I am going to share information about three exercise books you might not know, but that I think you should. Why? Because your technique work should be about leveling up, and if you’re doing the same-old same-old, you definitely aren’t leveling up. I’ve also included links to each of the books, so you can find them easily, but you can purchase them from any retailer you like. I don’t get a commission from these links; they are purely for your convenience. Links to things I think you might be interested in that were mentioned in the podcast episode: Our 2025 Super Summertime Challenge in the Hub starts next week. ! Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-212 /episode/index/show/harp-happiness/id/36909550

Could Your Practice Today Actually Be More Fun? - PHH 211 06/02/2025

Could Your Practice Today Actually Be More Fun? - PHH 211 Every time I talk about putting more fun into your practice, I hear feedback like, “I enjoy my practice,” or “I really like doing the challenging work,” or “My favorite part of practice is my exercises and etudes.” All of those harpists are enjoying their practice, and that’s terrific. But that’s not what I mean. Much of what we do in our practice can accidentally disconnect us from the music we want to make. We identify and correct mistakes. We drill our technique. We repeat passages over and over again. That’s all part of practice, and it is part of what enables us to play well. But there’s so much more that we could be doing in our practice, so much more that is truly aligned with why we are playing the harp. Here’s an example that may help you understand what I mean. A young person wants to be a doctor because she likes helping people. She goes to medical school where part of her training involves working when she’s physically exhausted. Part of her training also helps her learn the ability to detach from her patients, so she can view their cases objectively and clinically, and so that she doesn’t burn out emotionally. Is it any wonder that some doctors lack an empathetic bedside manner? Those doctors may be gifted physicians, but they also may be in danger of losing the connection to their patients. That’s a broadbrush kind of example, and I certainly have had doctors who were both gifted and compassionate. But I hope you see my point as it applies to our harp playing. If all we do in our practice is critique, correct and repeat, we put ourselves at risk of losing the connection to what brought us to the harp in the first place. We risk losing our joy. Today, I would like to help you put more fun playing into your practice. I’ll share a few of my favorite ways to help recapture the rapture and put more creativity and yes, fun, into every day you play the harp. Remember it’s not about right or wrong - it’s about the music. Links to things I think you might be interested in that were mentioned in the podcast episode: ! Are you a harp teacher? ! Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-211 /episode/index/show/harp-happiness/id/36804520

Do You Hear What I Hear? Listening with Your Ears Open - PHH 210 05/26/2025

Do You Hear What I Hear? Listening with Your Ears Open - PHH 210 Four friends went to an orchestra concert. Afterward, they went out for dessert and compared notes on the concert, talking about what they heard. Here is what they said: One person heard the person in the row behind crackling a cough drop wrapper.One person, a flutist, heard that the clarinet wasn’t in tune with the flute.One person, a harpist, heard that the orchestra drowned out the harp solo.One person heard that the piano soloist was humming to himself while he played. Oddly enough, when the review of the concert appeared in the newspaper the next day, it seemed the critic had gone to a completely different concert. The critic described the pianist as being an impassioned player with a fiery technique, the orchestra as presenting a colorful, well-balanced and nuanced interpretation. There was no mention of out of tune clarinets, or inaudible harps or even noisy cough drop wrappers. Yes, this is a fictional scenario, although I’ve been part of very similar discussions. I wanted to relate this to you today, though, to highlight the way we channel our listening. We pay attention to the things that distract us, like noises or mistakes. That’s not in itself a bad thing; it’s part of being observant. Often, however, our listening stops there. Think about how you listen to yourself. You pick out the flaws, the things that you wanted to do better. How often do you take time to identify what you have done well? Would you even be able to identify what you are doing well? Today, we are going to talk about listening for growth, not for comparison or fault-finding. I’ll help you discover how to listen with open ears and an open mind so that the next time you listen to that amazing harpist play the piece you’re struggling to learn, you can find the precise elements in that performance that will help you make your own playing sound the way you want it to. And we’ll talk about how to listen to yourself so you don’t end up in the depths of despair. It’s all about what you listen for. Links to things I think you might be interested in that were mentioned in the podcast episode: ! Harp teachers! Are you interested in learning more about our Fall Break Retreat? Email me at . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-210 /episode/index/show/harp-happiness/id/36706930

Is Your Practice Not Working? Maybe Hard Work Isn’t the Answer - PHH 209 05/19/2025

Is Your Practice Not Working? Maybe Hard Work Isn’t the Answer - PHH 209 Today I want to talk with you about hard work. I don’t mean how to buckle down and do the hard work. We all know that playing the harp is hard, and we spend a lot of time working out practice techniques, strategies and routines to help us play the music we want in spite of the difficulties. No, what I want to talk about today is how to get out of the “just buckle down and do it” mindset. The truth is that when it comes to playing the harp or even music in general, sometimes trying harder is counter-productive. For instance, the harder we try to get that harmonic to ring, the more it just thuds. The harder we try to play faster, the more our fingers become tense and so they don’t have the flexibility and agility required for speed. The more we drill those recalcitrant two measures, the moe they refuse to flow. But if hard work isn’t the answer, what is? Let me be clear. Hard work, or at least work, is necessary. But the way we approach a difficulty in our harp playing shouldn’t be - cannot be - the same way we solve other kinds of problems. The solution to these difficulties usually lies in the music itself, which is something we most often ignore as we try to do what seems impossible. The approach I want to explore with you today is about looking at challenges, difficulties or frustrations through a musical lens. You truly don’t need to hammer away at that thing that isn’t working. You can use more creative and much less stressful ways to solve it, with the added benefit of keeping the musical and expressive goals front of mind. I have three very specific suggestions for you, ones that are simple to implement and which will give you surprisingly quick results. It’s time to stop beating your head against the wall, don’t you think? Links to things I think you might be interested in that were mentioned in the podcast episode: Summer is a time to grow with For My Harp Mastery members only: NEW “” Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-209 /episode/index/show/harp-happiness/id/36604420

Is Music Theory Really Useful? Turning Theory Into Practice - PHH 208 05/12/2025

Is Music Theory Really Useful? Turning Theory Into Practice - PHH 208 Is studying music theory really useful? Yep. You heard right. I really said that, and I’m a total theory nerd. I’m not going to leave you in suspense. Of course, knowing music theory is useful and helpful and part of being a good musician. But only - and this is a big “only” - if you know how it’s useful. Did you ever take a class in school and the whole time you were sitting in class you were thinking, “I’m never going to use this stuff”? Of course, you did. I remember sitting in my calculus class in high school - which, incidentally, I really enjoyed - knowing that I was going to music school and very unlikely to ever use any of this kind of higher mathematics again. Maybe your useless class was a math course, or it could have been just about any other subject. Sometimes we discovered later that we were wrong; for instance, a little understanding of chemistry is helpful if you’re trying to work out ingredient substitutions in a recipe. At the time, though, the information falls into the category of “good to know, but I’ll never need it.” I taught classes like that when I was teaching at Curtis. The theory and ear training classes I taught were certainly full of information that would be necessary for a professional musician, but that didn’t mean that any of it seemed relevant to students who just wanted to practice. You may sympathize with that feeling, if you’ve taken theory courses with the idea that these courses would help your harp playing significantly. Please understand - I know with every fiber of my being that music theory makes you a better musician and can absolutely be of benefit to your playing. But unfortunately, I have found that most of the time, harpists take theory courses and are left wondering what use they can make of all this hard-won knowledge. These courses don’t come with a hands-on way to apply this knowledge at the harp, a way to make it really useful. That’s what I will share with you today, some common sense ways to make theory practical. Links to things I think you might be interested in that were mentioned in the podcast episode: Did you miss the “Sharpen Your Focus” clinic? ! Related resource blog post Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-208 /episode/index/show/harp-happiness/id/36519895

How to Choose Your Next Piece - PHH 207 05/05/2025

How to Choose Your Next Piece - PHH 207 Shel Silverstein wrote a beautiful and supremely short poem that perfectly fits today’s topic. The poem is called “Woulda-Coulda-Shoulda,” and in just seven short lines, Silverstein sums up the ultimate way to prevent regret. He tells us that all those woulda-coulda-shouldas vanish with one little “did.” Doing beats wishing every day. So if we were sitting in the same room together, sharing a cup of tea, and you asked me what I thought your next piece should be, I’d have to ask you a question right back, “What do you think you want to do?” Life is filled with “shoulds” and “have tos;” our music doesn’t need to be. Our music is personal to us. The music we play, our repertoire, is something that reflects what we like and who we are. It is a personal expression at every playing level. Your personal musical expression starts from the very first day you are capable of playing a melody on the harp. Your music is in you and your music is you. So if you need to choose your next piece to learn, it should be something you want to learn. Back to our conversation at the tea table. When I ask you what piece you’d like to do, you are probably going to tell me you don’t know. So we’ll dig a little deeper. If you are thinking that there is a skill you need to develop and you’re looking for a piece that will help you do that, that’s great. I can suggest half a dozen pieces that will help you with that specific skill. But have you considered trying a sort of piece you’ve never done before? Or what about that bucket list piece that you aren’t sure if you’re ready for? This is the problem; there are too many choices. There is simply too much music in the world, and it’s impossible to play everything we want to. So we need to choose. And what if you chose to make your next piece one that created a “did,” filled a want, or prevented a future regret. That’s what I want to help you with today. I want to give you a little system to help you choose. I also decided to take a sort of light-hearted, fun approach to this topic, so since today is the fifth of May, I’ve created five possible categories to choose from in honor of Cinco de Mayo. After all, we can’t take ourselves too seriously! Links to things I think you might be interested in that were mentioned in the podcast episode: Today is the last day to clinic. Shel Silverstein poem, Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-207 /episode/index/show/harp-happiness/id/36429830

Looking Beyond: Choose Your Focus - PHH 206 04/28/2025

Looking Beyond: Choose Your Focus - PHH 206 Fact number one: Your focus is in your control.Fact number two: Your focus is a critical factor in your success and harp happiness.Conclusion: What you focus on matters… a lot. In the last episode of the podcast, we were talking about focus in terms of placing your chords. I cited one of my favorite Zig Ziglar quotes, “You hit what you aim at.” I’m going to put a different spin on that today. We aren’t going to talk about focusing on a goal exactly. We’re going to discuss how to shift your focus to get you beyond a sticking point or a challenge. Here’s my idea in a nutshell: when we focus on the hard thing, we lose perspective on why we are doing the hard thing to begin with. That can cost us a lot in terms of time, energy and enjoyment. Consider some of the things we focus on that can leave us with a feeling of letdown or even loss. We spend weeks preparing for Christmas, only to realize on December 26th that we didn’t really remember to enjoy the day. Or we put days of effort into making a special meal - Thanksgiving dinner comes to my mind - and everyone is finished their meal and watching the football game almost before we’ve sat down to our own plate. Or we prepare so much for a special performance that we don’t know what to practice the day after it’s over. What about the things we focus on when we’re practicing or performing? Are we focusing on the things that will help us grow and move us forward? Or are we only concentrating on the difficulties that are in front of us, whether those are wrong notes or stumbles or performance nerves? I believe that often we are looking through a microscope at too many of those moments, when we really should be using binoculars to see what lies ahead, beyond the hard part. Instead of going into the rabbit hole where our perceptions are distorted (that wrong note really doesn’t matter that much!), we need a healthier perspective on what we’re actually trying to do, so that we can get past the sticking point and get back to loving the music. Links to things I think you might be interested in that were mentioned in the podcast episode: for the “Sharpen Your Focus, Elevate Your Performance” Clinic with a Harp Mastery® Certified Coach. Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-206 /episode/index/show/harp-happiness/id/36326075

Placing Chords: How to Find the Right Strings the First Time - PHH 205 04/21/2025

Review Done Right: It’s More Than Repertoire - PHH 204 04/14/2025

Review Done Right: It’s More Than Repertoire - PHH 204 Do you review your pieces? If you don’t review your pieces regularly, then keep listening because today we are going to explore the different reasons you might want to start and a few different methods for review you might want to try. But here’s the thing; if I asked a dozen harpists who say they review their pieces how they do their review, I will get a dozen different answers. Some people schedule it; others set a rotation. Some people do both. Some harpists are trying to develop a repertoire list of music they can play at a moment’s notice. Others are trying to keep the last piece they learned in their fingers. (By the way, we’ll talk today about what that phrase, “in your fingers,” means. ) I last talked about review on this podcast in episode 99. That episode is called “The Shortcut Way To Build And Maintain A Repertoire.” In that episode I outline some step-by-step frameworks to grow your repertoire with simple review tactics. I have linked directly to that episode in the show notes, or you can find it by searching for episode 99 in your podcast app. However, I think review is more than keeping your music fresh and ready to play. I believe there is an important learning component as well, because review develops a unique skill set, if you set about it the right way. Review isn’t the same as practice, but it isn’t exactly the same as playing either. It fills in the middle ground, that place where the imperfections get polished out and where we develop a deep familiarity with the piece, one that can surmount the challenges of performance. So today, we are going to explore what review is and is not. I’ll give you some simple ways to work on that unique skill set, and I’ll show you how the simple act of reviewing your music can help you grow as a harpist. It’s so much more than just keeping music in your fingers. I’m excited about this topic, and I hope you are too! Links to things I think you might be interested in that were mentioned in the podcast episode: Our April Seminar is still available registration is open. For more on review, check out podcast episode 99: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-204 /episode/index/show/harp-happiness/id/36113975

Why Slow Practice Works - and When It Doesn't - PHH 203 04/07/2025

Why Slow Practice Works - and When It Doesn't - PHH 203 My harp background is in the Salzedo method. This is the technique method devised and taught by legendary harpist Carlos Salzedo. It was at the time, the early part of the twentieth century, a startlingly different concept of harp playing and harp technique and the aim was to bring the harp into the modern world. The aesthetic of the method varied in almost every way possible from the French tradition in which Salzedo was trained. But we aren’t discussing physical technique today. We are discussing practice technique, one practice technique in particular: slow practice. Please understand that slow practice has always been a part of harp studies and for very good reasons, which we will discuss shortly. Salzedo, however, was known for teaching his students to practice slowly and loudly. I need to quickly add a couple of disclaimers. First, the loud and slow practice attributed to the Salzedo method is a broad statement, and as such, is not completely accurate. Second, and more importantly, it wasn’t the only kind of practice he advocated. Third, please remember that slow practice isn’t only for Salzedo method harpists; it’s important for us all. That’s the point of today’s podcast: why slow practice is vital for being able to play your pieces accurately and expressively at the goal tempo. I want to explore with you what slow practice is all about and how you can start your own habit of slow practice. We’ll talk about the practice strategies themselves, but I also want to focus on how to use slow practice to eliminate mistakes, strengthen your technique, eliminate hesitations and pauses in your music and to be able to play with more expression and musicality. While I think slow practice can work miracles, there are also times when slow practice is not helpful, and I’ll go over those with you, too. Links to things I think you might be interested in that were mentioned in the podcast episode: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-203 Looking for a transcript for this episode? Did you know that if you you will have access to their transcripts of each episode? /episode/index/show/harp-happiness/id/36021270

Rhythmic Confidence: It’s Not About the Math - PHH 202 03/31/2025

Rhythmic Confidence: It’s Not About the Math - PHH 202 If I had the opportunity to teach music to an absolute music newbie, someone without any previous musical instruction or experience, I know exactly how I would begin. I would start without printed music. That’s hardly revolutionary. The German composer Carl Orff is known today not only for his most famous work, Carmina Burana, but for the innovative methods he brought to musical education. Émile Jaques-Dalcroze created Eurhythmics, not the 1980’s pop band with Annie Lennox, but a system for teaching music through movement. Music schools throughout the world have been teaching young children with the method developed by Shinichi Suzuki which begins by emphasizing learning by ear rather than by printed music. All of these educators believed, as I do, that music is within us and that by learning without the printed page, we can create connections that allow us to develop our natural instinct for how music is organized, in notes and rhythms and chords and more. Our musical notation system is really just a code that we use to transmit and share musical ideas between composer and performer. The actual music doesn’t live there. Please understand; I’m not suggesting that we should all learn exclusively by ear. My meaning is that when we become so accustomed to using the page as our only path into the music, when we sublimate our instinctive musical understanding to deciphering the dots on the staff, we make playing harder. In short, we ignore the very innate connection that brought us to music and to the harp in the first place. Today we are going to explore some very fundamental rhythm concepts through this lens, focusing on the experience first, then the notation, rather than the other way around. I promise I won’t ask you to try playing by ear or to memorize everything or to light candles and repeat affirmations. What I want to do is to give you some very simple ways to change how you think about rhythm. We’ll do a couple of small experiments that I designed to help relieve any confusion or uncertainty you have about basic rhythmic concepts. Even if you feel totally confident about your skill in deciphering and playing complex rhythms, these little drills will help you reconnect to what is truly important about the rhythmic element of our playing. Links to things I think you might be interested in that were mentioned in the podcast episode: Get more rhythmic confidence with our April Seminar, “Rhythm Makeover.” ! Join the Live Monday Warm-Ups in the . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-202 /episode/index/show/harp-happiness/id/35925655

Are You Practicing Enough? - PHH 201 03/24/2025

Are You Practicing Enough? - PHH 201 Here’s a question we’ve probably all wondered about at some point: am I practicing enough? As a teacher, I can tell you that my experience has demonstrated that if a harpist - and this includes me - has to ask the question, the answer is probably no, you’re not practicing enough. But of course, the real answer is likely a little more complicated. It depends on what you’re trying to do. On the light end of the practice spectrum, if you’re just trying to keep the rust off either your fingers or your pieces, you probably only need a few minutes each day. On the other end, if your ambition is to learn a piece or stretch your technique or develop a skill, you are going to need more time. I know it would be helpful to know exactly how much time you’re going to need, but coming up with a number would just be guessing. Even so, that doesn’t mean there aren’t some factors that can guide you that will keep you from overworking yourself or underutilizing your time. Simply put, your goal is to practice enough to make progress, but not so much that you actually sabotage your efforts. Today I’ll tell you what this means and how I think you can find the right amount of practice time for you. I’ve talked about practice time with you before on the podcast. In the first show of this year, 2025, I shared an acronym to help you remember what to include in your practice. That acronym spelled the word “practice” and the letters stood for Play, Review, Aspire, Create, Technique, I, Connect and Enjoy, That’s episode 190, and I will link to it in today’s show notes. In episode 148, I taught you about practice bursts, short 15 minute chunks of time that you could use to keep on track when your schedule won’t allow you a longer practice session. I will link to that episode in the show notes too. But today, we’re taking a different approach. We’re going to look at why we practice, how our practice can help us maintain the status quo, or help us achieve a goal or help us stretch our skills and grow. We’ll talk about time and how we need to manage it and how to truly enjoy the time we spend at the harp. Because that’s what harp happiness is all about. Links to things I think you might be interested in that were mentioned in the podcast episode: . Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-201 /episode/index/show/harp-happiness/id/35829850

Small Steps to Break Through and Grow - PHH 200 03/17/2025

Small Steps to Break Through and Grow - PHH 200 How do you measure something that is unmeasurable? How do you quantify something that can’t be contained or counted? How do you assess something that is completely subjective? You might think you can’t, but yet, that’s what we attempt to do every day in our practice. We try to gauge our progress. We try to determine exactly when a piece is “finished.” Exact measurements aren’t possible in music. We can’t time our progress. “This piece will take exactly 37 days to learn to the degree of polish that I personally want.” If only we could have that degree of certainty, the whole practice thing would be so much easier. I realize I am guilty of perpetuating this unreality. I often use notional percentages to represent stages of “finish” for a piece. For instance, I’ll call a piece 80% done if I can play most of the notes correctly most of the time at a tempo that’s at least 80% of my goal tempo. It’s hardly scientific, but it gives me and my students a way to judge where we are on our journey with a piece. So what about you? Do you know where you are with that piece you’re trying to finish? Are you at that 80% mark? If so, that’s great, because you’re almost there. By the way, I don’t believe in 100%; perfection is not a practical goal. Instead, 90-95% is what I would call finished. If you’re playing at Carnegie Hall, that’s not good enough, but it should do for just about everywhere else. Or maybe this is what you’ve experienced: you get your piece to 80% without much trouble, but then it gets stuck there. It just won’t get over that last hump to the 90% mark. That hump - and how to get over it - is what I’d like to talk about with you today. I want to talk about the factors that contribute to progress and to growth, as well as how to find the way to close that gap between where your piece is now and where you want it to be. We can’t exactly create “progress by the numbers,” but we can find the steps that will pull you out of the place you’re stuck and move you forward. Links to things I think you might be interested in that were mentioned in the podcast episode: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you 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-200 /episode/index/show/harp-happiness/id/35587950

Making Music Sing: A Phrasing Primer for Harpists - PHH 199 03/10/2025

Making Music Sing: A Phrasing Primer for Harpists - PHH 199 I’ve been playing concerts with my flutist friend Joan Sparks for more decades than I care to admit. Our work together has included concerts, being Artists in Residence at schools and retirement communities, producing our own concert series, recording multiple CDs (actually even a couple of cassette tape recordings back in the day) and commissioning some significant works for the flute and harp concert repertoire. In fact, one of those works turned into an actual question on the TV show ”Jeopardy.” I’ll tell you that story at the end of the podcast. Of course, our collaboration hasn’t all been about work. We don’t travel as much now for concerts as we used to, but we did a lot of traveling earlier in our career and naturally we are very close friends. In that time, I also learned a lot about the flute. One of the biggest revelations I had was listening to Joan practice her long tones. Now this won’t surprise any of you who have played melody line instruments, but as a harpist with some years of piano lessons in my youth, long tones were practically a new concept. On the harp, we don’t hold a note. We simply play it and it goes effortlessly into the ether. No need to practice long tones. But this also means that we have no control over a note once we’ve played it. We can’t make it crescendo or decrescendo. We can’t add vibrato to intensify it. We can’t create a true legato, where one note connects seamlessly to the next. I think this is partly why we harpists tend not to pay enough attention to phrasing. Yet, phrasing is the breath of the piece. It’s the living component of the melody. It’s what makes the song sing and the piece flow. So today’s podcast is essentially a guide to phrasing for harpists. We’ll talk about everything from what a phrase is and how to identify it, to how to practice it so your melodies can sing. If you’ve been wondering how to get that “flow factor” into your playing, this will be important information for you, so stay tuned. Links to things I think you might be interested in that were mentioned in the podcast episode: Get involved in the show! Send your questions and suggestions for future podcast episodes to me at Looking for a transcript for this episode? Did you know that if you you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: /episode/index/show/harp-happiness/id/35587890

Etudes: What You Never Knew They Could Do For You - PHH 198 03/03/2025

Etudes: What You Never Knew They Could Do For You - PHH 198 Fact number one: harp technique is hard. That’s a given. Making our fingers steady, stable and strong enough to play in mid-air, defying gravity with every pluck, is very challenging. That’s a fact. Fact number two: our technique is a major factor in our playing. It enables us to play the music we want to play. Or it limits us. If our fingers can’t play it, we can’t play it. It’s that simple. Fact number three: If you feel like your technique is holding you back, there are ways to fix that. And today I want to suggest two ways you might not have explored. These are two ways to use etudes and I think you will find that what we’re talking about today is not the usual etude practice. I often talk about etudes as the missing link between the exercise drills that we do and the music we play. They provide a way to use a single technical skill like a specific fingering pattern in a musical context that is not as complicated as a regular repertoire piece. Practicing etudes in this way allows you to add expression, rhythm and other musical elements that aren’t usually present in finger drills to the skill you’ve been practicing, but without all the challenges that show up in a “real” piece. This doesn’t mean that etudes are easy, not by any means, But they do provide a way to step up a little more gradually to more intricate music. You practice your arpeggio exercise, then you practice an etude that uses those same arpeggios. Then you’re ready to tackle the piece that has those arpeggios in it. But that’s not the way I’m looking at etudes today. Today, I want to tell you about two different ways to use etudes that will give you additional benefits, benefits like playing with more speed, more flow and helping you learn music faster. If you’re the kind of harpist who loves etudes, you’re going to absolutely love these ideas. And if you’ve been lukewarm at best about etudes, you might find yourself dusting off that etude book, because now you’ll understand why etudes have been part of every musician’s studies for hundreds of years. Simply because they work! Links to things I think you might be interested in that were mentioned in the podcast episode: . . Get involved in the show! Send your questions and suggestions 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-198 /episode/index/show/harp-happiness/id/35495400

Practicing Harp Happiness

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