Harp-related lists and groups

There have been some new additions to the various harp-related groups on Yahoo, including the addition of an all-Ontario list, so I thought I’d post the list as I have it so far here. I’ve taken off groups that no longer exist or have not been active for an extended period of time. If you know of any active harp-related discussion groups that I’m missing, just let me know!

BCHarpsOnline (British Columbia harp group)
Harplist (Currently the largest harp-related group)
Harps_UK/International (Note that while very quiet lately, this group appears to still be active.)
harpmakers
Historical Harps (newly public)
Ontario Harps (new group; membership required)
WireHarp

For other types of harp groups and communities, print journals, and so on, you can visit the Celtic Harp Page general harp links section. Suggestions for new links are always welcome!

Why I do this

My students are so cool. Every day I’m reminded of how each and every one of my students are amazing in some way.

Having taught some of my younger students for several years in a row now, I’m really getting to see them grow up. When I asked one of my returning students what extracurricular activities she was doing this year, she said ballet and curling. Is that great or what? Not exactly two activities you usually hear said in the same breath. I’m so glad kids these days don’t have the same restrictions and stigmas associated with certain activities that they used to. Girls and boys equally have a lot more freedom to choose to do whatever they want, without being unfairly judged or ridiculed as a result.

I know that there are some problems with some kids being over-saturated with activities, and stressed out by all the expectations that have been laid on them by the grownups (and other kids) around them. But that doesn’t seem to be a problem with any of my students. Almost all of them come to each lesson with a really positive attitude; they may get easily distracted sometimes, sure, or show up tired or distracted for some reason or another. But that almost always disappears as soon as we dive into the lesson.

I sometimes wonder how any teacher could rigidly try to force each student to conform to the exact same style of learning and the exact same hand position. Every single one of my students is so different; they’re all different shapes and sizes, all different ways that they learn best. We always start with a basic solid technique foundation, of course, but there are so many ways it can be modified to fit each student, without losing the main goal: having a practical and efficient way of getting around on the harp, so you can focus on creating great music without being hampered by bad habits.

But back to my students… Besides harp lessons, they’re all doing a wide variety of cool things. One of them is involved in community theatre, one of them sings in a choir; and it’s not just the kids; most of my adult students have families and full time jobs to juggle on top of everything else. It’s impossible to have a “favourite” student. All of them have their own unique approach to things, and their own way of making teaching enjoyable.

One young girl seems to have fallen in love with the harp at first sight, and is always really cheerful and enthusiastic. She even gave my harp a name – her own special name for my harp. I didn’t tell her that I already have my own name for the harp – I figure harps are kind of like cats; they can have many different names. After all, every student relates to the harp in their own way.

Another one of my students is what some might call a model student; she’s incredibly bright, quick, always really positive and polite (and I don’t mean in that scary, unnatural way that kids can be polite, like it’s something they’ve been forced to do, but completely genuine). She always practices, and seems to really enjoy the whole learning process. She’s one of those people who has the potential to be anything at all that she wants to be.

With my adult students this year, we’re dealing a lot with health issues and a tendency to really build up and retain tension, so there’s been a really strong focus on the ergonomics of harp technique. We’re doing a lot of deep breathing, and finding as many ways as we can of releasing tension. It almost feels like sometimes I’m taking on the role of a phsyical therapist! One of my students practices Tai Chi and Yoga, something we share, and we’re finding ways to incorporate the terminology and philosophy behind those practices into harp playing.

All in all, I have to say that teaching music gives back as much as it takes. It can be hard work, sometimes, but it’s so worth it. So here’s a shout out to all the music students out there, doing their best to struggle through despite all the potential setbacks and frustrations they may encounter. We don’t just teach you; we learn from you too. And whenever I feel like I’m not doing all the things I want to do, or that I’m not contributing enough to the world, I think about those moments when a student breaks into a smile when something finally clicks; when one of my younger students actually clap their hands in joy after finally playing through a whole song all by themselves. Thanks, guys. You make it worth it.

The Harp Guitar

harp guitar - copyright free image from Dover CDI thought it would be fun to periodically feature weird harps, or things that get mistaken for harps (or things with “harp” in the name that have no resemblance to harps as we know them). It’s also an easy thing to do when I’m totally bushed from gigging all day and my brain cells are functioning at minimal capacity.

Today’s feature is the harp guitar. I could go to the effort of doing a bunch of research on this elabourate and awkward-looking instrument, but there’s already a whole website dedicated to it at harpguitars.net. You can find out about the history of the harp guitar in this section.

Warning: if you try a Google image search of “weird harp pictures”, you might see some disturbing images of harp seals being clubbed. It took me a bit off guard so I just thought I’d mention it.

Speaking of trolleys and carts…

Both my gigs this past weekend were made about a thousand times easier thanks to my trusty trolley, so I thought I’d give it a little plug here. I don’t normally promote a particular product or company, but I figure there’s no harm in describing the things I use regularly that have served me well. No doubt there are other companies that make similar carts.

The one I use is the “Kart-a-Bag” folk harp cart, which I got through Sylvia Woods. You can find out more about it here. I picked mine up at the Somerset harp conference several years ago, so I didn’t have to pay for shipping to Canada (which would have probably been dreadful, especially when you add in customs). However, even if I had to pay shipping, it’s definitely worth it. It just perfectly fits my 34-string Gerhard Wanney harp in its case; the bungee cords that come attached to it just barely stretch far enough, so if you have a bigger harp you might need extensions. However, although they’re just long enough, due to the shape of the harp there’s still a fair bit of give, so I can slip in a few extra things like a folding chair, a little battery-powered amp, and/or book bag and a water bottle snugged up next to the harp. It can apparently handle up to a 300 lb load, but I’ve never come close to that.

Things I like about it:

It collapses down to a managable shape and size, and even comes with a carry bag (although the wheels on mine are usually so dirty that I tend to leave it out of its case most of the time).

It is really easy to set up (once you’ve practiced a couple of times), and even easier to collapse again. You can do a lot of the functions one-handed if absolutely necessary.

It handles off-road terrain with surprising ease. Most of the time I’ve needed to lug my harp the equivalent of a couple city blocks, it’s been down a dirt road (e.g. at the local pioneer village), through a park complete with mud (this past weekend’s folk festival), or up and down grassy or pebbly slopes (some of the resorts I play at).

Even when pushing one-handed, it’s relatively easy to control, even at a brisk walking pace. This is very important when trying to wend your way through unruly crowds of festival goers who will completely ignore you and your heavy burden, no matter what you might think about the love-the-earth granola types being kinder and gentler. I suspect they’re just distracted by all the lovely, interesting, colourful things going on around them; being one of that sort myself this is no means meant as a slur against…. oooh, look, shiny! I’ll be right back…

Ahem. Okay, back on topic. If you do a lot of regular gigging, or if you think you might ever be called upon to play somewhere without car access (which happens far, far more often than you might think), get a trolley/cart /dolly – whatever you want to call it. It might just save your life (or at least, your shoulders and your sanity).

Free Handout #1: Beginner Exercises

Harp Exercises Thumbnail - Click on picture to get printable versionClick on the picture to get a larger printable version (it usually works better if you right click and choose “save link as”, or “save target as”, and then print it from your computer later; some browsers have a hard time printing high-rez images at the right size).

These are a few easy beginner exercises that you can use to start getting those stiff fingers a little more flexible and coordinated. All linking (“walking”) exercises can be continued for a full octave (or, up the entire harp if you prefer!). Fingering inside square brackets means all fingers in the brackets should be placed before beginning to pluck the first note. The little “x” in the crossing-over exercise indicates when to cross the fourth finger under the thumb (or, when to cross the thumb over one of the other fingers).

These exercises aren’t meant to be a substitute for a proper exercise book, just something to get you started.

For lever harps, I highly recommend Deborah Friou’s “Harp Exercises for Agility and Speed”; it’s the one all my students use. It covers just about every exercise you could possibly need on a lever harp, and would be equally helpful to pedal harp players. You can get Deborah’s books at the Sylvia Woods Harp Center, Melody’s Traditional Music & Harp Shoppe, and most other harp stores.

For more free handouts, check out the Harp Center Handouts section of the Sylvia Woods website.

The Ergonomic Harpist

If I were asked to describe my approach to harp technique in one word, it would be “ergonomic”. It’s a term that many people think of being applied to computers and other things normally found around the office: keyboards, chairs, and so on. But it’s also an essential component of playing a musical instrument without doing damage to your health.

Most non-musicians don’t realize what a demanding physical experience playing an instrument can be. But those of us who’ve been doing it for a while know all too well how easy it is to overdo it. My first rule of harping, and probably the only one that I will not yeild on, is this: If it hurts, don’t do it! No matter how accomplished and confident your teacher may seem, they should never force you to do something that causes you pain or noticeable discomfort. Everyone’s hands and bodies are different, and not all techniques work for all people. The two most widely recognized pioneers of harp technique, Salzedo and Grandjany, both had unusually proportioned hands and fingers. What was right for them might not be right for you. Any good technique should be adaptable to different physical shapes and abilities.

I have met one-handed harpists, harpists living with Multiple Sclerosis, and harpists suffering from arthristis. I have taught harpists from as young as eight to as old as sixty-eight, all with different levels of strength and stamina, size of hand, length of fingers, and so on. So if you feel like you may not be “made for the harp”, take heart! Find a teacher willing to be flexible. Keep in mind that “flexible” does not equal “lazy” – you will still have to practice regularly, and be willing to make changes if they will help to improve your playing.

More advice for avoiding injury can be found in the .beginner’s tips section of the Celtic Harp Page. I would also highly recommend checking out Laurie Riley’s books: “The Harper’s Handbook” and “Your Hands, Your Music“. If you’re self-taught, be sure to pick up a good method book or instructional video. However, keep in mind that nothing can replace having a teacher. Teachers can point out your mistakes, provide encouragement, and generally keep you on the right track where books and DVD’s cannot.

If you know of any helpful pages regarding harp technique, ergonomics, repetetive strain injuries, or other related topics, feel free to let us know if the comments, below.

Welcome

Celtic harp, drawing by Tanah Haney

Welcome to the Harp Blog! An offshoot of The Celtic Harp Page, this is a place to gab about harps and harping, post beginner tips and performance advice, and share gig stories, odd harp encounters, harp tunes, pictures, events announcements, and anything else harp-related.

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Harp on!