Your house is overtaken by music. Sheet music. Music playing. Humming music. So much music.
You randomly find harp strings in various bags. Your purse, a tote bag you haven’t used since that one gig last year.
A tuning key permanently lives in your car because of that time you were driving to a gig and remembered you forgot your tuning key and panicked! Thankfully, your former harp teacher lived on the way to the gig and you were able to knock on her door and beg a loaner tuning key from her (Thanks for saving the day, Cathy!).
You constantly feel guilty about all the music you have yet to learn…
…or feel guilty about the pieces you used to play but can’t anymore.
It feels weird to get into your car and not bring your harp along. Really weird. Lonely really.
Your harps are of more value than your car…and all your possessions combined.
You worry about getting rear ended not because of the damage it would cause to your car but the destruction it would cause to your harp in the back.
When people ask you what your doing this weekend you say “I’m going on a date with my harp” because it makes you sound like you have more of a social life than “I’ve got gigs.”
Your social media feeds are full of pictures of you with your harp(s). Forget about your boyfriend.
Harps are the best type of home decoration.
You cry inside when people ask you “So what exactly do you do all day?” (that’s a subject for another post!)
Some days tuning your harp is therapeutic and some days tuning is a torture exercise straight from hades.
Want to sit on a chair? Sorry, I got rid of all but one to make room for my harps.
Your fingers are constantly sore, and you have callouses to rival any trade person.
How else do you know you’re a professional harpist? Tell me below in the comments!
I figured that I am long overdue in updating this blog of mine for my family, friends, and followers. I know for all of us, it has been a long and weary past six months with the onset of the Covid-19 pandemic with no break on the horizon. I hope this email finds you in good health but I’ll say no more or I’ll risk sounding like the prelude of a Jane Austen letter!
I figured it would be good to inform everyone, if you don’t already know from social media, that I have moved to Ireland. That’s right, I’VE MOVED TO IRELAND. *Cue trumpet fanfare.* It’s hard to believe I finally get to type those words after years of dreaming. The dream has become reality and I am beyond excited despite the unusual outer circumstances of the pandemic.
I am honored to have been awarded a Fulbright award to pursue a Master’s degree in Irish Traditional Music this academic year. I won’t bore you with the details since I don’t even know them yet, but I’m settled in Maynooth and on board for wherever this wild ride of a year takes me. I feel utterly honored and blessed to be here and pursuing this crazy dream of mine. Many things are uncertain, as you can imagine, but I’m ready to be creative and make the best out of whatever comes.
Thank you, dear readers, for coming along on this adventure with me. I’ll be writing regularly with photos and stories as I go along. I hope these little updates bring a little unexpected joy and beauty into your life.
Let’s be honest, for most harpists memorizing music is hard. Really hard. “I want to give up and never memorize any piece of music ever again” hard. I’m here to tell you to know that you are not the only harpist, let alone musician, to feel that way!
To help out the general harpist population I’ve compiled a list of tips that I find useful for memorizing music in any kind of situation. Let’s all take a deep breath…memorizing music doesn’t have to be scary. Here we go…
First things first…What kind of learner are you? There are three learning styles.
You may be a tactile learner if…Playing the piece over and over allows you to recognize familiar patterns and remember which chords and notes come next.
You may be a visual learner if…You can visualize the notation while playing and work best learning off the music.
You may be an aural learner if…You can hear the music in your head even if you can’t play it and learn best by hearing a piece over and over.
After recognizing what your learning style you are better able to determine the best approach to memorizing music for you.
NOTE: To some extent everyone uses aspects of the three learning styles when memorizing but if you best learn through one particular style focus on that approach for faster results.
Suggestions For How to Approach Music Memorization
Go through your piece and focus on the patterns, the different types of chords with an emphasis on patterns and distance between your fingers.
Play the piece silently and play “block” sections with the finger placements. Sing the piece silently in your head as you do.
Note where lever or pedal changes fit in the overall structure.
Take a pencil and section the piece into parts and label each section “A” “B” “C” “D” etc.
Analyze your music and mark it up. It can be just as basic as…
What is the tempo?
What is the time signature?
What key are we in?
Are there any accidentals?
Do any themes or sections repeat themselves?
Memorize one part at a time and “stack” them together with multiple repetitions as you go along. For example: play “A” five times, then after memorizing “B” play “AB” five times. If you mess up in the middle then start the counting over. Laborious but effective.
Make a recording of your teacher playing the piece slowly. Perhaps she can say what the intervals or chords are that she is playing with the left hand.
She can also say the fingering as she goes along.
Listen to the recording over…and…over.
Sing the melody from top to bottom.
Learn sections one at a time. See “C” under Visual Learners.
Play along with the recording.
Learn to listen for patterns and qualities unique to that piece.
Final Comments and Advice
Every student will use a combination of the above techniques. But if you find something that works for you—USE it!
Be consistent with your memorizing. If it’s hard for you don’t give up! Devote a little practice time every day to specifically focusing on memorization.
Do memorize hands alone before putting them together. You will find it easier to combine the two parts once they are both solidly fixed in your brain on their own.
Overall memorization is just getting to know your piece on a very deep level. It’s really not scary, I promise!
Once memorized, you will notice things about your piece that you overlooked before because you were focusing on reading the notes. This opens up the door for further interpretation and dynamic contrast in performance!
Now it’s your turn to try out the different techniques! What worked for you, what didn’t? Feel free to leave me a comment below. I’d love to hear from you.
As I write this, I am in the throes of preparing to record my first professional solo album. I’ve very recently begun the recording process at Wild Sound Studio in Minneapolis and over the next several weeks will record twelve tracks for the album. I thought I’d invite you into my living room (virtually) and let you in on the process I’ve been experiencing this past year from deciding to record an album all the way through releasing it in this coming autumn. This is the first part of a four part series (Preparation, Recording, Post-Production, and Release), which will include my thoughts on my experience recording my debut album.
Ready? Here we go! Let’s start at the very beginning (it’s a very good place to start)…
1. Decide what kind of album you want to create
This may seem obvious but the very first preparation that needs to be done in order to record an album is to decide exactly what kind of album you wish to make. Classical? Folk-rock? Indie? Look at your own music and what you regularly perform and enjoy. Whatever it is that you find the most creatively invigorating and personally enjoyable is what you should record! Don’t worry about what you think will be “popular.” The most important thing is make something that is an expression of your own creative interests. You shouldn’t try to copy someone else’s art or change your own style to fit into what you think people will buy. Be an original!
2. Create a track list
Now that you have a plan for what kind of product you wish to make you have to decide what the right songs or tunes are for the project. Do you have a speciality or area of interest musically? That’s the best place to start. When I decided it was time for me to record my first album, I sat down and looked at my own repertoire and knew right away that I wanted to create an album of Traditional Irish music since that is what I play/perform consistently, am the most qualified in, and enjoy the most as a musician.
3. Change your mind about the songs you want to record
Have you decided on the songs you want to record? Great! I guarantee that you will change your mind regarding at least half of the songs in the next few months. When I decided on the tracks I wanted to record for my first album I had a mixture of Traditional Irish songs in English and the Irish language. By the time two months had passed the album had changed direction entirely so that all the tracks were songs in the Irish language. Who would have thought? This ties into point #1, which is to make music that you love and enjoy and not make something because you think it will be popular.
4. Learn/Arrange the Songs
Now that you have an idea of the pieces you wish to record it’s now time to learn and arrange them! Chances are if you are making an album of Celtic or Traditional Irish music you will be creating your own arrangements of songs or tunes. This is most definitely one of the most important steps of all! The most significant amount of time through the entire process should be spent on creating, recreating and fine-tuning all the tracks. This point leads us to the final step…
5. Practice, Practice, Practice
Did I mention practicing? I cannot emphasize it enough. PRACTICE, PEOPLE! You can have the best arrangements in the world but if you don’t practice them enough the next step in the process, the recording, will be a NIGHTMARE! I don’t think I can even count the hours I’ve spent preparing to record my album over the past eight months. This is the very un-glamorous part of being a professional harpist/singer. I always laugh inwardly when people ask what I do every day. Who wants to hear that you voluntarily choose to sit all alone in a small-ish room for hours on end, day in and day out, playing/singing the same pieces of music OVER and OVER until they are so ingrained you could play them in your sleep! Sounds fun, right?! But that’s what it takes to create any music worth listening to.
Suitcase (check!) Harp (check!) Camera (check!) I’m almost ready…
T-minus seventeen days until I hop on a plane and head back to Ireland for the summer. Where has time gone?
For those of you who don’t know, I learned a few months ago that I was awarded a Gaeltacht Summer Awards grant through the Ireland-United States Commission for Educational Exchange (Yes, it’s a mouthful) to study the Irish language at Oideas Gael in Glencolmcille, Co. Donegal. Along with the time I will be spending in Donegal, I am also playing harp for a choir tour of Northern Ireland during the first two weeks of June, going to a summer school for traditional music, and visiting some friends down in Waterford. Suffice to say it’s going to be a busy summer!
When I was in Northern Ireland last summer I started a blog to write about my adventures: https://harptunesandtales.wordpress.com. However, that blog is now officially moved here to my website and I will be posting updates and ramblings as frequently as I can during the summer. Please check back frequently for new posts and updates!
Below is a list of suggested pieces from Hannah’s repertoire for each part of the ceremony. This is not a comprehensive list, merely a guide from which a couple might go about choosing the music they want to make their ceremony special. See wedding ceremony music for more details about hiring Hannah to play in your wedding.
Prelude: A mixture of Classical and Celtic selections. (10-15 minutes)
Canon in D, Johannes Pachelbel
Jesu, Joy of Man’s Desiring, J.S. Bach (also recessional)
Prelude in C, Bach
Trumpet Voluntary, Jeremiah Clarke (also a lovely recessional)
Greensleeves, Trad. English
Bridal March from Lohengrin (Here Comes the Bride), R. Wagner
Prelude in C, J.S. Bach
A Time for Us, From “Romeo and Juliet,” Music by Nino Rota
Trumpet Voluntary, Jeremiah Clarke
Jesu, Joy of Man’s Desirings, J.S. Bach
Wedding March (From “A Midsummer Night’s Dream), F. Mendelssohn