Barbara W. Lepke-Sims, freelance harpist and teacher at Colorado Christian University and Regis University Denver, Colo.
Barbara W. Lepke-Sims, freelance harpist and teacher at Colorado Christian University and Regis University
Denver, Colo.

Bottom line: I find a replacement for the gig. But in order to do that, it’s critical to lay the groundwork long before you need a sub. I think when you become a professional freelance harpist, it is important to build relationships with other harpists. As you nurture these relationships and build trust with other harpists, you will know whom to call in an emergency situation. I have several “go to” harp friends. We respect each other and trust recommending each other for gigs when we are not able to play a harp job for whatever reason.

In this age of technology where brides and other potential customers are able to make comments online regarding your services as a harpist, it is imperative that your business practices be impeccable. This means that you always need to be early to the gig, be very reliable, be completely prepared, and play well.

If you have been conscientious about building relationships with other harpists whom you can trust and growing your reputation as a harpist who has integrity and is also reliable, then if you wake up one day and are too ill to play, you will already have your network of harpists to call to sub for you.

But what if you do not have a network of friends to call? As a teacher, I would recommend an advanced student and explain to the client that the replacement is a student and refund part of their money. If I could not find a substitute no matter what (which has never happened), then I would completely refund the money, deposit and all. Your reputation is the most important service you are selling, besides the actual playing of the harp. People are “buying” your reputation, just as one buys any other product. If you produce a good product (i.e., your harp playing) and provide excellent customer service (even if it means you have to refund the money because you are ill), then the client will be more understanding.

To quote Warren Buffet, “It takes 20 years to build a reputation and five minutes to ruin it. If you think about that, you’ll do things differently.”

—Barbara W. Lepke-Sims


Louise Trotter, freelance harpist, composer, arranger, and frequent workshop clinician Houston, Texas
Louise Trotter, freelance harpist, composer, arranger, and frequent workshop clinician
Houston, Texas

What do you do if you wake up the day of the gig and find you physically can’t go? I always have a fear this might happen to me, but luckily it has not.

The closest I came to this situation was when I was having thumb and wrist pain with a three-hour gig coming up. I called the person in charge of the open house to ask if it would be acceptable if I brought along a harpist friend to play one of the hours for me, to lighten my exertion. He did not accept the idea at all and was insistent that I do it all myself. I did, but I used an amplifier so I could pull lighter on the strings and I was able to play the job.

The plan B that I always have in mind is to have one or more subs on my list who are competent to fill in for me. If a harpist is not available, I have a guitarist friend on my sub list, as well as a pianist. I get names from the Musicians’ Union book. If a piano is not available, most of the pianists have an electric keyboard set-up.

The main thing is not to leave the host without live entertainment. If it all falls through and I cannot find anyone to fill in, of course I refund all of the client’s money.

—Louise Trotter


Cheryl Losey, principal harpist of the Sarasota Orchestra and prizewinner in numerous national and international competitions Sarasota, Fla.
Cheryl Losey, principal harpist of the Sarasota Orchestra and prizewinner in numerous national and international competitions
Sarasota, Fla.

Through numerous performances I’ve played while ill, it has surprised me what adrenaline can do to get you through! Unfortunately, I have had my share of health mishaps, everything from a finger slammed in a door, to throwing up all night, to a broken toe. But I have yet to call in sick for a performance with my orchestra.

For the finger-slammed-in-door mishap, I taped up my fingertip and played the recital, bleeding and all, but I made it through the performance. After the throwing-up-all-night incident, I played Introduction et Allegro on some heavy anti-nausea meds. I was so focused on physically making it through, that I forgot to be nervous! When I broke my toe, it ended up being my one performance as a barefoot harpist!

If I have prepared solidly for a performance, I must trust myself to follow through with it, even if I am feeling less than 100 percent. My general rule is that if the performance is something that isn’t realistic for a sub and I would feel badly asking a colleague to cover it (e.g., the music is difficult or memorized, no rehearsal, etc.), then I do everything in my power to play. Then I go home and immediately go to bed! •

—Cheryl Losey