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I had no idea you studied with Jamet. How fortunate! When I was listing Hasselmans’ pupils, I just knew I was going to potentially offend (not that you’re offended) possible students of the other equally important harp giants that I so carelessly grouped under the heading “etc.” Jamet is by no means an “etc.” My apologies.
The reason I was trying to trace myself back to at least Bochsa is for the purpose of my FRSM (still at least three years off) written submission and Viva Voce. I’m focusing my program on music that makes the transition from late Classical to early Romantic, which also happens to be right around the time we pivot from single-action (Bochsa) to double-action (Parish-Alvars). I also just came into a double action Erard built in 1813 (three years after the double-action patent) to play some of my exam music on. So, as I say, we’re still a few years off, but I gotta do something in the time I’m not practicing, and research/reading/gathering is never a waste of time.
Thanks for your input, Carl. Impeccable and welcome resource, as always.
Well, for heaven’s sake. Not even 30 minutes, and I get the help I needed. And to be honest, I didn’t expect even one reply. Tayce, that’s fantastic! Thank you SO much. Truly, I’m grateful to you.
Oh, Heather, I’m so sorry. I know first-hand how impossible it feels sometimes to get up and get something to eat, let alone practice an instrument. I have had fibromyalgia syndrome for the past 13 years (since I was 19), and just like MS, I go through cycles. Some days/weeks/months are better than others, but your instrument NEVER stops calling to you. You want to play, but your body won’t cooperate.
You are right to focus on body awareness and biofeedback. You have to relearn how to use your body during practice. I would suggest reading a bit about the Alexander Technique as it specifically applies to musicians; for every motion or movement, your body must provide a counter movement or opposite position in order to balance out muscle usage.
Find out what temperatures do to your body. Is your condition aggravated by hot or cold? My body hates cold. It makes my pain flare horribly. So if your body responds similarly, draw a hot bath before a practice session and soak for about 15 or so minutes… long enough to raise your body’s basal temperature and improve circulation. Sometimes, I just use a large deep infrared heating pad. This is different than just a heating pad. The deep infrared penetrates about 1.5-2 inches into the surface of the body instead of just warming the skin.
Seek out any weak parts of your body and strengthen them. I, like most harpists, sit with almost no harp weight on my shoulder. Yet still, irritation in my back was always cutting my practice short. Then I bought a lumbar brace, and now I can sit and practice for much longer than before. You may need one of those braces that pull your shoulders back straight. Just find a way to supplement your muscle strength in the areas that, for whatever reason, may be lacking.
The hardest part of adjusting is going to be slowing down. When I was at my best at about age 24-25, I could jump on the harp and practice vigorously for 3 hours straight. I made SO much progress. Now, I have to practice very slowly, almost meditatively, for short bursts. Warming up with scales or arpeggios, play at half your normal speed to begin with. Feel how certain movements or arm positions affect your body. Then step away from your instrument and write down your observations. Go back to the harp and very slowly experiment with adjustments that alleviate unnecessary strain. A lot of musicians, including orchestra professionals, use so much tension in their bodies; it’s like subconsciously their muscles are trying to “squeeze” out good tone and speed. You want to take a few steps back in order to properly assess your playing habits and completely eradicate unnecessary strain, if you are to have any longevity as a harpist.
I would also recommend picking up Gerald Klickstein’s “The Musician’s Way” to help you explore this further. He talks about how one of the world’s most renown classical guitarists, John Williams (not the composer), will practice in little 20 minute sessions, then step away for 10 or so minutes and just write his observations. It’s helped me as well to lower my pain levels when practicing. I went back to simple pieces that I hadn’t played in years, like Grandjany’s “Petite Suite,” played everything at half tempo, and really tried to pick apart and strengthen my technique. Doing the same, I’m sure, will help anyone, especially those of us with added burden from chronic illness.
I hope this helps, and I sympathize with you completely. Remember that in the end, your love for playing is going to help carry you through, so do anything you can to keep your approach simple.
