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Unless you do a lot of improvisation and can make a tune last for 15 minutes, a rough estimate is to count on 3 minutes per tune and make sets of 45 minutes to an hour.
It’s not uncommon for a harpist to stay on a gig after cocktails, setting up near the bathrooms while a band plays the reception.
In thinking about the earliest examples a beginning harpist would encounter for using this sequential placement, I’ve
perhaps too wordy to be an axiom but:
“Deliberate Practice: An activity that’s explicitly intended to improve performance, that reaches for objectives just beyond one’s level of competence, provides feedback on results and involves high levels of repetition.”
I apologize to the author of that quote, whose name I didn’t write down when I
I advise my clients that overtime on a ceremony is at the discression of the musician (who wants a harp being wheeled out during their vows, or a recessional sans music?), but overtime for any reception is at the discression of the client.
I had just touched on the notion of talent not mattering very much in a conversation last night, and this is a good opportunity to flesh that out.
I think any situation for a musician: studying with a teacher capable of developing a solid foundation, being accepted into a conservatory, playing at a relative’s wedding, playing with a community orchestra, sustaining a freelance career in a large city, touring as a world class solist, etc.. is like entering an amusement park ride.
I imagine that on any instrument, and at any level, there are teachers who fail to create happy, healthy, productive musicians.
I imagine that on any instrument, and at any level, there are teachers who fail to create happy, healthy, productive musicians.
I imagine that on any instrument, and at any level, there are teachers who fail to create happy, healthy, productive musicians.
