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Well Laura, it kind of sounds like you’re already in college and aren’t necessarily looking to switch to another school.
A lot of schools have partial scholarships for harpists who play in their ensembles this way they ensure they have a harpist in the group. The idea that playing the harp automatically guarantees you a scholarship at college is really misguided but a lot of people do seem to get that idea. Harp often doesn’t get scholarships at all because it is viewed as a non-essential instrument in music programs. The big scholarships go to piano and violin because those are the instruments schools are most judged by.
That’s not to say you couldn’t get one but just to give a more realistic picture.
For myself I buy whatever I need whether it’s a piece in a collection or a single piece. For students it’s another thing entirely. Some of my students have parents who will buy a book as soon as I tell them to get it. A lot of them though are rather hard pressed and expect that whatever book they get should be enough for a long time. So for most of my students I like individual pieces because then I can give the parents a list of things to purchase once or twice a year and the pieces don’t cost as much as the book so I can probably write down one book of pieces plus a few separate solos whereas I know the parents will only show up with some of the things I’ve asked having been purchased if I write down several books because of cost. Therefore it’s helpful if I can get solos separately because otherwise these students won’t be playing those solos.
This happens sometimes. Lately I got a call from a bride who was really young. She had this way of talking that seemed really honest but was insulting. She explained she didn’t budget for music because she has relatives to play but then she didn’t realize they would have to play for the whole ceremony and that’s too much for them so she has to hire someone and she was
Well Miriam I’ve taught many adults. Some are really dedicated and practice all the time. Way more than my younger students. It’s amazing. Others kind of fool around. Of course then I sometimes have adults come for a couple lessons and then not come because something comes up and then something else and then another thing.
So I am really warm and understanding with my adult students and I am sure you are the same way. Especially because a lot of adults think it’s too late to actually do much on the instrument and while there may be some things they probably won’t do there’s a lot they can do. So I want to be really encouraging.
Then again I want to be sure that like Mr. S mentioned these people do count on your reputation if they show up on another teacher’s doorstep (and they may because they might be kind of feeling bad about all the missed lessons with you). So I do kind of make sure they see that I do expect some sort of progress, practice or not. So in a lesson where they haven’t practiced that’s fine but I don’t do the “let’s talk all lesson instead of playing” that some adults (and kids) accidently create.
When I first get an adult I can tell if they are really serious or semi-serious usually by the way they talk about the harp. If they are serious they generally have plans or goals and talk about them and they notice things about the harp like muffling or things that they might not know about yet. Like they actually pay attention to details when watching you play and they show up at your concerts.
With adults I don’t think are serious or who I can’t tell yet if they’re serious I put them on my “I won’t be surprised or upset if this person cancels or stops showing up” mental list. So I’m happy if they turn out to be committed but I’m not jumping to depend on them for income until I’ve had proof they’re going to keep coming to lessons. This works better than contracts or other things because it’s solving the root of the problem which is you expecting the adult to continue when you’re not actually sure they will.
If someone does keep cancelling or just stops taking lessons, I try to call them and be really warm even though it feels kind of like I’ve been rejected even though that’s probably not the case. I just say that they’re welcome to start taking again if they want to and that I’ve enjoyed teaching them, and to check the calendar for my performances because I’d love to see them there. Mainly this leaves the door open for them and makes sure that we don’t have awkward feelings that might keep them away from a performance or from other harp things because even if they stop taking lessons they are valuable audience members and “friends of the harp.”
Well Miriam I’ve taught many adults. Some are really dedicated and practice all the time. Way more than my younger students. It’s amazing. Others kind of fool around. Of course then I sometimes have adults come for a couple lessons and then not come because something comes up and then something else and then another thing.
So I am really warm and understanding with my adult students and I am sure you are the same way. Especially because a lot of adults think it’s too late to actually do much on the instrument and while there may be some things they probably won’t do there’s a lot they can do. So I want to be really encouraging.
Then again I want to be sure that like Mr. S mentioned these people do count on your reputation if they show up on another teacher’s doorstep (and they may because they might be kind of feeling bad about all the missed lessons with you). So I do kind of make sure they see that I do expect some sort of progress, practice or not. So in a lesson where they haven’t practiced that’s fine but I don’t do the “let’s talk all lesson instead of playing” that some adults (and kids) accidently create.
When I first get an adult I can tell if they are really serious or semi-serious usually by the way they talk about the harp. If they are serious they generally have plans or goals and talk about them and they notice things about the harp like muffling or things that they might not know about yet. Like they actually pay attention to details when watching you play and they show up at your concerts.
With adults I don’t think are serious or who I can’t tell yet if they’re serious I put them on my “I won’t be surprised or upset if this person cancels or stops showing up” mental list. So I’m happy if they turn out to be committed but I’m not jumping to depend on them for income until I’ve had proof they’re going to keep coming to lessons. This works better than contracts or other things because it’s solving the root of the problem which is you expecting the adult to continue when you’re not actually sure they will.
If someone does keep cancelling or just stops taking lessons, I try to call them and be really warm even though it feels kind of like I’ve been rejected even though that’s probably not the case. I just say that they’re welcome to start taking again if they want to and that I’ve enjoyed teaching them, and to check the calendar for my performances because I’d love to see them there. Mainly this leaves the door open for them and makes sure that we don’t have awkward feelings that might keep them away from a performance or from other harp things because even if they stop taking lessons they are valuable audience members and “friends of the harp.”
I forgot about this post! My student didn’t quit after all. She was just having a rough time with her parents and pulled it out as something to say to them. It does worry me though because obviously there is an issue on some level or she wouldn’t have pulled it out at all.
I forgot about this post! My student didn’t quit after all. She was just having a rough time with her parents and pulled it out as something to say to them. It does worry me though because obviously there is an issue on some level or she wouldn’t have pulled it out at all.
I just wiggle the pins out of my harp, kind of pushing gently on them and turning them with the tuning key until they come out. You can also ask a regulator to do it for you.
Whatever you do, don’t use anything other than your hand and the tuning key to get them out. Sometimes people say to tap gently on the pin with a hammer. Don’t do that. It’s dangerous for the harp.
If you google it a lot comes up. Also there’s a CD available through harp.com I think and also harpcenter.com called arpamarimba that’s a German duo (mother and daughter).
Well those of us who gig for a living have to play outside in sunlight or shade for work and after years and years of this I haven’t noticed anything bad happening to my harps. If you have a lot of choice about where you are playing like it sounds like you do, then that’s great because you can choose a place where you and the harp will not be in direct sunlight. I worry more about my sun exposure than the harp’s since it is not just dangerous to your skin but also really exhausting to play in the sun for a long time.
Certainly I think you shouldn’t give up on playing at the market. You should play in public a lot provided that you are prepared (I’m sure you are!) because we need as much good quality harp playing out there for the public as possible. It gets peopel interested in the harp.
If Lyra’s not able to give them to you it might be really hard to get them since they’re usually the source for out of print harp music. If you can’t find it try asking through your library for other libraries using World Catalogue. Then if anyone has a copy in a participating library you can borrow it and it will be sent to your local library.
