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A variation on that idea, that really helps those who are easily distracted, is to take blank paper, and cut out a space for each practice spot, so you only see what you are working on. You can fairly easily make two for each half of each system, as there are usually not that many on each page.
Well, I think there has to be an age at which practice becomes independent of the parent’s aid, depending on the child’s ability to remember instruction and practice well. I’m not saying they shouldn’t help them stay interested and focused, but it seems to me it should be a private activity, just like lessons. It depends on the characters involved, motivations and dependency. I saw a mother who acted like a classic stage mother, talked through 75 percent of the lessons, made career decisions for her teen, even though she really knew nothing about music. Here was a student who was caught in a dependency, smothered, and placed on a track not necessarily best for her, or so it seemed, as she did not communicate very directly.
I avoid the aforementioned problems by teaching students to practice everything, easy or difficult. If they learn to start beat by beat, then measure by measure, making sure everything is correct and musical, and linked, then there are no extreme problem spots. Learning to break things down is essential. It also eases memorization. I tell students not to count each repetition in terms of the music’s progress, for you must do as many as it takes to improve, but to look at how they are changing with each repetition, how their focus improves, and everything else. Using external devices for counting reinforces the external, but the internal progress should be the focus. Nevertheless, one does lose count. I used to use an abacus and slide the beads over. Empty, thoughtless repetition does not lead to the most effective progress, though it may strengthen. If the students learn to repeat exercises, simple ones like four-note scales, and focus on the internal aspect and improvement, then it will be easier with repertoire. And you do find that each repetition has its own quality, the fifth and sixth repetitions are quite different from each other, and it begins to lock in after seven, and eight, nine, ten reinforce it. When it comes naturally, then you can practice longer segments. This is how I practice today, when I’m good, and when I’m bad, I just read through stuff. So it is as important for the professional as the student, and if I had learned this way early on, who knows where I’d be today? The mind is a powerful thing to harness, and a terrible thing to waste. I remind myself of Jennifer Hoult, who was the best student by far, when I entered Manhattan School of Music, and who had terrific concentration and could learn very complex music extremely well. I am easily distracted by environment, and only achieved ideal practice in places like Tanglewood and Camden, Maine, therefore my insistence on quiet, cell-like rooms for practice. Well, maybe a window for light and air. There’s nothing like facing up to just you and the harp and even blank walls. Then there is nothing but what you accomplish. The pride and strength one has in what one has grown to do and achieve is a wonderful thing.
It is interesting to note the difference between students who rely on talent alone and those who work diligently.Yes, I absolutely spend time on how they should practice. It is up to them to implement it. I know I didn’t when I was young. I think it is important for students to have private space to practice in, free of disruptions, distractions, and Mom listening to every note. Too bad so few houses can provide this, especially these new kinds where everything is open.
My point wasn’t that there was a harp department, but one which has a music department, and is Christian, which West Chester certainly is not!
Since you mention the Salzedo method, there are several Christian-type colleges you could attend where I could be your teacher in this area: Villanova University, Immaculata, and several others. I would also recommend studying with Emily Halpern Lewis at Gordon College in the Boston area.
Well, gee, people usually want their nails to grow and take supplements to help it, so I guess a poor diet would slow them down. Or use clippers instead of a file. I like to bite my nails.
I just received the mailing from the society today, asking for nominations. It actually does explain somewhat how things are done and decided.
It might help, but the way the Society goes, I tend to think the answers lie in the top leadership. But who is that anyway? Who is the new president? Where is the next conference? Who really has any say in what they do?
I doubt there’s any point in sending it. Do you really think they will change anything? So many repertoire choices are questionable, and nothing is more questionable in my mind than the age categories. It is commendable to include contemporary music, but tastes differ so much. Judy Loman apparently likes Weinzweig’s music. He was a leading Canadian composer, by the way. I think a good modern piece is Continuum by Lalo Shifrin. It develops technique, it has an esthetic, it is easy to understand as art (sound as color streams) and is not terribly hard to play. Perhaps if more people could have input on the repertoire choices it would be better. Unfortunately, it has tended to stay in the same hands for decade upon decade.
Here are some general suggestions, without knowing the level of your students:
Bach: Bourree
Handel: Theme and Variations, Passacaglia
Haydn: Theme and Variations
Dussek: Sonatinas and Sonata
Solos for the Harp Player: Pavane, Debussy Arabesque, Corell and Rameau pieces, Durand Chaconne
Salzedo: Preludes for Beginners, pieces from Art of Modulating, Suite of Eight Dances, Preludes Intimes, Chanson Chagrine, Fraicheur
Grandjany: Frere Jacques, Automne
Owens: Six Pieces for Harp
Ibert: Reflets dans l’eau, Scherzetto (didn’t
