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Daily Dozen is definitely not the same. Miss Lawrence described it as for touring harpists to stretch their muscles, raising up and forward, stretching intervals. I never liked them.
I am sad to inform you that Dewey Owens died last week of leukemia. He was 81.
I didn’t mean to omit those. I use the Conditioning Exercises daily for myself, and teach them as soon as possible, and learned them very early on. The Short Stories are more advanced, of course, than the Sketches and Tiny Tales. But did you use other books or pieces? The Marie Miller transcriptions come to mind, but any other? So many Salzedo pupils come late from other instruments or as college students or adults, so the sophisticated and all-at-once approach works pretty well. Suppose you have a talented child to teach, and have many years to fill? My original teachers who were not exactly Salzedo-trained, gave me Mildred Dilling books, Betty Paret, Universal Method, and Sam Milligan. What would a Salzedo teacher have used, if anything different from what was mentioned? Miss Lawrence grew up on traditional French literature, I believe, and detested it later and loathed to teach any Bochsa or such. She would have loved to teach only modern music, were it possible. I’m not aware of any collection that is based on Salzedo method except for recent books. I am slowly gathering my own collection together.
Start doing it. Create your own approach. Don’t assume people are somehow expert because they have done that and market their approach. When you look at the healing “community,” you see now a plethora of different methods of Reiki, for one example. What kind of therapy do you want to offer through the harp? Healing through listening, through playing, or occupational therapy? Joel Andrews has been doing harp healing for years. You might get Reiki training, which you can do for free, pretty much, through the Yahoo groups, which will give you training and insight as a more-or-less legitimate healer. That strikes me as an essential foundation. You might also look at community college programs in physical therapy or music therapy. You can do hospice-type stuff as a volunteer and get training from the hospitals. Depends on where you live, I suppose. You might be able to tell that I don’t particularly endorse the idea of creating certifications for harpists that require payment for things they may be able to do naturally or with other approaches. It mostly strikes me as a way to exclude people who don’t pay for the certification, and to create a new “profession”. I have some experience with playing for elderly audiences, and in cancer and NICU wards. I think the most important training is how to emotionally handle the situations you will be in, and how to deal with the stress and intensity.
I am Saul Davis Zlatkovsky, and I am still in Philadelphia, near Rittenhouse Square, where I am arranging a festival of harp music concerts in Church of the Holy Trinity, to happen Memorial Day Weekend, 2007. The theme is honoring the centenary of Lucile Lawrence. We hope for
Maybe I’ll start offering pastries with lessons, only the last time I offered some, no-one would eat any except the father.
Rather than altering or distorting the music, I prefer to compose exercises to work out the technical challenge. I think it is important to listen to mistakes, assuming they were intentional, so one can hear and figure out what went “wrong” and how to recover from it. I like to think we are making mistakes so we know what might happen in every possible circumstance.
By grown-up’s standards, being under 50 is still considered young, so it doesn’t end at 30 or 40. It depends on who you’re talking to.
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.
