Angelina Egerton

Sight-reading: Tips & Tricks

12 January 2017 No Comments

Sight-reading. Just saying the word aloud is enough to strike fear into many musicians. But, you can learn to become more confident at sight-reading, it may even become enjoyable!

Like anything else, it just takes practice. But isn’t it hard to practice sight-reading? I mean, you have to find new things to sight-read, but apart from that, it can be practised just like anything else.

I’ll split this post into two parts: tips for learning how to get better at sight-reading, and tips for while you’re in an exam and a piece of sight-reading is put in front of you.

Learning to sight-read

Start off easy:

Find something you know you will find easy to play, and off you go! Just have a go. Don’t let mistakes bother you.

Always look ahead:

Imagine someone is covering the bar you are actually playing with their hand and all you can see are the next few bars (or get someone to do this for you!) Don’t worry about what you’ve already played, just keep moving on to the next bit.

Try to not look at your hands and just stay focussed on the music:

Have you ever tried to play with your eyes closed? Give it a go! The more confidence you have letting your hands find the right notes means the more you can look at the music you are trying to play, which gives you a better chance of doing a good job!

Remember that the notes are only part of the end product:

There is so much more to sight-reading than getting the right notes. What is the performance direction? Do you want it to sound happy or sad? What speed should it go? These things are just as important as the notes themselves, so even if the notes aren’t perfect, try to get into the spirit of the music.

Keep going:

Don’t stop to correct mistakes, ever!

Find someone better than you and play duets together:

My piano sight-reading is better than it ever used to be and it is because I love playing duets with my dad! Duets are a fun way to improve sight-reading and playing with another person forces you to keep going no matter what.

If in doubt, leave it out:

It’s better to leave a few notes out here and there if it means the music will be more fluent and the dynamics and performance directions will still be there. If you spot a tricky passage looming, try and pick out the melody and the bass-line. As your sight-reading improves you’ll be able to put a higher percentage of the notes in.

Sight-read music you have heard before:

Who is your favourite band, singer or songwriter? Buy some of their sheet music and use it for sight-reading practice! The options are endless, there are musicals, shows, tv theme-tunes, even hymns if you’re into that sort of thing. Literally anything you enjoy. Knowing how it’s supposed to go will also make you want to keep going and at least get the melody correct.

Lastly, try not to think of sight-reading as something you have to do to pass your exam. It is so much more than that. It is a fun way to improve your musicianship and play with other musicians, it is so rewarding to put a piece you love on the stand and be able to have a go immediately.

Having said that, here are just a few extra tips for when you’re in the exam and faced with sight-reading.

In the Exam

Leave it until after your pieces:

I find it helpful to leave sight-reading until near the end of the exam, then you know you’ll be fully warmed up, and if you feel like the sight-reading goes badly it won’t affect your confidence for your scales and pieces, because they’ll be done already!

Notice the key signature!

A simple thing, I know, but please make a mental note of the key signature and stick to it! Forgetting your accidentals is frustrating and embarrassing.

Practice tricky bits:

You may only have 30 seconds, but have a go at any difficult passages, separate hands if you want. Don’t just stare blankly at the music for half a minute, have a go! The more you play during this time, the better (in my opinion).

Confidence!

Play it like you’ve played it lots of times before. If you make a mistake (and let’s face it, we all do) just act like nothing happened and carry on. Pretend that’s how you intended it to sound. Sight-reading is still a performance, so make it look and sound like one.

Dynamics, Rhythm, Performance Directions:

These aspects are just as important as the notes so bring them out as much as you can. Convince the examiner that you can do it.

I really hope these pointers are helpful for you and/or your students. If you have any other tips, please do leave a comment and share the wisdom. Personally I quite enjoy sight-reading but I realise that probably makes me a bit odd.

Duets anyone?

p.s. Don’t forget to pop your email in the box to subscribe to this blog and receive future posts in your inbox (never more than once a week).

p.p.s. Infographic made by Tim Egerton

Career, Lifestyle, Music

2017 Intentions

5 January 2017 No Comments

By the time I hit Publish on this post, it will be 2017. But for now, as I lie in bed with Spyder the cat sleeping on my lap, and a glass of Shiraz and various chocolate baked goods next to me, I’m enjoying the final few days of 2016.

But as well as relaxing and switching off, I’ve also been looking ahead to 2017 and thinking about what I’d like to achieve in this coming year.

As a general rule, I think New Year’s Resolutions are bad news as a ridiculously high percentage of them fail, which makes us feel like failures.

Not a good way to start the year.

I believe any day is a good day to set some goals and intentions for the future, but hey, it’s the new year, so instead of strict resolutions that are guaranteed to make me feel like an idiot when I fail, here are some intentions of things I’d like to work towards this year.

Quit my minimum wage, part-time job

So last August I freaked out about money, and started working in retail, part-time. Now, I want to schedule this post for Thursday, 5th January, that means I will be handing in my notice on Wednesday, 4th January. Scary! But (and I will probably dedicate a future post to this point) time is worth so much more than £7.20 an hour. Please know that I’m not saying my time is worth more than anyone else’s – everyone’s time is worth more than this.

I could teach a few more hours a week and make more, and I would be so much happier. Even just looking for other work would be a better use of my time. Don’t get me wrong, I love my coworkers, but I am not cut out for retail. I am a musician, and while I have this safety net I will always feel like I’m not doing myself justice.

I refuse to stay simply because I’m too scared that I need it. I will find something better. I will. I have to.

Practice the harp 7 hours every week

This may seem pathetically low to my musician pals who probably do two or three times that, but I’m starting easy so I can increase the hours once I’m back in the swing of it (see my above mini-rant on New Year’s Resolutions). Due to the nature of freelancing, daily practice targets don’t seem to work for me any more, I’m not going to practice for two hours before heading off to a gig to play background music all night. Instead I find it much easier to schedule in practice for the whole week, so I can see what the next seven days are going to look like at a glance. See also my previous post: How to Practice: Schedule it in

The trap I fall into (and please comment if this is you too!) is, if I don’t have many gigs coming up, or, if I only have background gigs for a few weeks, I ease off the practice.

That has to change in 2017.

As well as practising for upcoming gigs, I will be investing much more time into my YouTube channel and to generally building up my repertoire ready for competitions/auditions/potential recordings.

Watch out 2017 – I will be upping my game!

Keep hunting for more work, even in the good times

I may have mentioned this before, but it’s tempting to lay off looking for work when you have plenty of things in the diary. But what happens when empty months loom ahead and you don’t have any sort of safety net to fall back on? Pupils cancel, gig organisers find other players and suddenly your income dries up.

Potential nightmare.

In 2017 I will keep hustling, even in the busy times. Gigs and teaching will be my main focus. I’d rather sometimes be crazily busy if it means I have enough to see me through slower periods.

Sure, freelancing can be hard, but it’s also amazing and I am completely in love with it. I love being my own boss, having the power to find my own work and decide how much I earn. I’m not ready to give that up yet.

Here’s to a prosperous, exciting and rewarding 2017!

p.s. what goals and intentions are you setting for 2017? Leave me a comment and let me know. Also, pop your email in the box to subscribe and receive future posts in your inbox (never more than once a week).

Career, Music, Places

HARP DIARY | Mytholmroyd & Stockport

15 December 2016 No Comments

Last weekend was another packed weekend with gigs on both Friday and Saturday. This December is proving to be one of the busiest ever and I have to say that I’m loving being busy with harp-related activities:

Friday’s gig was so last minute – but I suppose that’s often the case with funerals. The church was in Mytholmroyd and was flooded last year, so has had a complete re-furb and is all pretty new. My job was simple: a touch of background music while friends and family gathered, and then Debussy’s Clair de Lune during communion. I do find funerals difficult to play for though – they are never easy are they?

Saturday meant Stockport Symphony Orchestra, and a lot of notes. And I do I mean a lot! I’d been sent the music a week or so before the concert with a little note from the other harpist saying ‘impossible bit! Play what you can!’ I personally hate being told something is impossible so dutifully worked on the notes until I could play them, only to find that once I was in the rehearsal it went about triple the speed I had been practising. Oops. It was unfortunately a case of ‘grab any strings you can’. You can see from the video that the inside of the Town Hall is very pretty – and the orchestra had made it suitably Christmassy by putting tinsel on the music stands and several instruments. Christmas hats also featured in the second half of the concert. Unfortunately I missed that memo.

So another busy weekend! Do check out the video and subscribe to my YouTube channel for more videos of my harpy adventures. Please also sign up to receive these posts in your inbox by popping your email address in the box when asked.

Watch this space for next week’s video and post – it’s going to be a good one!

Career, Music, Places

HARP DIARY | GIGS ALL WEEKEND

9 December 2016 No Comments

Last weekend was a busy one. As well as having gigs on Thursday, Friday and Saturday, I was busy making a new video too:

If you have yet to visit Don Giovanni’s restaurant in Manchester city centre – make it a top priority. It’s been one of my favourite restaurants for as long as I’ve lived in Manchester (longer than I care to admit). Although I will say that playing whilst hungry is not a good idea when you are literally surrounded by the sight and smell of your favourite food (garlic bread).

Friday’s wedding in Lymm was a relatively short gig as I was only playing for the ceremony. Big congratulations to Amy and Peter for a beautiful day. Amy’s dress was stunning and took up the whole aisle. I actually thought the staff were kidding when they said I would have to move my harp to make way for The Dress.

Saturday’s gig was an orchestral concert in Southport. I mention in the video but I want to say here as well that, after learning the cadenza from Tchaikovsky’s Waltz of the Flowers years and years ago, playing it with an orchestra is always such a treat. It makes me so happy. What also made me happy was the children’s choir who were also performing. To see them utterly mesmerised by the music was absolutely wonderful. Hopefully the orchestra will have inspired them to carry on with music and to keep learning.

December 2016 is shaping up to be one of the busiest ever. Watch this space for more exciting projects, videos and gigs.

To get my posts in your inbox (never more that once a week), enter your email in the Subscribe box when it appears. Also, don’t forget to subscribe to my YouTube channel, if you’re into that sort of thing.

Cheerio for now!

Music

How to Practice: Schedule it in

10 November 2016 No Comments

If you’re anything like me, sometimes it’s hard to practice. Some days, the motivation just isn’t there, it just seems like too much. So we end up procrastinating and putting it off until eventually the day is over and it’s too late (who else does this?)

I think that the reason for this is the fact that practice – good quality practice – is mentally tiring. You’re always thinking, always trying to improve, actively looking for imperfections and then trying to iron them out. It’s not easy! It takes effort. That’s why I think it’s hard to get started sometimes.

So I’d like to use this post to make a list of things that seem to help me to practice (even when I don’t want to). If you have any of your own tips please leave them in the comments – let’s help each other with this.

Find what time works best for YOU

For me, it’s first thing in the morning, before I’ve had chance to get distracted by emails and other commitments. Straight after breakfast, sit down and play. I find that I focus much better in the morning and practice is much more productive (in fact, I’d go as far as saying it’s probably twice as effective as afternoon or evening practice).

I realise that with family and work commitments, morning practice isn’t always possible, but even if it’s a couple of days a week, morning practice could make a massive difference to your overall progress. Give it a try.

Set a weekly practice target

We all have busy, crazy days where practice just ain’t gonna happen. Let’s not beat ourselves up about it. Instead, set a weekly target of how much practice would be ideal and try and stick to it. Start small, how about four hours a week? If you get to the end of the week and find you want to do more, increase it. If you find your target was way too high and you’re feeling guilty for missing your target, relax a little and find an amount that works for you. If your practice is good quality, you may not need to do as much as you think.

Schedule your practice in for the week

So you’ve decided how much practice you need to do this week, now let’s schedule it in. Ahh I love a good schedule and I’ve written about this subject before. But trust me on this. Schedule your practice in and you remove the guilt of always feeling like you ‘should be practising’. Turn it into a commitment – you wouldn’t be late for a coffee date with your bestie or a flight to go somewhere exciting, so don’t be late for practice. Show up, get it done, and then reward yourself…

Reward yourself for staying on track

I’m still not very good at this, but there are lots of ways to reward yourself if you are really struggling to get your practice done. Obviously improving your playing is a reward in itself but thinking more short-term – when you hit your practice goal for the week reward yourself with a treat. Fancy hot chocolate with mashmallows and whipped cream? Watching your favourite tv show? Buying some new music? Having a super-long bath with fancy oils and a glass of bubbly? Whatever you fancy, if it’ll make you do your practice, it’ll be worth it.

Set specific targets for each session

Look at what’s coming up in your diary. Any gigs in the next six weeks should be your priority. If you’re just playing for a hobby, why not set yourself a deadline of when you want a piece to be ready for? Your next lesson is an excellent goal to work towards and gosh I miss that weekly lesson to kick my behind into gear and focus my mind on what I need to improve.

Have a goal for each hour of practice. Even if it’s just ‘I want to play the first line of my piece from memory’ or ‘I want to be able to play fluently at x speed with the metronome’ or ‘I want the left hand to be smooth in this section’, set a target so you’re not just playing a piece through and hoping it’ll get better. Focus on the bits you can’t yet play and practice them until you can’t get them wrong (practising until it’s correct is not enough – practice starts when it’s correct). Whatever you’re working on, see if you can play it ten times correctly before moving on – if you make a mistake on the ninth time, it’s back to the start for you (sorry).

So there we have just a few tips on how to improve your practice – if you have any thoughts or anything to add please do comment and let me know what you think. Or at least let me know that I’m not the only musician out there who sometimes doesn’t want to practice!

As ever, thanks very much for reading.

Career, Music

What I’m Practising: November 2016

3 November 2016 No Comments

Here we are in the best month of the year (birthday month) and I think it’s high time for another ‘What I’m Practising’.

I feel very spoilt this month as I have plenty of lovely things to be getting on with, yet it’s not so much that I’m feeling overwhelmed – a good balance.

I’m currently working on some solo repertoire for a gig in Halifax on the 9th of November. Solo gigs are the perfect opportunity to polish up old favourites and maybe challenge yourself to learn something new too. As I’m very keen to have enough music to fill the required time I’ve actually ended up with too many pieces and have had to cut one thing out of my programme. Sorry Grandjany – your fantasie will be getting an airing soon, but not next week. The pieces that made the cut are Watching the Wheat by John Thomas (apologies for the ancient video but check out my tan! Thanks Italy), Bach-Grandjany Etude 12 and Debussy’s Clair de Lune.

The 9th will be one of those wonderful gigs where dinner is provided, and I get to bring along a guest for harp-help and moral support too. It’s highly likely I’ll be posting all about it on Instagram so follow me there for updates.

Next up, an orchestral gig in Todmorden on Saturday, 12th November (also known as the day after my birthday). The rep is Berlioz’s Symphonie Fantastique – one of my absolute favourite orchestral parts. Have a listen to the second movement (the harpy one), conducted here by Leonard Bernstein.

So those are the main players in my practice at the moment. Good times! Other gigs looming are mainly background music and weddings – so that’s nicely under control too.

Thanks for reading and have a lovely November all!

Career, Music

Orchestral Etiquette: how to get conductors to like you

23 June 2016 No Comments

You think being excellent at your instrument automatically makes you an asset to your orchestra?

Well… not necessarily.

I started playing with orchestras as a child, going away for week-long orchestral courses for IAPS and NSSO. These early experiences of playing in an orchestra are absolutely fantastic and get you into some great habits. As a young harpist, I was lucky to receive guidance from many amazing harpists – all of whom I still know and respect today (Honor, Gabriella, Eira, Rachel, Georgina and Anita to name just a few).

The following is a list of some of the things I’ve learned about playing in orchestras, if you are new to orchestral playing, following these tips will certainly help you make a good impression.

If some of these seem stupidly obvious, please forgive me, it’s my attempt at being thorough. Please know that this isn’t me being ‘holier than thou’ – believe me I’ve often fallen short of these standards. But I believe this is what we should all strive for.

Being on time is not good enough

First thing’s first. If a rehearsal starts at 10am, turning up at 10am means you are late and inconveniencing the conductor. I’d recommend if you have a large instrument (harp or percussion), aim to arrive AN HOUR before the starting time of the rehearsal. Everyone else, half an hour.

Hear me out here.

Arriving sufficiently early means you have time to find somewhere to park, unload, sort any potential disasters, find where you are going, settle in and tune before wind and brass start warming up, and maybe even grab a coffee too. By the time 10am rolls around, you’re relaxed, warmed up, caffeinated, and good to go. Plus, with traffic and the (very real) possibility of getting lost, we often arrive later than we expect – so this plan at least gives a good margin for error

No chatting, NO PHONES, no reading, unless the orchestra is rehearsing a movement you’re not in.

I get it, you’re not playing for a hundred bars and you need the gossip from last night. Maybe just send a quick text to see what’s going on.

No.

Conductors see everything and being on your phone in a rehearsal is unprofessional and rude. Just don’t do it. If you’re not playing for a whole movement that’s perhaps different but in general, keep in off, in your bag, away from you so there’s no temptation. Personally, during movements I’m not in a prefer a good book or a crossword/sudoku.

Whispering and chatting to your deskie while the conductor is talking is also a no-no, it’s obvious and distracting to others.

Tune quickly and quietly, when it’s your turn, and stop playing when you are in tune.

Oh, the joys of getting an orchestra in tune. Harpists, sit back and hope that you tuned to the same A that the oboist is now playing – personally I prefer 440 Hz but different orchestras might do things differently (441 or in some places even 442 *shudder*). Everyone else, tune when directed to do so, but please do it as quietly as you can (so as to be considerate to the players around you who are also tuning) and stop playing as soon as you are in tune – to make it easier for those still tuning.

Practise the music beforehand

I hope this one is obvious, particularly for harpists. If you can get your hands on the music in advance, do it! What helps me a lot is finding the score online (try imslp.org) and then listening to it on spotify. Notice any tricky or solo passages and work on those. Mark up your part as necessary. The better you know the music, the better prepared you are on the day. Preparation is key and no one wants to get caught out.

Be prepared

Have a specific bag that you bring with you to rehearsals, or keep these bits in your instrument case. A couple of 2B pencils (darker lead and easier to rub out), a wire stand in case there aren’t any at the venue, and a folding light just in case the light is poor for the concert.

Depending on your instrument of course you will need other bits and pieces, for me, I take my gig bag, the contents of which I list here.

Having these bits with you just puts your mind at ease that you won’t be caught out. It’s embarrassing to not have a pencil when you need to mark important instructions (cuts, repeats etc.)

Always, always, count.

So you’re not playing for a hundred bars, cry me a river and just make sure you count. All the time. SO many times I’ve been counting for what feels like hundreds of bars only for the conductor to stop just before I come in. Classic. But it’s still useful. You learn and can note down any important cues and get so much more of a feel for the music this way – and ultimately – that will add to your confidence when it comes to the performance. You’ll know exactly where to come in – and the conductor will love you.

Never rely on getting a cue from the conductor.

I say this with love, I really do. Conductors have so much to think about I don’t know how they do what they do. They won’t always be able to bring you in for your entry. This is why you need to count 100% of the time. Still WATCH the conductor at all times, but don’t be afraid to come in if they don’t give you a cue.

Harpists and other lone instruments: if you are not sure about your entry, come in anyway, if it’s wrong, it can be addressed, if it’s right, great work! Have the confidence to just come in, even if you’re not completely sure where you are. This comes with time and experience.

After a concert, sit when the leader sits, leave only when the leader leaves.

All this bowing, clapping, and standing after a concert has finished can seem silly, I mean, some of us actually have homes to go to, homes that are really far away. If in doubt, do what the leader does, when they sit, you sit, when they have left the stage, you can leave the stage.

Just don’t actually bow, you’ll feel ridiculous and you’ll be the only one. Smile at the audience and stand up straight, act like you are proud of what just happened.

Long Black is more professional that All Black.

Ladies, when it comes to concert clothes, let’s keep it decent. You don’t want the audience thinking you must be going clubbing right after the concert. This is less of an issue in winter, when church concerts make you want to put at least ten layers on as well as a hot water bottle and mittens.

But seriously, smart, professional, and long is best in my opinion. No miniskirts. ESPECIALLY if you straddle your instrument (I’m looking at you, cellists and harpists).

I used to love flouncing around in a black ball-gown at every orchestral gig I did. Nowadays I prefer smart black trousers, a black plain top and a black cardigan for smaller concerts and I keep the dresses for the bigger concerts halls and solo gigs.

So there you have it! Just a few tips to help make a good impression on your colleagues at orchestral gigs. Thanks for reading and I hope you find them useful.

Do you have any others that I’ve missed? Leave them in the comments below.

Career, Music

What I’m Practising: February 2016

25 February 2016 No Comments

After the relative quiet of January, there’s a lot to be getting on with this month.

When I’m practising, I like to look ahead in my diary and see what orchestral gigs are coming up in the next six weeks or so, and then work on the music for those things. Background gigs don’t need specific practice unless there are special requests that I need to learn. Solo recitals will obviously need more than six weeks too.

I like to spend the first half an hour warming up. Typically this will involve exercises and Bach. I’ve been really enjoying revisiting the Fugue I played for my Final Recital back in 2011:

I find that starting my practice in this way really helps me focus and get into the zone before getting my teeth into new stuff.

The main concert I’m practising for is in March in Chesterfield. Lots of English music is on the programme, and a few pieces I’ve actually never done before:

We are playing a different arrangement of Elgar’s Pomp and Circumstance, which feels really strange! I know the traditional harp part so well that it seems weird to learn a different part to the same piece…

I’ve also been getting back into the habit of daily piano practice…

Up until recently the most piano playing I would do is sight-reading through duets with my dad when I visit my parents in York. I still do that of course but I have been loving getting back into regular practice.

I could do with ideas for new repertoire to learn on the piano, as I’ve been doing the same four Czerny etudes for about ten years! Please comment below with suggestions. Am really enjoying clattering through the last movement of Shostakovich’s 2nd Piano Concerto, Rachmaninov’s Prelude in D major and Chopin’s Nocturne in E flat.

I’d like to do more duets, and I’d like some piano lessons. I will investigate and report back next month.

Career, Music

January 2016 Gigs

28 January 2016 No Comments

Only a couple of gigs to report on this month. Both background gigs. The first was at Bolton’s Museum and Art Gallery – a drinks reception for KBL Solicitors. It got a write up online that you can read here.

I have to say I was looked after so well in Bolton, I was given a plate of delicious canapés and everyone always made sure I had a soft drink of some sort. That makes such a difference. I often have to travel to somewhere totally unfamiliar, greet people I’ve never met or spoken to before so little things like food and somewhere to change my clothes really make a huge difference.

The next gig was down at Alton Towers Conference Centre. This was an unusual event. Firstly, I’ve never been to Alton Towers before. Yep. Never. I had no idea that it’s actually in the middle of nowhere! It was already dark when I arrived and I hadn’t seen another car for several miles (the same happened on the way home, quite spooky really). Oh, and the building seemed deserted when I arrived, walking down empty corridors in a strange building after driving down empty roads in the dark for ages is so weird!

Anyway, I did eventually find where the dinner was taking place and wow, it looked pretty cool:

The whole evening had an Enchanted Forest theme, and I wish I could have taken pictures of the guests – a lot of effort went into the costumes! Everyone was there, chimney-sweeps, Snow White, Aladdin, Captain Hook, it was crazy!

So that’s pretty much it when it comes to gigs this month. Luckily I had loads of work in December, and because of the way I now organise myself financially I’ve been able to keep paying myself each week as usual. Looking back on previous January blog posts, it’s interesting to see how things have levelled themselves out now. No panicking if a gig doesn’t pay for a while, not too much stress if there’s a quiet time with not many gigs, hey, they’re pouring in now! I guess that, after freelancing for over four years now, I’m learning that it’s all going to be ok. There is work out there. There are jobs out there. There are opportunities out there. And I intend to grasp all of the above with both hands.

Music

What I’m Practising: January 2016

7 January 2016 No Comments

January is a weird month.

As usual I seem to have very few gigs and end up praying that the money I made in December will see me through to February, when people seem to start doing stuff again, getting married for example.

So this year I’m making the most of this ‘time off’ by learning some new repertoire. Does anyone else find it hard to learn new pieces after graduating? Please tell me I’m not the only one! Without the regular weekly lesson and the fear of a bad performance in front of your peers, where is the motivation to learn something new from scratch?

Well, that changes in 2016. I’ve never properly learned the Britten Suite for harp. I can’t believe I allowed this fantastic piece to pass me by until now. I’m focussing on the first movement this month. It’s an awesome piece, and Britten is a real favourite of mine.

I have also started a new Bach-Grandjany Etude, with the ultimate aim of having mastered each of the 12 studies in the book. The new one is an arrangement of the Allemande from the second violin Partita and so far I love it. But what’s not to love? It’s Bach for crying out loud, arranged by Grandjany – arguably the forefather of modern harp playing. The ultimate dream team.

Lastly, as some light relief, I’m polishing Guitare by Hasselmans. I’ve started this before but never really polished it up to performance standard. It’s not the most challenging piece in the world, but it’ll fit nicely into my background music repertoire and is nice enough to listen to. It’ll be one that gets performed a lot as it’s very charming and ‘Spanishy’.

Having had quite a big break from the harp over Christmas and New Year, it’s refreshing to go right back to the start and jump in with some new pieces. The routine of doing each hand separately, in small sections, slowly until it’s comfortable has been the routine my whole life, as long as I can remember, since starting the piano at the age of three. I know I can do it, it’s what I do.

I used to hate practising. There, I said it. But now I love it. I think that change has to do with the fact that when I sit down at the harp, all I need to think about is the harp. Maybe it’s like meditating, or just being mindful, but it refreshes the brain and the spirit. Even if everything else in life is not going the way I was expecting, I can sit down and play and it feels normal, comfortable, predictable.

Musicians: what are you practising this month? Any musical goals or new year’s resolutions? How are they going? Let me know in the comments.

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