My exam piece project has reached Grade 6. We’re getting into the higher grades now and the music leaves plenty of room for interpretation and individuality.
I often hear this piece performed very slowly, but if you look at the metronome mark it should actually move along a bit.
First thing’s first, you need to be confident with your harmonics in this piece. Really make them as beautiful as you can. You’re in all flats so they should ring really nicely – Britten knew what he was doing.
The rhythm is tricky but exceedingly important, spend some time looking at the music away from the harp and really work out where each right hand chord should be played. In my opinion the entire first page is a slow build up to the climax of the piece at the top of the second page, so really play as quietly as you dare at the beginning.
There’s a section in which the left hand plays straight chords while the right hand is playing spread chords, I remember this taking a long time to master! It’s an important skill though and well worth the time invested.
The final line is also open to interpretation, some harpists stick to Britten’s exact markings in terms of the right hand glissandi, while others gliss more freely. I think this performance falls somewhere in between, trying to stick to Britten’s markings but also keeping the gliss flowing as much as possible.
If you haven’t heard the rest of the Ceremony of Carols, listen to it immediately (if you can listen to Christmas music in May). It’s atmospheric and very moving.
Do you play or teach this piece? Please leave any tips for students in the comments.
Thanks for reading.
Recently I’ve been investing much more time into my Youtube channel. My aim is to upload videos weekly so make sure you subscribe (after you’ve subscribed to this blog of course).
My first video of 2017 is a short introduction to how the harp actually works:
I get so many questions when I’m playing and gigging about how the harp works and how it’s played, so I thought this would be a good opportunity to introduce the instrument and answer some of those questions.
Moving on, the next video is a firm wedding favourite and one that is often requested – Eric Clapton’s Wonderful Tonight:
I’ve invested in some new lighting for my videos so do let me know what you think.
Next up: I’m continuing my project of recording pieces from each of the ABRSM grades. Here is my first offering from Grade 4:
I remember playing this for my Grade 4 back in the day (time to update the syllabus, perhaps?)
I’m one of those strange people that actually enjoys studies and scales. They are such a good way of measuring your progress, work on your sound, and hone your technique, which brings us nicely to my Grade 5 video:
This is another piece that I remember playing when I was doing my grades. A lot of harpists dislike Naderman but I’ve always found his music rather enjoyable – just the right amount of twee mixed in with some drama, and of course, plenty of scales and arpeggios to keep those fingers warm. This may not be the last piece by Naderman we see on this project.
So that was January on YouTube. Do you have any requests for upcoming videos? Leave me a comment and let me know. I’d love to have your input as I seek to grow my channel. I particularly enjoyed making last month’s CLOUDS video, so maybe there are more of these vlog-style videos coming up too.
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.
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).
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.
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
I am a 23 year old harpist, living and working in Manchester. I am writing this blog to document my adventures in the world of the music business.
There are many areas of my life that will be included in this blog – as a freelance musician you have to wear several different hats, each hopefully contributing to either your development or your bank balance (ideally both).
I wear lots of hats right now, including:
- concert harpist
- orchestral musician
- harp teacher
- chamber musician
- wedding harpist
- business woman
- bar staff
Having just graduated last year this is my first year being ‘out in the big wide world’ and it is scary. I am on my own and responsible for my own success or demise. My parents – who have always shown their support in every way and I will be eternally grateful for all their continued support and help – have re-assigned my bedroom into a lounge. So giving up and moving home is not an option.
This is it. Sink or Swim.