February is here!

Hello and happy Monday to you! I’m actually writing this on Sunday evening, so it’ll be ready to go live on Monday evening as I’ll be playing in Leeds (more on that later perhaps).

But firstly, we made it to February! Let’s all give ourselves a pat on the back for making it through January. The days are getting longer, the sun is occasionally actually visible and it’s generally not quite as grim as it has been. Personally for me January was a month of house-hunting, running, yoga, practice and teaching.

The past few days have included much more intense practice than usual, as I’ve been called up to play the harp for La Boheme in Leeds next week – starting on Monday. I’m so excited about it but it’s meant marking up and learning sixty-three pages of music in less than a week. Actually it’s been fine and I’m really looking forward to it. Times like this are made easier by the fact that I like to practice for everything I’ve got coming up in the next six weeks – even if it feels silly and as though I’ll be ready in heaps of time – you never know when you’ll get a last minute call and have to drop everything for a few days.

Speaking of practice, I’m now up to day twenty-one of the #30daypracticechallenge on instagram, so give me a follow if you’d like to see what I’m up to.

Those of you who read last week’s post will know that I’ve signed up for Audible to get me through the training runs in preparation for the 10K I’m doing next month. Well, I finished The Girl on the Train and I have to say I really enjoyed it. I was slightly disappointed to guess who did it quite early on but that didn’t affect my enjoyment of the book. I’m now eagerly waiting for the end of the month and trying to decide which book to listen to next. Until then I’ll be reading The Book of Dust by Philip Pullman, I was so into His Dark Materials so am really looking forward to this.

Yesterday (Saturday) was a complete break from the usual schedule (well I still did a little bit of practice), as we had a family day over in Blackpool, my dad’s hometown. We spent some time with my uncle and two aunties, two cousins & a fiancee, my sister and my dad – yea my family is huge but they are all so special to me and I really cherish the time we spend together. The photo at the top of this post is my dad practising for Sunday morning’s church service at Highfield Methodist Church in Blackpool, and my sister Joanne singing along.

So I think that’s it from me this week. Next week’s post is likely to be a run-down of shenanigans that went on in Leeds over the course of the week. I’ll see you there.

A

x

p.s. as well as subscribing to this blog, you can follow me on twitter, instagram & youtube.

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How to Practise – reduce distractions

Practice – if you’re a working musician, it’s part of your life. But some of us feel like we can’t really talk about it – we ask ourselves ‘what if everyone else is doing more than me?’ or worse, believe that having to do more practise makes us a worse musician. Ever heard the phrase ‘practise is cheating’? I know I have. Musicians are often a bit cagey about how much they’re doing, which can lead people to feel almost as if it’s a taboo subject – let’s try and end that. End the stigma, people!

I’d like to share a few practise tips that I’ve learned over the years. I hope you find them helpful.

One of the biggest ways to increase the quality of your practise is to reduce distractions in your immediate surroundings. I may have mentioned the Pomodoro technique on this blog before but basically, it’s the idea of concentrating without distractions for twenty-five minutes, followed by a five minute break. This is repeated four times so you have four periods of totally focussed work in two hours. You wouldn’t believe how much you can get done in twenty-five minutes just by removing distractions.

The main distraction in most of our lives is our phone, and yet it sits there next to us, notifying us of things that don’t matter right now – oh hi Instagram! – so what I try to do is put it on Do Not Disturb, put a timer on for twenty-five minutes, and then put the phone out of reach.

In my opinion, twenty-five minutes is long enough to practise one, maybe two pieces. If you are reeling through more than that it might be time to ask yourself if you are practising or just merely playing pieces through, mistakes and all… So try and have everything you need to work on for the next couple of months in a pile, and work through it slowly in twenty-five minute chunks. This works much better than ‘I’ll work on it until it’s better/perfect/fluent’ – this is not a quantifiable goal and you’ll end up unsatisfied. Instead, work for your allotted time, say ‘well done’ to yourself for working hard and without getting distracted, and pick up where you left off next time.

Practice is a bit like exercise, it can be hard to get the motivation to start, because it is hard work (if you’re doing it right). However, it’s worth remembering that the only practice you’ll regret is the one you skipped. Trust me, I’ve been down that road many times…

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Sight-reading: Tips & Tricks

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?

Ax

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

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How to Practice: Schedule it in

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.

x

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What I’m Practising: November 2016

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!

x

 

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Orchestral Etiquette: how to get conductors to like you

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. 

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What I’m Practising: February 2016

Bach Fugue

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:

Bach Fugue

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:

DSC00378

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…

DSC00377

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.

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What I’m Practising: January 2016

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.
x
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Balance

About seventeen years ago I had my first harp lesson (writing that made me feel insanely old).

The first thing you learn when playing the harp is to find the balance point. The harp is a heavy instrument, mine weighs in at around 36 kilos. However, they are designed so that, when tipped back into a playing position, they are almost weightless. All you need is to gently rest it on your knees and you don’t feel the weight at all. Once you find the balance point, everything becomes much easier.

I’ve been thinking recently about balance. This blog is about the experiences of a freelancer and a lot of that is about balance – balancing the different aspects of a career, or just a day, can be challenging.

In addition to this, I’ve started practicing yoga. The idea for this post came to me while I was in the tree. The tree pose, that is… I haven’t taken to climbing the trees of Central Manchester yet – although I’d hate to rule it out. Anyway, my fancy yoga ipad app told me that it helps your balance if you focus on an unmoving object. It’s certainly a helpful tip, but I wondered if it applies to more than yoga.

Maybe this rule could apply to our careers as well? If we have a specific focus in mind – a goal or a target – maybe we are more balanced in our approach? Conversely, what if we don’t really know where or what we are aiming for? Will we lose focus and fall out of balance?

What about balancing the different areas of our lives? Career, Family, a Relationship, Friends, Money, how do we know the best way to balance it all?

Something else I’ve learned from practising yoga is to not compare myself with others. Personally, I can’t touch my toes, yep, it’s embarrassing, but that’s what you get when you’re six foot tall and did all your growing in the space of about a year. It would take me weeks, possibly months of daily stretching to be able to touch my toes.

Some people don’t even think twice about it. But if I just gave up due to my blatant inadequacy, I wouldn’t get anywhere. I choose to practice and trust that I will improve gradually.

The same goes with music, by the way. I’m sure many of us are guilty of feeling like we’ll never be able to play like *insert amazing musician’s name here*, and feeling like there’s no point even trying. Maybe that person you aspire to emulate is thinking the exact same thing about someone else. Torturing yourself because you’re not there yet is counter-productive, you are on your own journey and need to stay focussed on your own targets, to stay balanced.

Lots of questions in this post I know – let’s call it thinking out loud. I need to figure out my own targets and focus on those, I need to find my own balance point.

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