I know I’m dating myself, but here goes…

Back in the 1960’s there was a television show called “Sea Hunt.” The show centered around a free-lance scuba diver named Mike Nelson, played by Lloyd Bridges. Mike Nelson was a former Navy diver and a member of the Coast Guard Auxiliary. As a free-lance diver, he was hired for all kinds of dangerous underwater work, everything from salvaging precious cargo from wrecked ships to rescuing people trapped in caves. Each episode had dangerous situations and villains who were ready to slash the hoses on Mike’s air tanks.

In nearly every episode, Mike would have to make a hasty ascent from the depths, which he would attempt to time carefully to avoid “the bends,” a potentially fatal condition more formally called decompression sickness. On occasion. Mike would have to spend time in a decompression chamber.

Watching this as a child, I was fascinated by the danger of too hasty a return to the surface. On the one hand, Mike would be running out of oxygen and would need to get back on the boat quickly. But on the other hand, making his return too quickly could prove fatal. Talk about a dilemma.

Today’s show is not about the bends, but it is about the possible downside, although not a potentially fatal one, of returning to your regular practice routine too quickly after your vacation. If you’re like me, you may come back from vacation with your fingers itching to get back on the harp strings. If you run right to the harp however, you might find it more challenging or even frustrating than you expected. Broken strings and creaky fingers are annoying enough to deal with, but the real issue is that the pieces we were working on seem so far from where we left them. In my experience, diving right into your usual kind of practice can instantly deflate your post-vacation high. Instead of being able to keep that feeling of freshness, relaxation and renewal, you’re right back into the practice grind you left.

What’s the fix? The good news is that we don’t need a decompression chamber. All we need is the right mindset and a plan, and I have both of those for you today.

Links to things I think you might be interested in that were mentioned in the podcast episode:

• Calling all Harp Teachers! Registration for our Teachers’ Retreat is open!

• Listen to Episode 60: Enjoy a Guilt-Free, Harp-Free Vacation with the Perfect Re-Entry Plan

• Harpmastery.com

Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-219

Here’s our question for today: what makes a piece of music a “harp piece”?

Does it have to have been originally written for harp? Or composed by a harpist? Or could any piece of music, no matter what instrument or instruments it was written for, be a harp piece if you play it on the harp?

I happen to think that the third answer is the correct one. Mostly. Let me explain.

If you play a piece on the harp, it has absolutely become a harp piece whether it started out that way or not. But that doesn’t necessarily mean that it should have become a harp piece. Some pieces just don’t work on the harp. Take the “1812 Overture,” for example. This piece was written by Tchaikovsky to commemorate Russia’s victory over Napoleon. It’s 15 minutes long, It requires a full symphony orchestra (minus a harp), an additional brass band, a bell carillon and a battery of cannons - yes, cannons. How could a single harp play a meaningful rendition of this monster work? You could play some of the themes from the piece. You could shout “BOOM” when the cannons are supposed to fire. No matter how hard we try, though, it will never really sound like the original.

Okay, that’s an extreme example. However, we harpists are known for borrowing music liberally from the piano repertoire. While that’s a good idea in general - after all, the harp and piano have a lot in common - some piano pieces never make good harp pieces, even when the piece translates easily from piano to harp. Sometimes, something gets lost in the translation.

So what makes a piece of music a harp piece? What are the essential qualities and the specific characteristics that identify a piece as being written for harp, or that, on the flip side, mark it as definitely not a harp piece? Today, we will talk about those characteristics and how you can use them to spot pieces that might, or might not, be good ones to transpose or arrange for harp. This information will also be very useful when you’re playing someone else’s arrangement, and I’ll tell you why in just a minute.

Links to things I think you might be interested in that were mentioned in the podcast episode:

• Check out our brand new courses in the Harp Mastery® app!
• We’re halfway through our Super Summertime Challenge. Are you in?
• Harpmastery.com

Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-218

Happy Bastille Day! This isn’t a French themed podcast episode, and we won’t be breaking the bars on any prisons today. However, while the French national motto of liberté, égalité, fraternité is sounding across the globe, we should give some thought to the unequal treatment we give our hands. I mean the difference in the demands we place on our right and left hands.

Probably you’ve thought about the very different roles that our hands play musically. Most often, the right hand plays a melody and the left hand plays an accompaniment. But think about it in a practical, action-related way for a moment. If our right hand specializes in melodies, then it likely is accustomed to connected, legato playing, along with some chords and arpeggios.

Our left hand, though, because it serves to support the melody, is more used to jumping between low bass notes and chords above them, or playing a series of octaves, or playing continuous arpeggiated accompaniments. That is a very different skill set from the one your right hand has. Just try playing a left hand accompaniment with your right hand or a right hand melody with your left hand, and you will find it a little uncomfortable. Try playing hands together with that role reversal, and it may feel extremely awkward. If you’ve ever had to try to balance a left hand melody line with a right hand accompaniment, keeping the right hand softer than the left, you know how deeply ingrained those right hand/left hand roles are.

Of course, most of the time, each hand plays the kind of playing it does best. But what about those occasions when the roles are reversed? How do you prepare for them, so they don’t stop you in your tracks? That’s part of what I will help you with today. Even more importantly, I’ll give you a plan for developing more independence between your hands, and that sounds like a fitting topic for Bastille Day.

Links to things I think you might be interested in that were mentioned in the podcast episode:

• Join the Christmas in July Week 3 workshop.

• Are you keeping up with the Summertime Challenge? Join here.

• Harpmastery.com

Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com

Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode?

LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-217