How to enjoy these wonderful video shares:

Enjoy the creativity and the willingness to share. Think about the fact that each of these videos is a unique creation – none of these musicians are playing written sheet music – they’ve created these arrangements by learning the fundamentals of arrangement and improvisation and putting them into play – literally – in their own creations. And notice how different each video and each project is from the others … and yet they were all taking the exact same class.

This is the power of learning the tools of self-expression and creativity. 

“Final-Beginning” is a term we use remind ourselves that these are not meant to be “Final” projects. If we worry about making them ‘FINAL’, we’d never share!  Instead, we learn to embody a moment of completion as a new beginning: to acknowledge an accomplishment as something that opens up a new door, a new place to stand in, a new level of confidence – not the FINAL – it’s not the END … but the new BEGINNING.

So think about that as you watch them and read their own account of their personal creative journey in creating each video by clicking the toggle beneath each video – and I encourage you to do that if you really want to be inspired.

Some of the players have played for years, and even decades – some have come to the harp as adults – some even as a retirement gift for themselves.   We’re a community connected by a commitment to creative expression. Every week we meet for masterclasses and training, and during the week we practice the new ideas and the willingness to be vulnerable, authentic and self-expressed with our instruments, our voices and ourSELVES.

So be inspired by that commitment, let it infuse your own life – and if you play the harp, come join us at Hip Harp Academy.

Describe your final project so I know exactly what you’re sending me.

Playing harp in night time nature wearing a flaming crown under the full moon!

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

I had the creative Impulse one day recently to combine my love of harp and fire dancing to create a new performance Character! While practicing I found it helpful to remember to give each hand a Role so they weren’t randomly moving all over the place on the harp- which helped me get into a more meditative state to play as seen in this video. The first song was something I heard DHC play in a video when we were talking about modal sounds and I really loved how ancient and haunting it sounded. The second was a song that I often heard my Dad playing (he was a professional bassoonist) and it felt like a tribute to him to play it on the harp (he lives in heaven now). I was able to Deconstruct that song into my own version of it. I have also been implementing a Practice of playing daily which has helped me feel more confident with these simple songs as my muscle memory gets stronger. And through all of these I was able to Lift Off and capture this fun performance to share!

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

I had to set up the speaker and tune the harp, and then dip the crown in fuel, put it on my head, put the harp back on, and have someone light the crown on fire! It’s a lot of prep but it always feels worth it to create such a unique display, it’s fun knowing I only have about 3 minutes to play before the fire goes out.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

In strings of passion one of my takeaways was to focus more on the musicality instead of playing a complex arrangement and not be discouraged by mistakes. In doing this, I could enjoy the beauty of what I was playing without pressuring myself to play something too difficult that it would lead to even more mistakes!

What challenges did you meet while connecting with your own freedom of expression in this project?

It’s hard to play harp in the dark!! Whenever a camera is recording me I feel a little more self conscious (like the thought- dont mess up, dont mess up!) which is distracting and I then make more note mistakes, but I am working on overcoming that through the practice of recording myself more often and playing in front of people more often.

What other parts of your life were impacted by what you learned in this class, and how?

I feel like I am more aware of creative impulses now and embracing them instead of letting them pass me by. I see more value in having regular practices for music and other things like working out. I love the concept “you have to be bad to be good” and I also love the concept of liftoff and “don’t do more, hide less”

What were your personal “Ahas”?

I really enjoyed all of the conceptual content of this quarter and the frameworks to deconstruct the creative process. I love that it all begins with an impulse. During the impulse meditation at the very beginning of the course, where we reflected on our childhood muse, I kept hearing the key word “nurture”. I realized how this ties into my life story and career journey- using music and gentle healing methods to nurture animals and their people. My practice is actually called Muse Holistic Veterinary Care! I love having the harp as one of my tools for healing.

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

The past couple of months I have been working on a suite, which I have been building from a first part in A minor. The first part had three chords as  basis: Eb, Ab, Cm. Following a suggestion of Deborah, i build part 2,3 and 4 around one of these chords each. Each part with each own character and mood.

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

I finished part 2 and 3 in the previous quarters, but I struggled with part 4 in Eb. I couldn’t find anything more than a basic motif and rhythm and it sounded very simple and blunt to me, especially since all the other parts have a bit of an unexpected twist in them.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

In discussing homework often the question is asked whether a piece too simple or boring and that never is the case. So I decided my part 4 was good as it was… but still failed to send it in…. And then three weeks ago we had an old fashioned snippet and I knew I wanted to do something with that and all of a sudden my part 4 felt complete to me.

What challenges did you meet while connecting with your own freedom of expression in this project?

Somehow I always put off making the video. I finished the piece 3 weeks ago and only now I brought myself to recording it.

What other parts of your life were impacted by what you learned in this class, and how?

I love the concept of a final beginning; a completion of something, not necessarily perfect or never to be changed again but ‘perfect and ready’ for this very moment.

What were your personal “Ahas”?

I realize I tend to put off recording something

Is there anything else you want people to know when they watch your video?

To end the suite I am returning to the very first part. I have recorded that bit too.

I am continuing to work with Perry playing the base! I also tried adding a little comping here! My goal is to get to a place that we will  be able to do a few songs together at one of his gigs. This song was written by Perry so no copyright concerns! As always I am submitting this with a lot of reservation but Perry says I should submit it! So I did!

Describe your final project so I know exactly what you’re sending me.

This is a draft of a song for my mother who is 92 and not doing well. We live 8 hours apart and she can’t speak anymore so I want to let her know that I love her. Suggestions on how to get the message across are appreciated!

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

I was responding to the request to show emotion through music.

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

I had to focus on my love for my mom although it hurts when she is doing so poorly.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

I don’t like revealing vulnerability.

What challenges did you meet while connecting with your own freedom of expression in this project?

I let myself ad lib the words with just a basic idea of chords and melody.

What other parts of your life were impacted by what you learned in this class, and how?

I am more relaxed playing harp and more willing to improvise although when I sit down to record I find myself falling back on the basic musical structures I heard as a child in Appalachia.

What were your personal “Ahas”?

I was delighted to find that the music flowed even though I hadn’t created a melody or lyrics and just decided to use A minor as my base.

Is there anything else you want people to know when they watch your video?

I really just want to really let Mom know that I love her, even though we can’t talk anymore and music goes with my poetry which she loves. This was my 3rd run through starting with nothing more than wanting to use A minor as a base.

Describe your final project so I know exactly what you’re sending me.

This is the full version of Don’s Score using both harps.

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

1. In setting up Project I started with the Review Clarify Your Vision Form.  In reviewing the form my final production of the piece was 6 minutes versus the 3-4 minutes. (Initially I was at 9 Minutes, in reviewing with my husband he had me speed it up to 1.5.)
   2. My husband was pleased with the result and that I had used his score for one of my projects.
   3. My impulse used Deconstruction to take my husband’s composition and arrange the score for 2 harps so that I could create a version that I could play. I took the roles and characters of the 2 harps to decide which phrases for which harp. My large harp focused on the Bass. Though both harps at different times had the melody and harmony accompaniment for the structure for my arrangement.
   4. I learned how to use a click track; how to break the composition into parts for practicing the various sections that were at different meters. I reviewed with my husband his impulse for Phrygian, Aeolian, and Ionian modes and his use of pentatonic scales, 7th arpeggios, and tonic arpeggios.

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

1. I needed to use a metronome and click track to practice and record both harp sections and merge them.
   2. Counting was definitely an important part of this effort.
   3. There were sections that were hard, but I am glad that I used the homework submissions to keep me on track for each section and then the half-baked to have a chained version of the complete piece.
   4. This was definitely the most concentrated effort for keeping myself moving forward on something that was a lot harder than I have played or performed on the harp.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

1. I learned how to use MuseScore to create a click track based on what I had learned prior to the half-baked. This click track was most helpful in playing the entire piece trough for both harps instead of doing it in sections.
   2. Mentally on the score remembering to go from 6/8 to 7/8, to 3/2, 6/8, etc. while I was reading and playing the score was important and took practice.

What challenges did you meet while connecting with your own freedom of expression in this project?

1. That I can work through difficult pieces by breaking them down and sharing and obtaining feedback.

What other parts of your life were impacted by what you learned in this class, and how?

1. Sharing music discussions with my husband was helpful for improving my understanding of composition and theory.

What were your personal “Ahas”?

1. MuseScore skill improvement; using click tracks; learning video editing skills.
2. Persevering when things are difficult; taking a step back and looking for patterns and simplification.
3. Marking up my score to help me remember what I figured out for fingering, note steps and jumps.

Is there anything else you want people to know when they watch your video?

1. Perseverance pays off; but also have fun.

Describe your final project so I know exactly what you’re sending me.

The Tale of Seamus Shadowheart and Blackshadow Manor by Glenn J. Hill, abbreviated version as told and played by Lynne.

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

I gained the courage to improvise, share stories, and allow that perfect imperfection that enables discovery.

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

I had to set up the background, remember how to record on my video camera, memorize as much as possible of the story, and refresh the tunes.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

Overcame the block of feeling like I needed to something complicated and flashy and perfect.  I struggled with the desire to make it more polished before sharing. I felt free to share it in this rough form because of the generous, accepting nature of DHC and my classmates.

What challenges did you meet while connecting with your own freedom of expression in this project?

Besides continuing to struggle with tendonitis, I was frustrated that I couldn’t memorize the entire story and practice performing it a lot more.

What other parts of your life were impacted by what you learned in this class, and how?

My collaboration with the author of this story will continue to develop because he wants me to get it ready for him to post on his website where he promotes his books. I’ll enjoy memorizing the entire story and polishing it enough for “prime time.”

What were your personal “Ahas”?

Even my mistakes sounded not so bad.

Is there anything else you want people to know when they watch your video?

This is The Tale of Seamus Shadowheart and Blackshadow Manor by Glenn J. Hill. He has given me permission to share this with you and for it to be included on the homework submittal page of the HipHarp website for other students to see as long as he is given credit. This is an abbreviated version of the author’s entire story.  This version takes 11-1/2 minutes. To limit the class viewing time to 3 minutes, please view it from minute 2:50 to 5:50. I hope you will all watch the entire thing to hear the entire tale. Due to gigs on March 17, I won’t be able to attend either chat but will do so next week. I mistakenly completed a homework submission page for a half-bake before filling out the final project submission page. Oops!

Describe your final project so I know exactly what you’re sending me.

Video submission of my exploration for HHA Strings of Passion course. 
Variation on a Theme: Toy Soldiers Marching On Middle C

What principles from this course or from chats did you use to develop, perform, and record this project – and how did they play a part in your process?

The Academy videos were essential and guided me through the process of creating and developing this project. I also could not have done this without the Masterclass chats; that’s where I got the en”courage”ment I needed to put my hands on the strings and try. I used the Strings of Passion/Meet your Muse worksheets as well as the Weekly Creative overview Playsheets. Soundscapes helped me get the mindset and freedom in playing.

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.

This quarter the class Strings of Passion started with the idea of Impulse. I am Not an impulsive person. This felt very uncomfortable to me. In fact during one of the first video lessons I could feel my heart thumping, I had this feeling of anxiety; I wanted to walk away. Quit? No! That would’ve been rather impulsive (haha).  I needed to be open, I needed to give it a try. I had to marinate in the ideas and let them soak in. Then I had to put my hands to the strings and actually TRY it. Not just watch and take notes, but DO the thing I was learning.

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?

I settled on exploring the idea of impulse to play music as a child. The freedom and joy and impulse to play, the longing to play more. But that memory was met with the feelings of loathing the first (awful) piece of “music” I was given at my first piano lesson. I have hated that one note song for decades!  It stripped the joy right out of playing. Funny how such strong feelings can be connected to a memory. I decided to flip the script and try to grow it instead of allowing it to be a blockade.

What challenges did you meet while connecting with your own freedom of expression in this project?

I have a limited skill set for playing. Thinking and getting the fingers on the strings can trip me up. This was not going to be a complex beautiful impressive project… I had to accept that. Instead, this project became more about exploration.                                                                            Additionally, I had several weeks this quarter where other things in my life had to take priority and so I was unable to participate in some of the Academy chats or complete all the lessons. Truthfully, I’m embarrassed to say I only got through about half of the material.

What other parts of your life were impacted by what you learned in this class, and how?

I feel like I’m a better listener; and I try to be engaged in a more positive way. Also, I grant myself more grace. 

What were your personal “Ahas”?

The string in the sugar water DHC talked about was a perfect analogy of how I could take this song and build upon it; how I could grow with the song. It was time for me to make peace with this song and the feelings I had surrounding it.

Is there anything else you want people to know when they watch your video?

This is my Final submission for the quarter, but it’s still very much the Beginning! It is no where near finished; I still don’t even know what the intro should be…And regarding the ending to the song?…well my fingers just sort of played that (I guess that’s improv?), it wasn’t what I planned; But here it is; It is what it is, and that’s ok.                                                                                                                                       Here is a basic description on my project: Starting with the idea of impulse, I reflected on my first impulse to play music on my great grandmother’s piano. I Loved to “play” and longed for lessons…until I got my wish. At that first lesson I was given Toy Soldiers Marching on Middle C.  It was a song with one note played with 2 hands.  It was awful! Oh how I hated that song. I didn’t want to play it and was embarrassed to practice it. It took the joy right out of playing. All these years (decades really) later, I am inspired to let go of my grievance with this song; using it like a string in the sugar water. Wrapping my arms around it and seeing it as something more, something to build upon, and not just that awful joyless one note song! 
This is a variation on a theme of Toy Soldiers Marching on Middle C…