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

This is my final project for Baroque Flamenco – my Baroque Kalamatianos

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 used the form of Baroque Flamenco and made a Baroque Kalamatianos out of it. Instead of combining the Baroque theme with a Flamenco rhythm I used the rhythm of the Greek dance Kalamatianos. I followed Deborah’s encouragement and made my own piece out of her Baroque Flamenco.

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

In the beginning it was a challenge to combine the Baroque theme which is in 4/4 with the Kalamatianos rhythm that’s in 7/8. But after I while it became easier and I realized that I just have to follow my own feeling for the rhythm. 

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

I remember I was so eager to do this class and then, I don’t know what happened, but I kind of lost my motivation in between. It was like, okay now I know how this show piece works and it isn’t as hard I as thought. What am I going to do with it? Practice it until I can play it fluently? Is that all? Then in one of the chats DHC encouraged us to use whatever part we can play and make it our own. Shortly after I had the idea to change the flamenco rhythm into a Greek one I love playing and dancing. That was the moment the project really came to life. 

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

As I said in the answer to the last question I needed to realize that I can make my own thing with the song in order to be able to connect with my freedom of expression. 

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

It’s okay to make your own thing. And sometimes it takes time to find out what you really want to do with the music. 

What were your personal “Ahas”?

It was a reminder that, whatever I do, I have to do it in a way that feels authentic.

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

BFBP—Final Beginning Project

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?

What I learned from this course was: strumming, making percussion sounds on the soundboard, playing with a blueprint, and playing contrasting passages. It was fun to custom make the piece for my own comfort level. I could add or subtract what I wanted. 

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

I needed to understand YouTube, which wasn’t too hard. I also played through all the versions and ideas from the sheet music, so I could pick and choose what I liked. 

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

I needed to worry less about making mistakes, which relaxed me, and let me “hide less”. It was easier to “hide less” when videotaping from home, compared to playing for people in person.

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

I’m used to playing other composer’s music, without thinking of making it my own. This process forced more introspection on my part. 

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

Focusing on the contrasts in the two styles helped me use more expression in other pieces.

What were your personal “Ahas”?

As intimidating as it seemed to create my own version, it was actually easier to play what I was comfortable playing.

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

This is my so imperfectly complete Baroque Final-for-now Flamenco, but it represents my reaching a point where I’m happy enough with it and am actually thrilled to be hitting the send button!
Recorded in my lounge, in Lancaster, UK.

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?

Though I’m still finding it super hard, I’m really working on being happy enough with where I am both in playing a piece privately, and in the best I can manage when nervous in front of a person, or a camera! I’ve taken to heart that one  ever feels ‘ready’ and that no matter how long I work at something, I’ll never deliver the piece as I hope it will be – but it is what it is, and that’s (starting to fell) fine. I’m really happy to have made a video at all – people during the chats have modelled a ‘just do it’ attitude and this has been very inspiring. The idea of themes and recurring motifs has been very impactful and the ‘bones’ of a piece a great way to construct my learning.

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

Logistically, I’ve had plenty of time and opportunity to play my harp, but I have little time and space to be alone with my harp since we are effectively locked down due to the pandemic and so I rarely have the room to myself. That’s ok, mostly, but inhibiting in some ways. I have always found recording my playing near to impossible- I’ve wanted to send in ‘homework’ videos but what I record is generally so far from what I can actually play that coaching wouldn’t really be accurate. However, for this last assignment and to achieve an imperfectly perfect conclusion to the course, I was determined. I felt very awkward, and self critical ++++ BUT I’ve done it – and I’m very proud to have managed that, even if it doesn’t match what I have in my head as to how I wanted to play. I’m happy enough – and that is great.

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

I struggle with the gap between what I know I CAN do, un pressured, and what I can deliver under pressure. And I know this is not just related to harp playing! So, tackling this is a big deal. Obviously, this wouldn’t matter if I cared less about presenting myself as capable and wanting to please – the process of learning the piece, and delivering a video has forced me to meet this head on – and it’s painful, but pushing past this has felt like a real achievement.I can even see the bits of my playing that I am happy with.

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

I tend to tip back into self-monitoring and anticipating the next ‘hump’ when playing a piece instead of staying completely in the moment and fully present with the notes coming out of my fingers through the harp strings – the need not to look silly, or incompetent is ever present. The actual physical challenges of placing my fingers in the right shape in the right place have remained in some sections – and then there was the challenge of ‘letting go’ of favourite parts that I just couldn’t do once the record button hit! I can’t read music so there was the additional challenge of learning the piece by ear and by sight (though I’m used to this, and the encouragement to be free and flexible in making the piece our own was so helpful and mitigated this)

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

I feel my commitment to working on this and completing the piece both took time that distracted me from other responsibilities or preoccupations was both helpful, and unhelpful! I think my playing of other music has been really helped by the increase in my knowledge of finger patterns, chord sequences and the confidence to improvise all adds up to more imaginative playing of other tunes – and I took my harp out to a gathering with other musicians for the first time to play in an informal session! Definitely a step forward. Having this project to work on has been a constructive work in progress during what still are challenging and worrying times where our lives remain restricted by the pandemic.

What were your personal “Ahas”?

I can do this!
Splitting chords and riffs across two hands
That thumb descending bass! I can do it!

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

I’m grateful for anyone taking the time to watch, hope they enjoy those moments when i too am clearly enjoying playing, and to know that I’m happy enough with what I continue to regard work in progress.

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 learned that I could be myself, and play what I heard in my heart and not the note by note version. That’s the way I would have originally approached this, and probably given up without finishing. Listening to people from the chats really helped me realize I could open up a bit more – I really enjoy being part of that community.

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

I went through many different stages with this piece. From trying to play it exactly as written- metronome and all, trying to change character between parts. I was frustrated and it wasn’t working for me. By playing a bit with my brother I saw I had no problem playing along and having fun with this. Mapping out chords for him helped me to see the music in a new way. After watching all the different ways everyone was playing this (all beautiful) and with encouragement from my husband, who was listening in to what Deborah was saying, he encouraged me just to play what I wanted.

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

The blocks I had with taping myself were major. I was more concerned with how I looked than how I felt playing. I had many downs, followed by breakthroughs. When I did a sample run of taping with lighting and camera placement, I also played around with the video. A new app came out in the Apple store that changed the looks of videos. I really liked the comic book style. I realized that I didn’t need to dress up, full make up and be perfect. My “dog mom” tee and comfortable clothing was good enough. And I felt finally, yes, I am good enough. Still room for growth, but I’m happy where I’m at now.

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

After playing the downward base line with my brother, just playing around, I started wondering way it was so much easier for me to play.I originally thought it was because I couldn’t stand by myself and be myself. But it made me realize that it’s okay to play my way, what I love.

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

My husband was listening in on the previous weeks master class (we were in the car driving home from Ohio.) He kept reminding me all week about being me. I heard, “Isn’t that what Deborah was taking about?’” Several times this past week. Also the most recent Jung at Harp really had me thinking. I’m starting to feel better about myself in all parts of my life.

What were your personal “Ahas”?

It’s okay to play my way. I did go beyond the page, really coloring outside the lines. In putting my video in comic book style I really felt beautiful- without all the props, and dressing up – it’s okay to be me. I felt freedom in playing. Also, I learned things happen ( well that I learned long ago at a recital where I was going to play Kim Robertson’s arrangement of Glenlivet and my G string broke and I had to play Roxanne’s harp instead of mine.) This time I was taping and right it the middle of the song while lighting a B lever it completely fell off! Luckily I found the missing part and with help from my husband put it back together and continued taping. Things happen, some we can control, some we can’t – it’s okay to go with the flow.

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

This is BFBTP, but you may hear some different pieces put together. (Possibly this is more of the things I learned about putting pieces together with vamps in between.) My cadenza is completely different, a take on a tiny bit of a piece I love by Louise Trotter. The Flamenco parts aren’t any of all the warmups I spent hours on. No glisses, no strumming, no harp percussion. And that’s just me.  Also really like comic book me – it’s me, but with the focus on my music.

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

I played the whole piece, as close as possible to the real score. It is not completely the way I wanted it to be…… but it is connection not perfection, I hope the connection was good 😉

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?

Let go and accept things the way they are. 
Have great objectives, but close to the end only keep what really works and enjoy. 
Connection not perfection…..

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

The last weeks have been amazingly busy, I found it hard to find peaceful time to be able to practice Baroque Flamenco. The hardest part is really to let go things and accept it the way it turned out. I really did enjoy the whole process, from the videos on the BF course to the chats. It was so inspiring!

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

For me the hardest might have been, accept to let go the written score, I did this many times with orchestra scores or chamber music, but with a solo piece it was an inner struggle. Accept not to play it perfectly…… 

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

I really wanted to play it very well and know the score from inside out to be able to teach it the best possible way to my students. I had to fight an inner fight to feel free……. at the end, I think it will be the sense of freedom that will allow my students to really succeed and enjoy…..

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

The whole process really inspired me in my teaching. All the chats, the nice words, the bright insights, the energy gave me a feeling of renewal. For some things, it was a confirmation of what I already do, it was comforting not to feel alone. For others it inspired me to try new ways with some of my students….teaching only the bone of a piece before giving a printed version of the score, let them have fun with it, latter, when thy get the score, it will look less scary…..

What were your personal “Ahas”?

I’ve been composing some meditative harp music, but up to now, I have never been able to write it down properly, because it gave me the feeling this would be the end of the evolution of the composition. DHC really inspired me, I love the way she works with her scores. It is written down, but still there is plenty of freedom……

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

When I contacted DHC a few months ago to ask for a score of Baroque Flamenco for 3 harps and small ensemble, I thought I would get in the best case an address where to get the score. Instead it became a whole journey, I am so thankful!! This last weeks have been very inspiring.

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

Music wise, I followed the written flow of the piece, but mainly focused on the percussive parts. I also tried to be creative and add my own twist when called to do so to truly go beyond the page. 

Costume wise, I tried to loosely copy and piece together the traditional flamenco costume of men and women. Blending the costumes helped me add my nonbinary/genderfluid gender identity to my performance making it feel more raw and authentic. 

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?

My biggest take away was the idea of letting go of perfectionism and instead meeting each piece with all that I have to give in that moment. This has helped me approach my playing in a more self compassionate way and has helped me become more immersed in the piece during my performance. 

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

Logically I had to ensure the lighting and camera were set up to the best of my ability. I also had to play through some sections a few times to ensure they were smooth enough during the recording. 

Emotionally I had to let go of performing a perfect piece, and instead play the best I could with what I could give in that moment. 

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

Physically, I felt my body getting tired and had to really concentrate on playing clearly and articulately. I think getting back into the habit of playing consistently will help me build up stamina. 
Emotionally, I struggled with trusting myself to play the piece and giving myself the freedom to go beyond the page. 

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

Physically I struggled a bit with stamina. It’s an invigorating piece to perform but it really requires your all every time. 
Emotionally I was met with the challenge of letting myself just play and not try to be in control. It reminded me of the vocal class I took in undergrad where my teacher said you know you’re on the right path when you feel a bit out of control. 

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

This class has helped me take a step back and look at how requiring myself to be perfect at something sometimes keeps me from getting started at all. I’m now trying to jump into things and just bring my best and most authentic self instead of worrying about if it’s “good enough.” This, “just bring your authentic self” mindset has also helped me gender wise. It’s tough to be different and to not have people understand, but I just have to keep showing up as my authentic self because, in the end, that’s what will and has been bringing me joy. It’s still a process, but this course has definitely helped me start to move in the right direction.

What were your personal “Ahas”?

I big takeaway is that there is always going to be some sort of doubt/negative self talk no matter how good you are or how much you’ve accomplished. Hearing DHC, the performer who blew and continues to blow me away with her skill and charisma, open up about her struggles drove the point home that you just have to go after what you want and do what’s best for you regardless of what others or you have to say about yourself. In short, feel the fear and play anyway, but don’t be hard on yourself for taking a break when you need it.

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

I loved being a part of this class and learning how to begin to play beyond the page. I look forward to the next one 🙂 

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

A cheesy iPhone video, instead of my gloriously edited iMovie which, even after “sharing” it at least 7 times, I am still unable to find on my computer.  (I was really looking forward to the editing, which was fun and successful, only to be unable to share it.). The music is still the same.  

Attach your homework in PDF or JPEG format here:

A6A5CB2C-080F-4E93-96FE-923C388361A2.jpeg

Describe your written materials – if there’s anything in particular you want to say about it to help people know what they’re looking at, add that here.

This is how I set up my practice room to get myself to look at people, and the green ribbon hanging from the ceiling is to get me to look up.  

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?

Play what you can.  Use escape hatches.  Just because it’s easy doesn’t mean you shouldn’t use it.  

Give a short description of what it took for you to be able to play what you did – both logistically and emotionally.
I needed to focus on what my actual goals were.  I don’t have trouble memorizing, but I did have to work hard to mentally keep my improvisations fresh and in the right order. 
Logistically, in the end I failed at bringing in a sort of slick (for me) video.  
Emotionally, I need to let that go.  

What freedoms and blocks within yourself did you connect with (or struggle with) in the process?
I like to perform in general, but I’m not crazy about doing it for other harpists.  Everybody loves a harp, but other harpists know what you’re actually doing.  I find this a difficult hurdle to get over.    In doing this for a video, I can imagine an audience of non harpists.  

What challenges did you meet while connecting with your own freedom of expression in this project? 
I wanted my freedom of expression to be visible to my audience, because I’m usually as stiff as a board when I play.  I feel like I engage when I talk to an audience more than when I play.  

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

Remains to be seen the next time I go to harp retreat and try to play for harpists.  

What were your personal “Ahas”?

Whatever can go wrong will go wrong, but there are always workarounds.  
See my whiney answer below.

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

Only that I had a particularly nice video that I made with two cameras at the same time (actually three, but I couldn’t figure out how to merge the third one in) but it’s now after midnight and I have been trying to find where iMovie filed it on my computer since 10:30.  
So I’m just sending my iPhone video raw.

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

With joy I send in, what I think is the most fluid of my final beginning attempts for this piece. And I’m curious if there is enough cohesion through the whole piece, improvised parts and not.

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?

No principles, unless you consider “let go and see what happens’ a principle (which I don’t)

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

The never ending story of practise, try-out, practise, try-out with a certain amount of frustration, %^$@ and finally the joy of getting somewhere.

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

The normal blocks the need of repetition always brings me. More important was the freedom of let go and finally bring my own improvised trial and error piece to live.

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

Not following up what was said in the lessons.

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

None in a mental or behavioural sense and all in a timeline sense, because I can spent my time only once. If I practise music more, my other work suffers. 

What were your personal “Ahas”?

The acceptance of improvising through the piece, never being able to play the same thing twice.

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

I just hope they enjoy watching the video as a total.

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

This is my ultra-condensed version of Baroque Flamenco.

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 tried to keep the clarity of musical form and the contrasting character of the different sections.  I tried to find ways to visually emphasize the character changes without completely derailing my playing.  And, of course, not getting too hung up on my quest for perfection.

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 practice this piece in many different ways, both with and without sheet music.  Once I basically had the notes and a grasp of the musical structure, I still had to work on the character and the flow a lot (letting go of lots of notes, but not to the point of dissolution), as well as choosing which parts of the 8- or 9-minute piece to keep in the condensed version of 3.5 minutes.  I alternated between feelings of accomplishment and inadequacy, and probably will for the rest of my life.

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

If a challenge seems too daunting, I’ll naturally avoid it for a while or go into “percolation mode” until my subsconcious has dripped its way to a possible solution or plan.  The duration of the percolation varies wildly, so sometimes I have to look for ways to start even if I don’t feel ready.  The time I spent off the page and practicing primarily the gestures  was really helpful to me in getting the piece ultimately to flow with more of the notes that I wanted.

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

I had to play around with different mental images and storylines to help me find ways to express the character of the piece.  I wanted something that felt natural enough to me that it could flow even if I got momentarily distracted.  I still don’t feel completely settled in this regard, but much improved.

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

I will be experimenting more with different ways and times to add character when I want to draw someone’s attention.

What were your personal “Ahas”?

After the umpteenth “just one more” take, I finally realized how I could use body language to anticipate the Latin flair before I even touched the levers or strings.  I figured out how, in this case, to give an introduction to the introduction.

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

I absolutely love the drama, flair, and surprises embodied in this piece, and I hope that comes across!

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

Baroque Flamenco!  My version, from beginning to end in about 3 minutes!

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?

Connection, not perfection!  I worked a lot on the various segments of the written Baroque Flamenco, realized I couldn’t get it together as written, so I concentrated on making it workable for me.  Also, I decided to throw my whole self into this project, which was freedom and, surprise, joy!

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

Logistically, it was a challenge to see how I could do this in 3 minutes.  Emotionally, I got to the point of really connecting with the music (right or wrong on the flamenco part), and putting my body, mind and spirit into the performance of the piece.

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

The big struggle was at the beginning of this unit, when I looked at the music and felt like I will never get through this.  But week by week, I learned more and more that it is/will be possible for me to take on this project.

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

The challenge was to keep on going and not give up.

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

While I don’t have trouble being “me” in other areas of my life, it was a real joy to be “me” in playing the harp.  Instead of struggling with the harp, I embraced it.

What were your personal “Ahas”?

see answer above

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

I feel really good that I was able to get to the BEGINNING finish line.  I will continue to work on my own on Baroque Flamenco, because I love it!  It is an awesome piece of music.

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

Baroque Flamenco

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?

Watched and listened to how others adapted this piece to make it their own.

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

Glad for the extra week to get things coordinated. I had other commitments and didn’t think I’d be able to get it together, but i did. 

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

I always felt a little timid about glisses – that i didn’t know how to do them “right”. Lots of opportunity to play with all kinds of glisses and now i feel more freedom in using them

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

Let go of what I want it to sound like and figuring out what I could reasonably do.  

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

hmmm.

What were your personal “Ahas”?

I have a new amp, and in getting used to playing and singing with an amp, i discovered that when i tap on the soundboard it really does sound like a drum, much more than without amplification. So I played this amplified for the video. 

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

I made several recordings, and tho i was still making mistakes, my expression got better. So I stopped with this one. I hope to be able to work in more expression as i get more comfortable and practiced with this piece. 

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

This is my BF.  I did it in one take, no edits, with all of its personal unperfect story.  I love the piece, and look forward to working on it for eternity!

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 keep coming back to play it as MY version, whatever that is.  I do try to memorize it off of the page, because I have to know some of the notes/patterns for it to even resemble the piece.  

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 slow it down to what my fingers would play and not get frustrated,  I took out notes, ignored mistakes.  In the future I will put more character in it.  I’ve had a crazy hectic week and I’m glad I at least got something turned in.

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

I struggle to accept my limitations, exact finger limitations, always wanting to sound better, stronger, faster, more complex than what I can actually do.  I need to relax and enjoy the process.

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

I’m not feeling very free right now because my boyfreind’s mother just moved in with us!  I’ve given up space and life as I knew it with just my boyfriend and I.  The harp, just having the physical space, has been a juggle.

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

Hopefully if I become more patient with myself and the harp I can become more patient with this huge change in my living arrangements.

What were your personal “Ahas”?

Aha I love the song, even though I never really liked flamenco dancing all that much.  Aha it sounds complicated to others when I play my version.

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

I had my floors changed from carpet to hardwood and my harp reverberates so much now that I threaded a sock through the bottom octave  (where I am not playing) to not have so much sound coming out!  It was actually hurting my ears!

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

A video of my burnout on BF

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?

DHC gave sooo much info on this piece from the simple to the sublime. I imagine all of it will coalesce in the future if I continue to try to perform this piece. My process was to go over and over the sheet to try to get beyond the sheet. I think I now know the basic structure piece  but am quite burned out on it.And I realized the variations are more numerous then the Intermediate version I studied. 

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

It took a constant going through the sheet music and some of the videos to be able play through. It was in the last week I was able to cobble it all together. In all the time I have had with HHA, I avoided this module. Why? I always thought it too difficult and not my taste. This time I TOOK IT ON. And it is a challenge — to know it, execute the parts in rhythmic flow, and relax in the performance of it. It will take time. 

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

The freedoms are not evident to me. I feel still caught in the form —  and challenged by the techniques needed. I definately need a break from it. I noticed every time I did break from it in a day, I would come back with a better ability to understand it. I learned a lot from the experience of learning it– including just how to read the music with a more critical eye. 

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

I kept trying to find myself in it and at this juncture, can’t say I have connected with my freedom in this piece. As said I need a break. I am always working on repertoire. This piece is different because of its physical engagement which I like but not totally comfortable with as yet.

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

I found myself really devoting a lot of time – 2- 3x a day going through this piece and self-correcting along the way, interpreting new takes on the music. It is the biggest total immersion I have experienced in learning to play the harp.

What were your personal “Ahas”?

1. That I have the willpower to tackle a piece like this.
2. That I have a lot to learn in the dimensions of the harp
3. That I would like to continue finding myself in this piece.

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

That I am burned out on playing this piece and yet I love it.

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 think the three most important principles for me were:
1. Understand the skeleton
2. Simplify to focus on the flow
3. Chunk it down to bite size pieces

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

I tried this in a 5 day challenge last year and could not get it.  Over the last COVID year I have spent much more time and love with my harp while taking virtual lessons here, there and everywhere. I was thrilled with my progress over the last year and how quickly I was able to pick this up this time around. It was a joy to practice and develop this piece over the weeks of the course. I realized in the very first week that I would be able to do it.

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

I started with the intermediate version but after two weeks realized I needed to first tackle the advance beginner version to get grounded in the piece. No shame about that as I know this is a piece I can grow and develop now for a lifetime. Feeling great abouot how far I have come!

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

The biggest challenge for me was probably with the homework and figuring how to do what I wanted to do within the homework submission finished time limitation.

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

Connection not perfection, progress not perfection.  This mantra applies to many other parts of my life and is very helpful in managing stress level.

What were your personal “Ahas”?

Let go of what doesn’t work and make a completed piece out of what works for me.  I have abandoned other pieces in the past because I could not get it exactly as written on the page.  I do not think I will ever do that again.  After taking this course I feel I can give myself permission to make any piece my very own variation of what works for me. What freedom!

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

Baroque Flamenco – my style of starting slow, getting more complicated and slowing it down again at the end.

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 principal I likely used most was playing what I wanted to play. I had many time conflicts during this class, not an excuse but rather a tool to simplify.

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 let go of what was written and play what I was comfortable playing. I did stretch some and it was fun strumming with nails and thumb.

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

My biggest block was time. I did not do a half bake for the first time and it would have been great to get that feedback. I encourage everyone (and my future self) to always do a half-bake.

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

The camera. I swear, I did it flowingly until the camera went on and I turned in a flawed piece that shows hesitations to find the right strings. That was a challenge for me and it took courage to be so imperfect. Being perfect is a problem for me so turning in an imperfect piece was huge. I am proud of me for doing that.

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

I almost did not do this project – not because I did not like it, just crazy jammed with work and family needs. My inner voice reminded me I do not quit, and I don’t, so thank you for the license to be imperfect.

What were your personal “Ahas”?

using a little noodling to find my place – it worked until the camera was on.

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

This was my first attempt at jazz. My husband would tell you that I don’t even like to listen to jazz. Because of this class, it is growing on me now.

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

As requested (;-)), this is a resubmission of my Half-Baked Baroque Flamenco submission from 2018 (which I also submitted as my final-beginning project in 2018).

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?

One week before I filmed this, I was very clear when I told DHC I would not be submitting a Baroque Flamenco project as it was way too hard for me!  Naturally that was a “red rag to a bull” and Deborah took me on as a “we’ll see about that” project to show that even someone who is convinced they can’t play Baroque Flamenco can do SOMETHING!  She broke down each segment for me: The intro is percussive, the Baroque part is slow and stately, the Flamenco part is energetic and expressive (“Let the real you out!)”etc. Just keep the technical side of it (the actual playing) within your ability, let go of what you can’t do and embrace “Lift Off”! Accept who you are at this moment and what you can do in this moment … and fly with it! It may well fall short of what you originally had envisaged, but this is a moment of “letting go” and embracing self expression.

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

Logistically I created the appearance I wanted (the background, fresh red roses, my clothes and hairdo) and emotionally I decided to JUST DO IT!

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

The main block I had was the thought that what I did wouldn’t be “good enough” to submit. Ironically by making is “less good” (less complex) I actually made it “more good”!!

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

Finding the time to work on this was very challenging – I just decided “for this week – every spare minute I have I am going to dedicate to this project” – and I “created” spare minutes by not doing things I would normally do (things with my family), just for this week while I got my assignment done!

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

It is satisfying to complete a task.  I think it was good for my self-esteem as I felt happy with the final outcome. Dedicating time to stretch myself and do something was worth it.

What were your personal “Ahas”?

I was so convinced that I couldn’t do it – and sure, I am not playing a sophisticated version of Baroque Flamenco by any means, but it was a lot of fun to do and I realised that someone at any level can “make something their own” and express themselves with it.

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

This evolved over the course of a week – if I showed you the first video I recorded and then the progressive videos across the week, you would be as astounded as I am to see what it evolved from.  The lyrics were simply the things I keep telling myself as I was practising each part – they wrote themselves – I decided to include them (and a bit of signing) because that more fully expresses who I am (in particular, who I was in that moment when I recorded this).  It also helps to compensate/hide the fact that I am playing the bare elements of the piece. Enjoy yourself – people feel it!

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

this is a short version of what I am currently playing. doe to the short time, I played version 2 and I add a new improvisation of my own.  it is a bit longer then 3.5. minutes, but you can stop after 3.5 minutes.

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 am always searching for my way of doing the piece that will be truly me. The chats helped me very much with this subject.

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

I needed to choose what parts I want to take and what to leave, and practice on the ones I chose. And at the end to submit the video with understanding that it is far from being ready and that I have a lot of criticise on it but I am submitting it any way.

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

I was happy to add a part of my own and I felt that it is more connected to me this way.

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

I felt that my playing is not as free and expressive as I would like, and I am working to make it more free and fluent.

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

mainly the beginning of being in the Academy made me realise that self connection and expression is not less important then the level of ability in playing

What were your personal “Ahas”?

The way the harp can have all sorts of playing that I didn’t know until now.

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

This is a BF project I put together a few years ago when I was suffering with a frozen left shoulder and had limited left hand mobility.

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 really concentrated on the structure of the piece, both in terms of keeping in the sections I wanted to play and in adapting it to use as little of my left hand as possible.

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

Logisiticaly I was dealing with being in the process of moving from Honolulu to Las Vegas and putting my house on the market. My home was a renovation zone, so I had set the camera to hide the mess around me.

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

I always struggle with letting go of perfection. I tend to want to fix things. However, having the limited mobility resulted in my taking the piece more off the page and that was freeing.

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

The challenge was to figure out what to do with mostly my right hand. I wasn’t sure how much expression and character I’d be able to incorporate in the music.

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

Don’t take myself so seriously. I can simplify things whether it be in my music or life in general.

What were your personal “Ahas”?

It’s okay to go off the page and put my own spin on the piece.

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

I feel like I’m cheating since this is not a current video. However, I think the unexpected (and temporary) loss of mobility resulted in my thinking much more outside box than I usually do and therefore presented more of myself, especially since this is a piece I learned from a written score and performed several times.

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

This is my final imperfect performance, but I have enjoyed it so much and know it is just the beginning!
Thank you Deborah for a wonderful course ~ I have learned so much

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?

Structure, character, embodiment, gesture

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

Technology ~ learning how to upload to YouTube!
Thinking about the space , backdrop to the video
Emotionally ~ learning to pare back and relax into the transitions

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

Letting go of what I was not able to do ~ the lesson on cutting and simplifying was really helpful .

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

My technical limitations !

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

I  reorganised  my space  and bought a file for my music
I began to be more committed to practising regularly.

What were your personal “Ahas”?

The concept of ’embodiment’
The Jungian concept of ‘being in relationship’ ~ to oneself, to others, to nature and to the harp !

The concept of ’embodiment’ 

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

This is my final beginnings of Baroque flamenco beyond the page. I’ve trimmed off the start to keep video just about in the required timeframe. It’s clunky in parts – some hesitations/tension due to:
-video camera
-no music (I’ve never played without music and had no idea how to improvise till these past few months so it’s huge for me to perform and improvise like this)!

What I was intending to do a week ago morphed into something informed by events this past week. I was expecting to have my 3 tiny grandchildren come to stay after 8 months (we were all so excited) but little Charlie was v unwell with croup and taken to hospital 3times so family visit was ultimately cancelled. Somehow the cadenza and coda became part of the ‘will they, won’t they make it’, the disappointment, raging at the unfairness, the acceptance.

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?

Embraced imperfect completion! Focused more on self expression and the basic structure of BF while letting go of my attachment to the sheet music and the need to ‘get it right’ – a new way of playing for me

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

Overcoming the twin demons of tech and perfectionism!

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

Doing it despite nerves, tech challenges and the unfinished quality of performance was a win for me as a newbie

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

I really enjoyed connecting with my freedom of expression but found myself questioning how far I dared to stray from the music even though we had full permission to!

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

We learn so much by sharing creative possibilities and vulnerabilities

What were your personal “Ahas”?

I can improvise!

Understanding the basic structure of the piece allowed me to know where I was headed even while leaving out chunks of that structure due to the time constraint and my freedom of expression

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

I’d like it to be more fluent but this is where I am now- showing more, hiding less! It’s my first video.

Describe your final project.

It is an improv on the rhythm and flavour of Flamenco. Don’t know if this is successful.
Also there is a one min. Intro of Qigong warmups .

Not sure if what I’m trying to do here comes across clearly. 
At one point I’m lost in the harmonic change as I’m trying to keep the rhythm.
Is the melody too repetitive ? I feel it needs another rhythm instrument, maybe a tambourine for color?

Strumming is difficult for my wrist at this time  so I opted for  trills. And quick passages. Are they enough to give color?

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

I made a version of BF that fit into 3 minutes that has a start and an end, but no cadenza and very short blowing sections (and only 2 of them, not 3)

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?

DO LESS! Also was inspired by other versions that were short, connected and played around with the melody.

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

I felt like other’s versions gave me permission to do it differently, that’s when I was able to make a complete piece out of it.

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

It always felt so BIG. I definitely felt blocked and didn’t turn in any homework during this class. I would practice parts, but it seemed to fall apart when I tried to put the pieces together

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

I tried to think/feel a difference between the sections, but sometimes I forgot. And when I watched my video it wasn’t terribly apparent…

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

For years I’ve been working on an instruction manual for my family in case I can’t do what I do. COVID made it a priority, and although it isn’t finished, I realized that an imperfect version will help them much more than not being able to find my notes, so it is mostly in a binder now and I’m working on a Table of Contents/Index that might not be right, but will be much less frustrating than no guidance at all…

What were your personal “Ahas”?

That you’ll never know what will click and un-block you, that the community is as important as practicing. We all need inspiration.

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

I feel I have done better versions, but this is the one that is on video, so there you have it.

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?

As always: “connection not perfection”. The freedom within structure that I’ve long treasured about a diatonic instrument like lever harp also applies to the genius of DHC’s compositions: we can improvise on the patterns in ways simple to complex, in harmony with just where we are in each moment. From the Chats I’m inspired by the wonderful variety of people’s presentations. The feedback for the Half-Bakes is really helpful going into the Final-Beginning Project.

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

Logistically I set myself a new challenge of changing sets / costumes between each Flamenco & Baroque section. Rudimentary in the Half-Bake, in this video I feel I’ve brought more awareness to the segues. Recording all the Flamencos first, I thought ahead about how to finish each section, and how to start the Baroque segments. There were great suggestions in the Half-Bake about this too, such as recording for longer and then trimming: thanks all. My primary emotion was joy! This project was so much fun!!

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

I connected with my passion for improv. My life-long love of dress-ups is celebrated here! Also combining colour and art direction with the music. All the accessories except one were already in the home. 🙂

I struggled with the technique of strumming in the Flamenco intro, especially when combined with soundboard tapping. It still feels somewhat clunky, but I ended up using one from the Half-Bake rather than a more recent one as it had a better overall feel.

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

As a harper with very little formal training, I’m confronted by seeing my hands from the side on the screen. My frisky index finger or sinking thumb become glaringly obvious! However, although this is uncomfortable initially, it’s also leading to more awareness of how slow exercises can streamline technique and ultimately allow more flow in the freedom of expression.

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

As we know, time helps ease the pain of grieving, and for me also the absorbing and joyous journey of creativity has been a balm for heart and soul. The richness of DHC’s creations and her support of our freedom to explore and extend provide fresh horizons and a ton of fun! Immense gratitude to Deborah, Sally and all at HHA. 🙂

What were your personal “Ahas”?

Just as I feel recording multi-track music is like “painting with sound”, with this video I’ve added background audio to enhance the story [thank you BBC Sound Effects library!]. Learning to balance these within iMovie is a satisfying “Aha”.

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?

Learning the structure. Switching between the two characters of noble-courtly and passionate.

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

The first 2 or 3 weeks I could keep up with the courses, but then I couldn’t find the time because of my job and hardly touched the harp. I was frustrated not being able to keep up or doing any homework. Yesterday a dear friend of mine had a birthday party. She wished every guest should contribute something that reminds them of her, a memory, drawing, poetry,.. Since I’m not good at drawing or poetry and my friend both has the wild-passionate but also noble character, I thought the Baroque Flamenco would fit well to describe her.

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

Problem was, that I was way behind in following the course and only had two days to really practice. My largest block was after seeing how many guests there were, to play in front of them all.
What really helped me in that moment, was that my friend was dressed in a red flamenco dress (even though she didn’t know that I would be playing something in that direction). It gave me the feeling that it was the right thing to do. Also through engaging the other guests. I had printed out two different fotos of my friend, one from her wedding where she was wearing a long white dress and holding a white parosol umbrella (like in the Monet drawing), a second foto with her dressed in red and black. The guests could hold up the foto that fit to what I was playing on the harp. So everyone had fun and since they were more involved themselves, I felt more free while playing. 

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

Since I had so little time to practice it was a great challenge for me to memorize the whole thing. A great help was that I knew the structure. And I tried to just think mostly in chords instead of single notes. 

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

To hide less, show more. To try out different things, bring out the different characters. And stay authentic.

What were your personal “Ahas”?

I really experienced for the first time yesterday, that it is “all about connection, not perfection”. Even though I goofed some parts up while playing and once got lost, my friend and the other guests had lots of fun and enjoyed it, since it was very personal.

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

I don’t have a video because it was a live situation and don’t know if anybody filmed it, so that I could show it later on. But it feels good now to have a final-beginning.

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 Principle of being connected: to myself, to the harp, to the expression of the music, to my inner critical teacher, to my real pupils, to the audience in the future, at least to DHC passionate way to love the piece.

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

I needed time ( physically ) to just be with the harp, the computer and the music.

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

At the beginning I felt uncomfortable and overacting. i.e. Usually I play without looking to the audience ….

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

I still need the sheet music and do not feel good without it.
I want more freedom while playing without the music in front of me.

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

Let go what makes you feel disturbed or uneasy. Come back later to the “problem” and make it joyful for everybody.

What were your personal “Ahas”?

Don’t let perfection control yourself – control your own need being perfect.
Be yourself – express yourself