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

Instead of BF I have been working on jazz progressions and creating my own arrangements with voice. The one I am submitting is Black Orpheus as it has been most challenging.

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?

Investigating the structure and feeling of Black Orpheus- 1) working it in different keys, playing it solo and with other instruments. 2) finding the groove; 3) developing the emotion and drama

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

I played it instrumentally over and over and over in different keys: Am to Bm to Cm to Dm to its present state in Em and worked with the accidentals in each key change while raising my vocal range with each change.
The beginning rhythm motif I borrowed from a snippet of DHC’s Season of the Night

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

I was reluctant at first to change the key – then began to feel comfortable with the hand shapes and in the discovery of the differences each change made tonally. Changing keys change the accidentals – and that has been most challenging to make them seamless. It’s still messy at this point.

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

Keeping a steady rhythm without faltering. Finding my voice in the piece.  Adapting an arrangement that is still changing especially the blowing part. But to play with others I need to keep it loose.

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

Time, the season, and the demands of my commitment to doing music.  I have been MIA for a good part of the BF session -because I wanted to work on repertoire and learn progressions.

What were your personal “Ahas”?

My biggest aha was that loving a piece of music so much that you can make it your own. Knowing structure always contributes to my freedom of expression.

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

This isnt Baroque Flamingo so I didnt invest in homework coaching or half bake with Deborah. I wished I had even though I was choosing an alternative piece.

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

My shortened, edited version of “Merceditas” & “Baroque Flamenco” where I show going from the end of Merceditas to the beginning 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 played around with the form. I did toy with going off the page, but ultimately, I pretty much stayed on this page as I’ve been working on a bigger project to learn & play DHC’s entire “Soñando en Español” as a solo harp version

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

I was determined to do this in one take. I had difficulty forcing myself to let go of mistakes and play through the piece, warts & all. However, I was able to accept that it was okay to be imperfect. It’s getting easier and therefore more freeing.

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

Again, it’s the imperfection acceptance that was a struggle. But I realize I can play through a piece imperfectly and that is a triumph.

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

I stay very much on the page except in those parts of “Merceditas” that I had to reduce for harp solo. I felt that perhaps I should have explored more of going beyond the page with Baroque Flamenco, but I’m finally accepting that my classical training can be a superpower. I can stay on the page but still be me with what I do musically with the score.

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

I’ve said it before, but having a structure makes it possible to free oneself and create.

What were your personal “Ahas”?

I’m becoming more accepting of the fact that I am a classical player. It’s my comfort zone and that is okay. That said, it’s fun to attempt other styles that are out of my comfort zone.

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

I have video of the entire “Merceditas” & BF, which I can share should people what to see the entire two movements.

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

To me Baroque Flamenco is a piece of passion and energy, the attraction and repulsion, sometimes soft and sensual, sometimes fierce and full of fire. I tried to catch some of this in my version. I also love that by playing this piece I can show people a complete different side of the harp

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?

When setting up to make the video I realized how helpful watching the video’s of others is: camera angle, background etc.
Also the weekly snippets for every part of the piece were very helpful to me

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

I found this piece quite overwhelming and didn’t really know where to start. I am also a drummer/percussionist so I decided to just take the cadenza/percussion bit where I felt most comfortable and started from there

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

As always making a video of myself, especially a half baked, because my brain keeps telling me I should be better. I am getting more comfortable with it though and even sent in a half baked (and I love dressing up 😉)

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

The idea (in my head) that I had to follow the structure of the piece hindered me to get to freedom.. once I let go of that and just started where I felt comfortable I was able to get creative and expand

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

Every class teaches me to connect with my instrument, myself and others. Just being there is enough, whether it’s a single note or a single gesture, not only in class but also in other every day situations can be all that is needed

What were your personal “Ahas”?

That I can use my analytical engineers and project managers brain to ‘tackle’ an overwhelming or complex piece of music in the same way I would do a complex project: break it down in smaller, manageable pieces and start with the most comfortable ones…

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

This is my final beginning project.  (I did not do Baroque Flamenco for my project.)  I used a snippet to create a piece.  

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 a chord progression/snippet that DHC has used frequently throughout my time in the academy.  It started out as a chord progression using a, F, d, G, and morphed into some improvisation which has now become a piece that I call Wind Waltz.

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

I haven’t had the time to set up a video, since I have been busy taking care of family and other things.  Since I really wanted to submit something, I created an audio, and then made a video of images to go with it.

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

Trying to play the piece as perfectly as I can continues to be a struggle.  I did make some mistakes in playing this, but I have to just let them go.

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

I like the challenge of creating pieces from improvisation.  I also managed to start notating the piece in Muse Score, although it isn’t done correctly…yet.

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

I really enjoyed seeing everyone’s creative takes on Baroque Flamenco and everything else everyone is doing.  I have also worked on Baroque Flamenco on harp, as well as flute.  Maybe next time around I will do my own version of it, but I am having a lot of fun with the snippets, so that’s where I am working.

What were your personal “Ahas”?

Personal ahas:  I can actually notate in Muse Score…at least I’ve made a good start.  I’m learning more and more on how to make videos working with images and using the software.  I want to do a lot more with it in the future.

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

This piece made me think of leaves being blown around in the wind….like when there are leaves on the ground and the wind swirls and moves them, stops, then picks them up and moves them again, and again.  That’s what I was trying to express in the beginning and the at end with the higher octave and the variations in tempo.  I couldn’t find the exact photos I wanted, but I wanted to express wind and movement.  I hope you like the little surprises throughout.  I had fun putting them into the video.

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

Baroque Flamenco — my way

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 looked at “The Bones of ‘Baroque Flamenco” diagram as I was playing — so that I had the structure in front of me.  FINALLY, I got it together – more or less.  At least, there is an intro, an ending, a melody and variations in there.  

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

For a long time, I thought that I would never get all the pieces together into what I felt was a coherent whole!  I finally let go of my impossible expectations. I got away from all of the written music, and just played!  It was a positive, liberating experience that outweighed the fact that I sometimes hit wrong notes

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

I think I answered that question above.  

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

I kept experimenting with more written versions of the variations, warmups, snippets, etc. that I could make sense of.  Finally, I just let go.

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

Working on Baroque Flamenco just reinforced for me that there are times I just need to “let go.”

What were your personal “Ahas”?

The biggest “aha” for me was that I actually reached a point where I can say:  “Yes, this is my final beginning project.”

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

Maybe next year I will take on costume, lighting, background and all that good stuff….Who knows?

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

BFBP—Intro, melody, flamenco, transition, cadenza, transition, melody, coda, ending. My goals this year were to learn new cadenza sections and to work on gesturing. 

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 enjoyed having a variety of versions to pick from, so I could pick out what worked best for me. I also got ideas from watching others in the class, as well as comments about what was being played.

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 play both strong and gentle in the different sections, adding variety.

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

Once I did the gesturing homework, I was able to relax. It seemed to unlock my stiffness in playing. This carried over into other pieces. 

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

It was a challenge to learn the fingernail glisses, but with your advice and with practice I was able to get the hang of it. I also needed to be careful not to speed up in the cadenza.

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

By learning to play strong and with gestures, I feel I’m becoming more confident. In taking an active role in picking the parts I wanted to play, I became aware that I can also pick and choose how I want to spend my own time, not just following what others expect of me, taking more control. 

What were your personal “Ahas”?

There can be unlimited arrangements of this piece. I loved hearing everyone’s take on the same basic tunes. 

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

Don’t be afraid to try something new. 

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

Final beginning project for Baroque Flamenco Beyond the Page 

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?

Following the format of BF from the flow chart.  Knowing the structure of the piece helped me to play it and change it while staying with the feel of the piece. I put notes on the chart to help me remember order. Watching other people’s videos and listening to their questions helped me to gain better insights to the piece. It also helped to see that other people have questions and things to work out – just like do.

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

Logistically it took working through how to weave the pieces together. Emotionally it took a lot more. I cringe watching myself on video, I become very nervous playing for people. I decided to go all in taping the piece- background, camera placement and dressing as if I was actually going to play on stage. That gave me a feeling of being a character- while showing the real me. Facing my fears are bravely as possible.

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

Freedom to take the form and try something different. To be able to feel the music. I worked through the order and how I wanted things to flow by writing notes on the handout. I struggle with playing in front of people. I tried to make my environment conducive to getting into the part.

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

The challenge to take something that reminded me of other songs and put them together. To remember to have fun and feel the music. I’m still working on overcoming the idea that playing off the page is bad – feeling that it’s not really playing. I think I’m starting get past that idea.

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

It’s okay to be me. I’m not the only one that faces fears and struggles. The feeling of freedom to just sit down and get so immersed in the music that time flys by. I also thought that I was really too old to become better – the talks and people made me realize it’s not too late to learn.

What were your personal “Ahas”?

Understanding more about music, it’s okay to be me and it’s good to dress up nice in a while – it makes me feel better about myself. Other people have struggles too and it’s not too late to learn. 
The idea that the class was not about memorizing a song but learning the structure and applying it to other things. Structure gives us a base in which we can explore other ideas and allowing us a way to get back home.

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

I shortened things to try to fit in the time frame. When playing it outside of the video I’m going to let the piece breathe more and let the music really flow. Also, I actually wore make up and dressed up for the video! Small details like the red roses in my hair (a nod to Spanish feeling) and the Victorian necklace ( adding a baroque feel.) I think this is one time I tried to go all in – something that other people seem to do naturally.

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

Final beginning project 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?

I focused on Roles, which are clearly defined in BF.  I tried to infuse the opposing characters in my body language, partly to take emphasis off of my playing,

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

Emotionally my demon was feeling like a failure because this is the second year that I have worked on this piece and it is still not fluid enough to play for anyone.  Logistically I can play the separate parts of the piece, but I get confused with the details of the variations when recalling them from memory.

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

I block myself by trying to play the piece exactly as written.  Sometimes I give my self freedom to make it easier for me to play, but my demon tells me I am already playing the most simple version and that I should get it “right.”

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

I really have trouble letting myself be “free.”

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

At music concerts I stand and clap and yell more!

What were your personal “Ahas”?

That I am a good storyteller and the I can become different characters.

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

It is simple. but hopefully you will get a smile out of it.

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

This is a one-handed rendition of Baroque Flamenco (improvised, with a cat helping).

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?

First and foremost, I had fun making the most of what I had available to me right at the moment. Since I had a cat “helping” and occupying one arm, that meant I had only one hand free for the harp.  I used the basic structure of Baroque Flamenco as my starting point and improvised.  I drew heavily on the Academy experiences of playing around with a descending bass line in a minor key.  I also did a little bit of reharmonization.

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

Thank goodness for simple video editing, because what I recorded was actually too long by several minutes.  Rather than making 20 or 30 takes in an effort to get things right, I decided to just select from what I had.  I’ve been told that pets and children always steal the show, so I figured my cat could have her time in the spotlight with me and perhaps make some people smile.  (I didn’t invite her, but she was determined to be where she was.)

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

I wasn’t necessarily expecting to use the recording with the cat, so I felt pretty free to experiment with the sounds and phrases.  Rather than worrying much about mistakes, I was more focused on the next neat musical idea.  That brings a freshness to the performance that can sometimes be missing in repeated takes.

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

One challenge was in trying to create a full sound with only one hand, but since I used a fairly small harp, I was able to use the whole range despite that limitation.  Another challenge was keeping track of where I was structurally in the piece and navigating the transitions gracefully.  I’m getting better at the transitions, but I can still get caught up in one section, wondering if maybe I should have expanded more or transitioned earlier.

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

The approach of looking for something to love and incorporate in my practice has been very powerful for me.  It helps me be kinder to myself and others in all aspects of life, not just music.

What were your personal “Ahas”?

I think I have really begun to internalize the idea of alternating between “safe” musical sections and “daring” sections of exploration.  It means that feeling lost doesn’t have to cause me to stop playing, I can still play while I mentally re-group.  It’s possible.

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

My co-star in this video is named Skye.  We’ve been together since before I had a harp.

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

Baroque Flamenco ~ with bells on!

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 ethos of “Beyond the Page” inspired me to memorise rather than read as I played. To feel free to reharmonise; explore a different cadenza. I thank DHC for her openness to us exploring Baroque Flamenco in infinite ways!

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

Logistically: crafting coherent links between sections, given the contrasting tempos & moods, the rubato, the Flamboyant Fermatas! Emotionally: I did more takes than usual and connected with how I was feeling while playing. My improvs became more like compositions as muscle memory kicked in and I was thinking about the structure less.

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

I loved the freedom to explore [see above]. Adding ankle bells in some of the Flamenco sections was fun! Choosing backdrop and clothes: always liberating. Blocks: the wish to play faster but not yet having the techniques!

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

Skills I’m trying to build. Sometimes my left hand feels really weird! That’s why I picked a take without the full set of parallel 6ths in the Baroques sections, as they were shaky.

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

Making the time to finish it. Loving the upliftment of creativity!

What were your personal “Ahas”?

Savouring the dynamics; being in the moment. That it ended up looking a lot less dramatic than I was feeling!

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

This is my current version of Baroque Flamenco.  It is 1 minute 49seconds.  I wanted to keep it short.  So it is really, ‘something in the space’, it’s just a symbol of what I hope to do one day.

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 that my project was based on are
– Play at the level you are at now
– Be imperfect
– Have fun
– Don’t do more, hide less
– “Put something that’s sort of like something” in the space.
– Start with gestures, feel and character.  Get the notes right later.

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

I could not have done this project without first completing the half-baked.  I thought my half-baked was really bad.  Listening to the feedback made me realise it was worth something.  And what’s more, I had fun.
Doing the half-baked gave me the confidence which allowed me to go forward to complete the final project. 

I continued with my plan of ‘just put something in the space.

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

I started with the attitude I was just going to do it put something in the space and have fun.
I had to not let myself be influenced or defeated by the thought that it was not good enough.

Freedom that I connected with: 
– ‘I can do this’
– ‘Just have a go’
– ‘Just do it’
– ‘Just do it for fun’
– ‘It’s a start, doesn’t matter if it takes 20 years to make it good.’
Blocks
– It would be so nice if I could just manage to smile.
– It would be also nice to hit more correct notes

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

The main challenge is having the courage to be seen as very imperfect.

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

– I’m more willing to take risks and to play in public.
– I am truly able to feel the importance of symbol, gesture and character, and use these in all sorts of situations, not just in music.

What were your personal “Ahas”?

• I enjoying having fun with video backgrounds
  • Slowing down is really a good idea.

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

I was only hoping for tiny improvements on the half-baked.

DHC made many really useful suggestions in my half-baked feedback.  I managed to implement just a few of them.

• DHC advised slowing down in places, I managed that.
• DHC advised adding the b natural in the strumming section. I managed that.
• DHC advised adding some left hand to the melody – I was able to put a few notes in.

DHC also advised quite a few other things I didn’t manage this time round.  However, I will watch and re-watch the feed-back and hope to include more over time.

I planned to on  the low G. However, I hit a C and decided to leave it at that.

About the video background:

It’s a wild piece. I wanted a wild background.  My study wall was too boring, so this wild. background is a rocky shoreline near my home.

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

This is a Very Beginning version of Baroque Flamenco

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.

It seemed daunting in the beginning – so many choices to make –  then I decided to just have fun with it, and it became creatively enjoyable

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?

Just do it! was the main one.  I put no pressure on myself to produce anything during the course, and just really enjoyed playing the snippets during class and occasionally thereafter.

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

I decided just a few days ago to submit, so I had to ‘work out’ a structure that would be feasible, given the short time span and remember what I did in each section.  I found it very hard on the hands, so could only ‘practice’ it in short bursts

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

Actually, making time to do this was very tricky!

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

I had been just playing around with the snippets and the warmups with no intention of submitting a Final Beginning project, so did not actually ‘learn’ the piece and did not ‘practice’ putting it all together.  So I found it quite challenging when in the last few days I decided I may as well ‘have a go’ at submitting, because I had been dabbling in patterns that were a bit too technically difficult for me to ‘perform’, so I had to adapt them at the last minute. Trying to remember the various sections I had played with was also challenging, as was joining them together Rubato was a live saver!

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

I think I’m more relaxed in general about the way I go about doing things.

What were your personal “Ahas”?

I don’t want to or need to create anything that is stressful or perfect, so therefore I can now actually create something that is ‘set in time’ rather than just improvising all the time. 

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

This is the link to the video of my final beginning project for Baroque Flamenco Beyond the Page.  I’ve named the tune “Mellow Flamenco.”

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 my final beginning project for Baroque Flamenco Beyond the Page.  I’ve named the tune “Mellow 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?

Skills learned: I enjoyed learning about making a visual road map for Baroque Flamenco. I can see myself using this as a helpful tool to learn future pieces.  Developing the piece included learning to expand, vamp, improvise, elongate sections, simplify things. I especially loved learning the new flamenco style techniques.  I’ve got a long way to go before I can confidently implement them into my playing but I’m enjoying the journey of learning and practicing them.

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

Logistically, I just needed to carve out  time in my day to focus on practicing.  Emotionally,  I found it challenging to get into the fiery vibe of this piece simply because of events happening in my life at this time.  That’s why I decided to play it in a more mellow, subdued way.

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

I absolutely love the flashiness of the flamenco section, the new strumming techniques and the character of the piece but when I recently came across the videos of Deborah playing the piece in a more therapeutic way, I was inspired to give it a try myself.  I immediately felt drawn to my harp as a form of therapy.  By changing the character of the piece to a more subdued feel, it became a therapeutic tool for my own healing journey.  My current version of the piece simply reflects the pensive mood I’ve been in lately where I’ve been focusing inward. I’ll look forward to playing the piece in a flashy, fiery way at some point. Until then, I’m really enjoying this meditative vibe for now.

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

I kept reminding myself that it’s ok as it is.  Deborah often stresses the importance of personal expression without expectations. I really appreciate that. It’s a freeing feeling.

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

 In exploring the new flamenco techniques, I’ve enjoyed taking a walk down memory lane and listening to some of the flamenco greats of our time including Paco de Lucia,  Moraíto Chico, Sabica , Carmen Linares, Gypsy Kings and others. Listening to these pros is so inspiring. Hopefully their great styles will influence my own playing one day.

What were your personal “Ahas”?

It’s ok to not only play to your own ability but also to play in alignment with your own emotional state at the time.  Doing so feels authentic & genuine.

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

As always, I’m embracing the art of expression, not perfection!  

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 video – yet) I studied/practiced the warm ups and the first day challenge, in the time I made to do so. In that I learned about the different parts of Melody and transition, I felt the melody in my fingers, though it is still hard for me to play both hands at once, however the transition to the cords feels so wondrous to me and is simpler for me, probably because of the warm ups in which I played as far as the 5th warm up fairly well. I learned I need to practice, -and as yet in this class, have had very little time to do so or attend. but I am happy to even get this basic, essential structure of this piece musically, rhythmically down in my psyche/body and heart! soon in my fingers with more practice! I need to practice more to have it memorized. DH, your encouragement as to its simplicity primes my mind to do so (cutting through all dyslexia)

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

Logistically, my greatest challenge has been making time to do so(-a little too much going on, overhauling my house due to brown recluse spiders, sister with metastasized cancer, lots of job learning and work, and involvement in local retreat center, as well as cancer protocol and paralyzed bodycare protocol.)  Emotionally- I have had to get over feeling defeated by lack of time, and the deep sadness around that. I had to get over ‘giving up’ and just do what I can, making choices about how I live my life, thus coming to this with what time I have, without stressing myself into more cancer; I have to learn how to tune my harp to other scales…thanks to tammy i am finding the youtubes to teach me this- gotta make time to do so.

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

the biggest block has been: from early childhood a sense of ‘putting myself aside’ to get through school, or to work a job, until I realized that is no way to live- so learning to just be present in my prayer practices, – first intention- dependable in my job but on my time , so blocking out job responsibilities  while I stay present with the other joys and responsibilities of my life-  choosing to make time to play the harp and come to class, even though I have job calls and letters to write ( even still tonight- but I will go to bed instead-better health!) so the freedom of the joy of grounding in ‘me’ – that I am ok without being perfect in any direction, but authentic and meeting responsibilities- and all that that entails in ‘interfacing with the world ( my job, community, family’ – this is a freedom and is requiring or resulting in a true freshness of being

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

I love the music in this, my whole being does; so the first challenge is making time to practice; the next is to be ok with the very slow speed with which I have to practice (not yet further than the1rst day challenge!) 

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

Oh – I think I mostly answered this above. the desire to be in this class, the juice from all you share and everyone’s input and pieces, simply bring happiness and courage, a freedom to all parts of my life in that my thoughts are calmer, my sense of self and direction, more clarified, knowing, and doing, what I want through many choices and possibilities, not bound by earlier inculcated belief systems. Of course this is synchronistic with the results of my meditation and prayer practices.

What were your personal “Ahas”?

Welp, the biggest aha is that I CAN make time and move more freely in a day than my mind conceived (s) of, with the necessities to be accomplished daily around me. Not just in music, with the harp, my body knows what to do next in an overfull plate – I don’t have to think too much- I find myself here and there spontaneously doing the needed things without worrying, but in a flow…and deep presence. I hear you teach this in different words DH, which articulates what I am learning in all directions, dissolving many childhood self/world views- actually making me see them through  the music movement- though I have a little bit more block to get over in playing the music, in relaxing. I am learning rhythm too – that is a wonderful aha! no matter how slow I am- I love the sound 

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

OK! there is this- in utter despair of making time to get to class, learn and practice, I recalled what my father said when I was very young, about playing a record while you sleep in order to learn a new language; so finally a couple of weeks ago from midnight to 3:30 in the morning, with my ipad and head phones, I played over and over again the first two introductory warm up to the challenge videos—dozing, awakening and replaying them   When I arose in the morning- wow – I have never ever before experienced such a calmly focused mind and simple stillness, sitting directly down to my harp and practicing for an hour and half everything I learned in my semi sleep- with it making sense, not unfamiliar. very cool

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 have worked through the warmup and the beginner version of BF. Have worked with the snippets to work on explorations.

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

I have worked on the storming and other percussive element need to get better at them.  I am still trying to get the rhythm better for the piece.

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

the rhythm and getting it up to a faster tempo.  was a block for me.  As well as trying to learn so many different parts. I did find that it was said over and over in chats to let go of what you could not do and do what you could.  I will contiue to work on

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

I am not creative enough for i feel stuck in this part.  have always just played what was written, trying to incorporate the snippets and move them around to see what I can get.

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

Keep working at it try something different and see how that works, BF always returned to the melody or home which was familiar.

What were your personal “Ahas”?

I can simplify this to what I can do.

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

Maybe next year I will feel that I can do a video.

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 about the rondo form. I did not submit a final beginning project. All the chats and instruction were enjoyable. The big “but” for me is needing better technical prowess. 

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

I didn’t make a final beginning video. 

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

Blocks are no longer emotional but practical. I have interesting ideas but not technical prowess to implement them to my own satisfaction. 

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

Underdeveloped technical prowess. 

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

I feel emotionally supported by the group, which helps with improving self-esteem in general. 

What were your personal “Ahas”?

The triad G# F E has a plaintive sound like Jewish music. And I learned that 15th century Jews during the Spanish Inquisition had to hide their music but later its sounds gave rise to Flamenco music. 

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

Didn’t do a video.