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

Song that I composed and this is the First Time I have ever sung other than very softly in the bath.
I am leaving for Morocco on Tuesday so I am submitting this early, I’ll be away for 3 weeks.

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?

This is the third time thorough this course, and I learned to allow myself to be more in character, which adds that to my music.  I paid more attention to roles and harmonies, what really sounds good to me and what I want to explore.  I’ve fallen in love with the Ab minor scale which I am working on now.

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

Emotionally I had to let go of the lifelong thought that “I cannot sing.”  Logistically, writing a song with rhyme and rhythm,  finding 5 notes that I can sing reasonably in tune, printing the words to the song and writing the notes above them, looking at the notes, camera and words all at the same time, playing the melody as I sing so I can hit the note…..and so on!!!

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

Freedom to sing because all of you will be supportive and encouraging, no matter what I sound like.  I look forward to gentle guidance.

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

It is so hard to sing loudly, I feel so embarassed, even if I am alone.

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

I shared this with my boyfriend Will whom I have not been sharing harp with lately because he has had too much “advice.”  I gave him clear instructions to only give gentile, positive guidance if he chose and he did just that.  I can start sharing with him again.

What were your personal “Ahas”?

That there are 5 notes of music that I can possibly sing close to in tune.

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

It is a very very beginning final project.  I hope to develop this over years.  Maybe this will be my theme song!

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

I made an iMovie taking a lead sheet version of “Scotland the Brave”, transitioning it from the Ionian mode to the Phrygian mode and back again, adding an intro, improv, ending, and left hand. I also used mostly personal pictures of my family and vacations in Scotland.

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 Strings of Passion to help develop a game plan. I also wanted to incorporate the use of modes.

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

It was important for me to map out each of the steps that I would need to do, in a written format. This simplified the process and took away some stress.

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

In the past I seemed to have a strained or fake look on my face (or I didn’t look at the camera). This time I made a point of looking at the camera first, and with a ”pleasant face”.

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

One of my goals for this project was to make it personal. I need to become less self-conscious.

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

Connection—I connected with extended family members, that I don’t see very often, to find pictures to use in this project. They were excited to help and we both enjoyed renewing our bond.

What were your personal “Ahas”?

Modes were easier than I thought. I had always been confused by them.

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

I have a Scottish background, which drew me to this tune.

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

a video with a cowgirl theme, my artwork, and traditional songs:  Streets of Laredo and Red River Valley

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?

Impulse — When I did my half baked, experimenting with the looper, my noodling reminded me of cowboy music!  So, I decided to run with that theme.  
Structure — The cowboy/cowgirl theme provided the structure for my artwork.
Roles — This was the challenge, to present myself as a cowgirl!               

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

I was excited about the idea of using music not traditionally associated with a harp, so I decided to go for it!

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

The struggle and challenge were introducing myself as an imaginary cowgirl.  I’ve done silly stuff before, but this was taking it a little beyond my comfort zone.
The doing part was easy.  The challenge was in sharing it!

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

The intro and ending of the video were not planned out ahead of time.  So, it is the rough, unpolished, me that you see.

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

a constant learning — to be free, outside any cage I might construct for myself

What were your personal “Ahas”?

Aha!  I went off in a new, unexpected, direction  — cowboy music? — and had fun with it

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

‘hope it makes you smile.

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.

Title: Hymn to St Magnus

I wanted to use a fragment of the 12th century ‘Hymn to St Magnus’ in the Aeolian mode and see what would happen if I juxtaposed it with the Phrygian mode.

I also wanted to play the piece in the cathedral dedicated to St Magnus and where his remains now lie.

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 principles of 
1.Impulse
2.Structure
3.Character
The coaching Deborah gave on ‘Archetypes’ was what really helped to open up the dramatic potential of this piece for me.

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

What it took~
1.Research in the book Scotland’s Music by John Purser.
2.My own experimentation with motifs from the piece in different modes.
3.I read up on the life of St Magnus and  tried to imagine what it must have felt like to be him.
4.I got permission from the custodian of the cathedral to play the piece there.

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

I struggled with what to do in the exploration section until I realized that the dissonance and sense of struggle was exactly what I needed!

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

Because the melody is so simple,the challenge for me was trying to play each note with as much expression as I could in order to make each note count.

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

Impact 
The realization that events similar to what happened in the past are still happening in areas of conflict around the world today.

What were your personal “Ahas”?

My personal ‘Aha!’was discovering how a simple piece can contain the fundamental elements for telling a dramatic story

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

Modal Improv Release is a short representation of the type of harp meditation I offer to any person or group seeking to have this type of experience.

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 information offered in both the chats as well as the ambient music exploration.

By taking this course, I became more knowledgeable about modes and how to integrate them into a meditative experience. I also was inspired to meld together two songs in my repertoire which I had never done before.

I also set up my video with the mindset of creating a pleasant background including my meditating frog statue and dressed in a way that fit the archetype of meditation teacher.

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

I know I still have more to practice, but I learned to accept myself where I am with my harp skills and be willing to share my journey with others. I am learning to be less defensive about my shortcomings, build on my strengths and be more open to constructive criticism.

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

Willingness to be open to new ideas and try new things without too much self criticism.

As DHC says, it’s all about connection, not perfection.

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

Finding fluidity in interweaving two songs together and not comparing myself to others.

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

I find I am doing things more slowly and mindfully rather than just rushing through projects.

What were your personal “Ahas”?

Simple can be beautiful!

Accepting the fact that like playing the harp, life is a process not a destination!

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

This is a music video in loving memory of my brother Jaapjan who passed away beginning of this year.

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?

This project reflects my inner dialogue after the passing of my brother: sadness and grieve versus hope and remembering the good things. Rather than consciously choosing a mode for my project I went with just the feel of the aeolean mode as a reflection of how I was feeling inside. The ’embellishments’ in the melody came from practising them when Sally asked a question about a difficult one in an office hour chat.

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

At the beginning of this year I un expectedly lost my brother, just when we started this module. His passing had a huge impact on me and I felt totally lost. I couldn’t take in any of the information in the first couple of classes, which made me feel behind before even starting. In the end I let go of trying to catch up and just chose one aspect of this module: the mood/character.

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

I wanted to create something for my brother but didn’t know where to start. I found myself sitting behind my harp just trying to express what and how I was feeling inside. At first just with the left hand pattern. Later on I added the melody.

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

It was my first time using iMovie. That was a bit daunting. I also had to keep telling myself that ‘perfectly imperfect’ was OK, rather than trying to keep perfecting it.

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

This process reminded me again to let go of trying to be ‘perfect’ and to listen to my inner feeling and voice and let them do ‘the talking’.

What were your personal “Ahas”?

Letting things happen and not trying to force things.
When it comes from the heart it is always more than perfect!

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.

I was inspired by the office coaching snippet. So I rallied to make this video. 

Overall I feel good  about how it turned out. It was all experiment and not planning- other than the outlines from the snippet class.

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?

creative resonance: learning to improvise from a given snippet. a pattern a sequence. loose structure.

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

I changed into a green shirt and moved my harp toward the window for nicer light. I made a few starts and then on the third- I felt that I could just keep playing to see where I would end.

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

courage to share nothing unprepared. 
courage to fiqure out the tech. 
over coming self-criticism. or fear of not being successful.

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

I was feeling an a good mood after the snippet class so overall- I was happily willing to try.

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

I posted this snippet to my Facebook page. this was big for me. I had never posted my harp playing on Facebook before. it felt easy as a gift for the st pats day- like a card.
I enjoyed that my “card”was home-made. 

What were your personal “Ahas”?

this could be fun.
I can succeed without too much struggle to get there. 
it does not have to be perfect.

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

hopefully it’s not too long and boring for other harpists..
I think non-harpists may enjoy.

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

Morning Has Broken arrangement video, beach footage (needs tweaking the final harmonic and adding end credits, maybe changing initial title appearance before final publishing)

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 more about the structure of what I’d done, and what to do in the future. I particularly learned about adding character in the playing (audio) – much of the video footage had been shot before the course began. My playing has much more life and is more enjoyable to me, when I think about the character I’m portraying!

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

I was amazed that this final audio take had (almost) no mistakes. I’d done multiple previous recordings, planning to splice the best together. I will switch out a “better” harmonic in the final version, but otherwise the audio sounded as good as I can do right now! (Buzzes, go away!!) I know a project is at a good point when I’m constantly singing the music in my head, for days!

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

I struggle with finding my audience. Who are they? Do they exist? How do I best reach them emotionally? How do I connect with them?
Is the audience one at a time, or a group?
How much do I value completion of such a project, for myself?

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

Not really any except that it took SOOO long to have this arrangement be where I wanted it – in terms of both the structure and the ability to play those notes with the feeling and character I’d like for myself personally, and for others.

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

I learned much from Deborah and the online classes about people, and about feelings, and about different types of interpersonal interactions.

What were your personal “Ahas”?

Like any other project I’ve done in life, there’s never truly perfection. It’s hard to know when to stop trying to improve something, and for me the time has usually been determined by some deadline! But when I feel that I’ve offered something good, and I’ve really connected with an individual or larger audience, I feel warm and full inside.

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

I love this part of the Atlantic Ocean, and Morning Has Broken was an early teen favorite song decades before I learned that the tune was really an ancient one, and even the lyrics were written so long ago. It was a remarkable treat to experience this arrangement changing and growing. This also was the very first time I took a harp onto the beach, and only the second time that I took a harp outside. I learn a lot about filming each time.

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

This song was complete for the half-bake, and I was hoping to add more tracks/video, but I didn’t get a chance to during tax season. I still hope to do that, but since this is what I worked on all through this class, and the previous, I did want to post something. SO if you watched the full half-bake, you’ve already seen it. It IS five minutes long. Sorry about that. It won’t be on the blog, but if you want to watch the whole thing, it’s on the 1/2 bake from this session.

Attach your homework in PDF or JPEG format here:

A House So Far Away.3.docx

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.

Lyrics, with down beats bolded (mostly)

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 saw the driving bass on another’s homework and thought to use that to imply a rock beat. So – watching others homework is valuable!!!

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

It wasn’t hard logistically, once I got the transitions down and remembered to lower the lever. Emotionally….see below

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

It was cathartic. I couldn’t NOT write it. It haunted my sleep and every waking moment for 4 months until I let my son hear it. Now other music once again plays in my mental background.

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

Transitions was my musical challenge, and Rock N Roll. Transition between waltz to Rock and back, and changing keys both times as well. It was the challenge that I set for myself to focus on the music more than the subject.

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

music settles me, especially playing the same thing over and over if I like it…and doing that lets it grow and change

What were your personal “Ahas”?

ii-V-I is really easy to do if you aren’t changing styles!

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

My son “got” the closed door, and claims it isn’t closed. That’s a good thing, at least if it lasts….

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

It is my FINAL-BEGINNING PROJECT. It is a video-creation that I made of the opening of an exhibition of paintings on 11-3-2023. I played the harp with another musician (electroacoustic) and I have put some pictures of the paintings. The sound and images of the two of us playing have not been edited, they were recorded with an iPhone.

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

1.Impulse. 
The impulse was to receive a call from a friend who asked me if I could play at the opening of the exhibition of paintings of her mother who had died in 2022

2. Structure. I went to see the space and after thinking about the different possibilities I decided to simplify the process and make 12-15 minutes of music working with different textures, to try to immerse the audience inside the images.

3. character. intimate, connection with the soul of the painter.

4. roles: With the other musician I exchanged the roles of Leadership & followship.

5. practice. i looked at the pictures daily and played some of the snippets in the Monday classes to find my “AHah”

6. deconstruction: At the time, I was learning a Greek song, and I saw some connections between the lyrics and the pictures. The word soul of the lyrics gave me two ideas. 1st I chose a painting with two human silhouettes and used the lyrics of the song because of the idea that with the observation and the music, their soul would be there. And the 2nd idea, would be to use the signatures of the paintings to visualize their essence.

7. liftoff. We could only rehearse two days before the performance, but I trusted that with the structure I had prepared and with Spontaneous Performance, everything would go well.

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

I played a section of a Hasàpico, traditional Greek, free form and with dialogues with the other musician.
I improvised arpeggios between the traditional Catalan song “Mountains of Canigó”.
I have used a part of the text of the song Το γιανκι της ερημου
I made an observation-meditation of the paintings with Mixolidi-G modal improvisation. Lidi F- Doric D

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

The hardest thing for me is not to lose myself when I play. I forget the lyrics, or I’m wrong about the chord to be played. The other musician was worried because the song I’m singing didn’t go well in any of the rehearsals. I told him that the most important thing is not perfection but connection.

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

That was my freedom, being able to sing the song they knew I would forget the lyrics and play the wrong chords.

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

I watched the Canva tutorial, tried it but ended up doing it in iMovie on the Mac. Now I am able to make creative videos and share them.

What were your personal “Ahas”?

This work has made me see that even if there are a lot of mistakes when you play for people, there is a lot of connection: people told me that they got goosebumps.
A comment that I really liked: silence is usually requested at events like this, they were surprised when I asked them to walk around the rooms, and to talk to each other, there were even people singing the melodies that we were playing .

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

The video lasts 15 minutes which is the duration of our performance. I have put the chapters of the different sections. I didn’t know where to cut to make a shorter video.
Maybe when playing it, you can jump from section to section?

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?

Use an intro, a chord progression, a known melody

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

To use a known melodie and arrange around with the toolkit.

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

I knew that it was a gift I could give.

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

Don’t worry about, when it is not perfect.

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

Just try

What were your personal “Ahas”?

Do it.

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

It is not a final beginning project, but I want to share it. I started to play classical guitar with 12 years and
never in my life I played without having my notes on a music stand in front of me, since I started to learn with you Deborah.
My husband was a musician, teaching  classical guitar, but played (without notes) with 12-stringed guitar or electric guitar Beatles, Elvis, Beach Boys, Byrds, Dire Straits… he loved the Sixties. He often said (he didn’t joke), “when I die, I want that the song return to sender  (Elvis) is played during my funeral”.
And now, he died, it has been so unexpectedly, for us all.
Dear Deborah, I thank you so much, that I was able to fulfill this wish of my husband, on the 10th of march.
Here is a short impression of my improvisation, I played in the funeral service, were I integrated the refrain “return to sender”. It gave to me so much that I, and not another musician, has fulfilled this wish for Michael. I played for him, and I was not worried about what others think, and I was not worried about, if I play good enough. Thank you Deborah!

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

Another jam with my teacher pals using a simple mixolydian structure. Shan is on handspans and Carlos is now on guitar.

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 introduced structure to my group that had previously been doing completely free improvisation.

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

I introduced the structure … we experimented with shorter and longer segments of each of the two tonal areas. We moved Carlos from Handpan to guitar for more color. 

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

The air conditioning in the room kept coming on unbidden… luckily I could minimize that in Garage Band.  All three of us stiffened up with the introduction of the structure and videoing….even this latest iteration doesn’t quite hit the lift off we get to when we are just playing and responding to each other, but it was starting to move in that direction… usually we really start to fly about the 5 minute mark, so time was a factor.

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

Oh I still have a lot of guilt over imperfection (thanks, classical music training!) and worry about my physical appearance. 

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

The more I play, the lower my blood pressure!

What were your personal “Ahas”?

When improvising, it is a good idea to start with one simple thing and let it evolve.
Meaningful musical experiences come in all settings and sizes. Although the three of occasionally perform for others at a labyrinth walk, just getting together and communicating with music while shaking off stress from our jobs is so rewarding.

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

Find some non judgements buddies and just play!

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

Having some more time to my disposition, I could tell some more of my Kitchen story and elaborate the music.

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?

From the start I wanted to play with the modes, but avoiding a Mediaval feel. Then it appeared I had no time and brains left to think and do any music at all.

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

I was so busy with everything that was going wrong with the fitting of my new kitchen, that it took all my time and energy.

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

How to keep a deadline, when you’ve done nothing. It was freedom, because being on level 0 I could fall deeper, at the same time it was a heavy struggle: How to make something with nothing, having no time.

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

Sit and do….. whatever came out of it.

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

Nonstop stress all over the place is blocking and penetrating everything.

What were your personal “Ahas”?

Don’t listen to what Mr.Blocking Stress tells you. Just do something….., because you can.

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

I can just hope the longer elaborated version will still be as entertaining as the short frustrated Halfbake appeared to be.

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

After a busy week, an overnight lock-in with young people, and frustration with my many recordings, I’ve decided to put my Modal Melody/ Ye Banks and Braes, aside for now. 

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 wanted to explore changing modes within one song and how it changes the feel of phrasing around a repeated pattern as well as doing it with a familiar melody. I was encouraged to find a way to musically let people know I was switching a rhythm. I ended up using a large pause and a lifting of hands off the harp to signify things would change up a bit. 

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

The ending I came up with is a bit difficult because I have to flip a lever up and down in a short amount of time, before ending the piece. I like the affect of doing this as it is a little musical surprise, but my muscle memory doesn’t quite have it yet.

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

I was frustrated that it took me longer than I wanted to find an ending that I liked and that it is a little hard to do, but I want to stick with it. It didn’t help that the last couple weeks were busy. My frustration was affecting my harp playing as I tried to record.

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

The challenge was the logistic of flipping a lever quick enough and slowing down in a smooth rather than hesitant manner, towards the end of the piece, but I find some brainwave freedom in the unexpected flip. So, I’ll keep at it. 

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

I always tell my grandchildren when they get frustrated, to put whatever it is down and come back later. Today I had to practice what I preach even though I really wanted to share what I musically came up with. 

What were your personal “Ahas”?

As I was working on finishing the composition it was the “ear” notion to flip from an expected aeolian A minor chord to an unexpected A major Ionian chord that was my aha moment.

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

Having some more time to my disposition, I could tell some more of my Kitchen story and elaborate the music.

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?

From the start I wanted to play with the modes, but avoiding a Mediaval feel. Then it appeared I had no time and brains left to think and do any music at all.

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

I was so busy with everything that was going wrong with the fitting of my new kitchen, that it took all my time and energy.

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

How to keep a deadline, when you’ve done nothing. It was freedom, because being on level 0 I could fall deeper, at the same time it was a heavy struggle: How to make something with nothing, having no time.

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

Sit and do….. whatever came out of it.

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

Nonstop stress all over the place is blocking and penetrating everything.

What were your personal “Ahas”?

Don’t listen to what Mr.Blocking Stress tells you. Just do something….., because you can.

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

I can just hope the longer elaborated version will still be as entertaining as the short frustrated Halfbake appeared to be.

Are you OK with me sharing your final project & answers to the 6 questions on my blog (or just sharing your answers to the 6 questions if you didn’t submit a final-beginning project)?

Yes – and you’re welcome to use my full name

Are you OK with me sharing your final project in the Monday CHATS and if so which Chat will you be attending?

Yes – and I’ll be attending the Monday MORNING Chat

Describe your video

This video is Made at the end of a Nidra yoga session. In this video, I was playing sometimes high notes and a bit fast. My dress was above my knee 😬. The yoga teacher wanted to use some videos for her website. What would you advise? Is it better to send here an audio file with slow meditative music? What can I improve? I sent some photos off a yoga concert session in the church and the one in the studio. Do think for the yoga session in the studio, we need to make better and more professional photos and videos? 

TELL ME WHAT YOU NEED COACHING ON.

(Please look at the photos what is working and what can be improved

Attach your homework in PDF or JPEG format here.

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

The Nidra Yoga teacher made photos and videos today in here studio. The photos are really different then the photos in the church with the Mindfulness teacher. I do not have a website, yet etc. I hesitate If these photos and films are good publicity for use? What do you think about it?
What would you advise?

Yes – and I’ll be attending the Monday MORNING Chat

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

Lever harp arrangement of a traditional Irish song. I tried to sing to it as well.

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?

It’s all about 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.

I had to accept the simplicity of my playing, settle within the limits of my technical and singing abilities. 

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

The limitations of my voice and harp technique. The freedom of a safe, supportive, and non-judgmental space. 

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

I had to get away from the modes for the moment as I was too entangled in the ideas of how they should sound and after some time everything I played seemed very similar and too artificial. Also, I had to record the voice separately due to the lack of proper recording equipment and realized it is really hard to sing with me as I don’t keep any rhythm. 

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

I feel freer to improvise and find more joy in it, especially in the Mixolydian mode.

What were your personal “Ahas”?

How much variety and harmony one can find within a single scale.

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

I have been learning to play the harp from sheet music only so far (apart from the Academy Chats) so I haven’t gone beyond the simple arpeggios yet and I might abuse them.

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

Using the principles from the Strings of Passion, I created a music video to support my recording of the song: “There’s a Small Hotel.”

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?

Impulse- Inspired by my fellow harp friends in the academy, my impulse was to create a video to support my recording of “There’s a Small Hotel.”

Structure – I developed a structure for the video by creating a storyline, choosing video clips, and timing the clips to the music.

Character – I chose a female character for the video. I felt she evoked a light, airy, carefree, flowing, joyful and ‘in love’ feeling.

Roles – my roles in the project included playing the harp, singing the vocals, hiring a producer and musicians to accompany me, writing the storyline of the video, creating and editing it.

Practicing & Practices – it took a lot of practice, along with countless hours of trial and error to put the video together.

Deconstruction – As I assembled the video clips, I’d go back and forth, constructing and deconstructing the video until I found the closest fit of the footage to the music.  In creating this video, I used 84 video clips and made 14 different versions until I settled on the final one.

Liftoff – once I completed the final edits of my video, I definitely felt a sense of liftoff.

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

It’s been a long-held dream of mine to record this song with the harp after hearing Peggy Lee’s lovely version of it back in the 90’s.  It took nearly 30 years for all the elements to come together and for me to have the courage to finally make it happen.

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

I had to overcome my shyness when it comes to singing. When I focused on embodying the character of the piece, and the style/character of Peggy Lee, it freed me to just let go and have fun with it.  With regards to making the music video, it was quite a learning curve to be able to create the video.

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

With regards to the recording of the song, my biggest challenge was having the confidence to sing.  In creating the music video, my biggest challenge was learning how to put the video together.

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

One of my biggest takeaways from this term was the idea of structure.  The point of structure is to give yourself the permission to make time for something you want to do. Structure creates the opportunity, and creativity makes the opportunity unfold. I’m so grateful for the structure of the Hip Harp Academy and the supportive environment in which we’re encouraged to create, share, and embrace our imperfections.

What were your personal “Ahas”?

Finding my voice and my style were definitely “aha” moments for me along with being able to create a music video.

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

This song is under copyright protection but I have paid for and received the  proper licensing to both record the song, sell my cover version (for both CDs and downloads) as well as cover it on YouTube. I used a company called Easy Song Licensing to get the licensing agreements in place. If you enjoyed this video, and would like to see some of the others I’ve recently made, I’ve posted them on my YouTube page: Soul Harp – Julia Cunningham.

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

My final project is trying to enjoy playing & improvising before heading back to the top and repeating the song.

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 I’m in Dorian mode, but not exactly sure. I tried vamping before repeating back to the beginning of the song.

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

I comped 1 & 5 chords in the bass while I improvised over the top of the 5/4 rhythm. I’ve never done this in my life… it was a stretch for sure. I used the idea of playing patterns in my right hand while I concentrated on keeping the bass going.

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

Once I was able to play the bass pattern, my right hand was freed up to cruise around. It ended up being quite fun! 

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

Keeping the left hand going. 

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

I finally am learning what you mean by being able to extend my repertoire.

What were your personal “Ahas”?

It’s going to take some thought & practice to implement the knowledge I’ve finally realized is available to me, but I’m very excited to take the next step.

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

I am practicing trying to look like I’m enjoying the performance. It feels awkward to smile while I’m playing, but it’s getting easier with each video I create.

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

My harp video is of me playing an arrangement of The Great Selkie, Mixolydian mode while  reciting an Emily Dickinson poem, adapted for 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?

I used the Mixolydian mode we studied in class to create an ocean wave theme for The Great Selkie arrangement. 

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

I never know how the sound is going to turn out on the IPhone app, IMovie, and it isn’t that easy to get the sound levels right. I have been singing and playing this song for years but I couldn’t quite pull my voice together, so I did Plan B, recited the poem. I had to change the Emily Dickinson poem slightly because the S in Wild Nights didn’t sound good except it makes it sound more like one-night stand. As usual, I don’t like to be filmed playing but I did include a brief bit with myself, so people could see the harp.

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

I was happy that I got to see what it took to sing and play harp and record. It was harder than I thought. My voice was affected by allergies so singing was a no-go and I let it go for now.

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

When I put together a project like this, I don’t plot everything. It’s fun making it up as I go along but when I want to use someone’s art/photography, there is not usually enough time to ask permission. I did however get permission to use the mermaid drawing from the artist but still have to contact the Emily Dickinson Society.

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

It builds my confidence to keep creating and know that I will leave a legacy for my husband and family to enjoy.

What were your personal “Ahas”?

The Strings of Passion came through for me as I was inspired and nurtured along this project. It works.

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

I was going for magic and hope you enjoy. Thank you for all of your support. It’s been a blast to grow together!

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

An impulse I had to play with added pictures to go with the piece. You may need to stop recording before you play- but I’d still like to record 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?

Using the impulse to play, adding a few chord progressions. Also the idea of not comparing myself. In adding the pictures I found I had to break down the pictures to get to the simplest, most important form.

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

Logistically the playing was the easy part (except the song always makes me cry). Emotionally, looking through my photos really touched me.

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

I struggled at first with what I wanted to present – I had planned on doing a more complex piece and possibly singing with it. That didn’t work out, so I gave myself the freedom to simplify and play what was in my heart.

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

The biggest challenge was in selecting photos and preparing them to add to the music. It took a lot more time to edit than I anticipated.

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

I’m learning to try to simplify my life. To accept who I am now and not who I used to be. Cutting things down to the essentials. This class has helped me not to criticize myself. Also the Golden Cage had a big influence in how I’m seeing things now and letting things go.

What were your personal “Ahas”?

I don’t have to work harder. Connection over perfection. Be easier on myself and do things at my level.

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

While thinking about what to present, I starting stalling by looking at old pictures. It made me think of this song so I went with it. And that’s okay.

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

I am submitting a video made 3 months ago of a jam with the percussionist I work with. I wanted to submit something where I started with impulse and ended in lift-off. This jam somewhat accomplishes that in its pure playfulness.

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?

Impulse – find a structure – character – roles – Practice (playing through) – deconstruction – (improvising on a theme)- Lift off (freedom of play)

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

I emptied my head – let the percussionist lead a beat – found myself in the beat – fell into a theme and led with the theme deconstructing it- finding freedom in collaborative play. 

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

Freedom was the objective – not getting caught- expanding and finding new spaces

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

my own limitations as a harpist . In this regard I just forgot the limits and played with what i had.

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

During the time of this class session, I was preparing for ST PAT WEEK PERFORMANCES. It was very consuming – memorizing, finding voice, and style, and collaborating. My intended project was with the band. Due to the whirlwind of gigging, did not get it videoed. 

What were your personal “Ahas”?

Practice is embracing structure giving confidence in performance.

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

This is an early attempt to fit lyrics to music, based on my poem “Winter of Moss” and on modal exploration.  The refrain is in G mixolydian, while the verses are in A aeolian. I wanted to sing the lyrics, but my voice was not cooperating, so I put in the words as text overlays.

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 exploration of different modes and characters to try and reflect the meaning of a poem that I had written a couple years ago.  My goal was to create a song that I could ultimately publish.

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

The original poem was fairly free, not metrical or rhyming. I felt I needed to give it a little more structure for the song, but it maintains a sense of unfiltered reflection.  The primary structure lies in the musical form of chorus and verse.  The chorus is in one musical mode, while the verses are in another.

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

The free-form nature of the poem clashed somewhat with my desire to have recognizable musical structure, and I found it a challenge to adapt the poem to song lyrics.  I also found it challenging to play an upbeat, rhythmic accompaniment under what I envisioned as a long, soaring vocal line (particularly in the chorus).  I’m sure my choices will continue to evolve.

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

I have a lingering cough from a respiratory bug, so I wasn’t really able to sing much.  It meant I had to use imagination and musical imagery even more than usual in the creative process.  I almost used that as an excuse for not doing the project, but I’m glad I came through with something.  It will serve as an intermediate stage.

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

This reinforces the idea that limitations shouldn’t keep you from doing something that you want to do, you just might have to modify your approach or your goals. 

What were your personal “Ahas”?

A shift in mode can really give an immediate and visceral sense of a contrasting idea.

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

Since I wasn’t in singing shape, I put the lyrics into a text overlay on the video.  It starts with the chorus, then goes through 3 verses, each followed by a chorus.  It’s quite long (about 7 min.), and I will not be offended by anyone stopping part-way through; but for those who might want the entirety, it’s here.

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

Final Beginning Project March 2023

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 recent snippet, which I am still working on.  This is one version and I plan to add more to it later…maybe some flute.

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

I just kind of pulled this together at the last minute.  I was busy with other things and just wanted to be able to submit something.  

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

As usual, I struggled with feeling like it was not good enough, not ready, not played well, etc.  But I am getting better at this because there was a time when I just wouldn’t have submitted it if I didn’t make it “just right.”

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

I have several different versions of this and I will probably combine some of the elements from each version at some point.  I added an intro onto the snippet, but it isn’t fully formed yet.  I feel like it is just an outline at this point.

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

I’m so busy in my life that coming to class is my “escape” from the world, if even for only 90 minutes.  I always learn something, even if I can’t always articulate it in words.  I know somehow it comes through somewhere in my music.

What were your personal “Ahas”?

Aha – there are at least several ways to use this snippet.  Different tempo changes or adding a pattern can totally transform the snippet into different pieces.

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

I’ve been experimenting with color, pens, markers and doodling/drawing flowers and such.  I usually doodle these during class on my notes pages.  I scanned each page of notes, then digitally erased the notes and kept the flowers.  I know they’re not great works of art, but the doodling and experimentation is calming for me.  I would like to learn more about fades and such in video editing and plan to incorporate more of these in a future project, with more advanced techniques to combine photos.  Some of the drawings look like reverse images, but actually came from the ink bleeding through the page.

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

My recording is 1.31 sec.

It came directly as a result of the Ambient Improv Game.  

I’d like to sing with the harp. Since childhood I’ve been told I don’t have a singing voice.
One morning doing the Ambient Improv Game I just found myself singing. 
With the Harp. 
For the first time ever.
On the day projects were due I had the impulse to record the song I’d been singing.
I was just going to submit the 7 Questions and say I’d made the recording, but not actually send the recording in.  Then, listening to the replays, I heard Fern’s final project.  

Fern, you gave me courage to share this.

The song is important:
   ‘Win de ya ho’ also called ‘Cheroke Morning Song’. A song to greet the dawn of day.

It was taught to me years ago by Ruth (Veena Vaani) in a women’s drumming circle.
I was a doctor, working in rural Australia and was often called out at night, frequently for sexual assault.

Driving home, I’d sing this song to shake off what I’d just been doing. It was usually in the early hours, often at dawn.
So, this comes from that part of me that existed long before I had a harp.

        This recording was made at dawn, just after I’d played the ambient improv game for the day.

Coaching?
Should I have left out the dawn overlay?
Where to from here?

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

1. Impulse:  this was an impulse that came out of the Ambient Improv Game
   2. Structure:  doing the game every day for more than eight weeks made this happen.
   3. Character: I was just trying to embody me.
   4. Roles: the archetype is medicine woman singing
   5. PracticING & PracticES:  what was important was to just keep doing the practice, just keep playing, just keep recording even though it didn’t sound good, just share it.
   6. Deconstruction:  this is the simplest possible form of this song on the harp.
   7. Lift-Off:  well I actual sent a final-beginning project. It actually got done!

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

It took overcoming a lifetime of belief that I have the singing voice of a frog, to allow this clip to be seen

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

The freedom is to embrace
  – just do it
  – to believe in the compassion of this group will allow this to be okay.

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

One of the main challenges was simply time to do it.
The second was to do it and allow it to be very imperfect.

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

Every part of my life has been impacted by the ambient improv meditation game:

Ø Connect to the earth,
Ø check in with myself, 
Ø connect to the heavens, 
         >> Go!

What were your personal “Ahas”?

If Fern can do it, there is hope for me.

I might not sing well, but I can sing.

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

Please be gentle.