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

This is a 2-part suite, the first in C min – Eb maj – C min (end G7), the second in C maj – A min (end E7).

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 let a snippet emerge, play with it, then develop it into phrases until they sound unified.

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

The starting point for each snippet was an unpleasant sensation, and when I began to improvise while remaining connected to it, feeling it, listening to it, I had the impression that this allowed it to evolve and transform.

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

Freedoms: When I have a strong feeling, lately I’ve found it easy to translate it into music.
Blocks: I’m not able to develop snippets much.

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

I don’t know.

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

Improvising on a sensation helps me not to try to get rid of what I’m feeling.

What were your personal “Ahas”?

I’ve found a way of improvising that suits me, whatever the result.

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

Video credits:

cottonbro studio – https://www.pexels.com/fr-fr/video/mode-mains-femme-espace-7170786/

jol acen – https://www.pexels.com/fr-fr/video/terre-espace-soleil-galaxy-7094565/

Nino Souza – https://www.pexels.com/fr-fr/video/terre-espace-monde-tourner-10755267/

ZCH – https://www.pexels.com/fr-fr/video/espace-soleil-galaxy-etoiles-12722063/

Colin Jones – https://www.pexels.com/fr-fr/video/lumineux-ciel-nuit-terre-10415311/

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

This is the vision story of the feeble old woman who shares her resonance with the villagers no matter what the circumstances.

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.

The story uses the harp to help set scenes and the characters as well as the theme of the story.

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 started with the splotch drawings to come up with the characters and the scene of the mountain and the woods. I used parts of the warmups and ideas for sounds of the characters and scenarios. I used the sprint writing to come up with the story. I used “you have a voice” as the theme for the story.

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

I had to practice the warmups and the “You have a voice”. I am not a singer so this also took me out of my comfort zone as a challenge.

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

The length of the story just happened as I moved through the scenes. I kept rehearsing, but needed to determine that this current version was lift off for where I was in pulling everything together and trying to add in the deconstruction of the characters.

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

I had to explore all the different improvisations of the chord progression of You have a voice.

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

I think I have become more confident in using what I have and can do and not compare it to others that have more technique.

What were your personal “Ahas”?

I did it!  I can do it!  I kept trying to employ all that I had learned this quarter into my project.

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

The story came alive as I progressed.

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

I took the 5 motifs from the Vision to Action challenge, expanded them, and made a 5 movement meditation suite.

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 all of the Stings of Passion to develop a “Game Plan” to clarify what was needed to complete this project. I also gained a better understanding of the different options for transitions.

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 concentrate on being ‘present’ as I played and not to get distracted.

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

I’m slowly learning to loosen up, relax, and connect emotionally with what I’m playing.

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

I needed to stop caring about playing it “right” and just play what I felt.

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

Trust your instincts and enjoy the process. These are true for both your musical and life journeys.

What were your personal “Ahas”?

It’s not about the notes or counting the beats that matters, it’s about feeling the music as you play.

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

So this is another version that has more of my creative “harpy” character bits in it…but the performance is less polished.

It’s a poem I wrote back in 2002 and a melody a created in 2005. I decided to set it for harp and voice for my project.

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

The impulse string I discovered because I was playing some Ladino folk songs and the scale reminded me of the melody to the poem I wrote. The structure is the harmony, and the character (which I think is the biggest thing i used) was the different ways I painted the text musically and harpistically. I deconstructed what I wanted to do on the harp by figuring out the technical challenges that I had to master to be able to put them into a performance.

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

Emotionally, I am at a good place with this song. You know how emotion is a good thing when you are playing a piece, but too much emotion hinders the expression? Well, my mom passed long enough ago that I can remember her fondly without the lump in my throat most days, so my performance is not hindered by too much emotion. I do think I have enough to do the song justice though.

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

The blocks for me mostly this time were the overwhelming feeling that I was behind (from being sick and then being busy catching up) and so it was a very demotivating force to my practice and work up to this point.

I truly had NO idea what I was gonna do for my project–even up to the half bake deadline–and was feeling very dejected. Then suddenly (as happens often with my creativity) that song popped into my head and I knew it was the thing I could do!

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

Technically, I had to transpose everything down from D minor to A minor because my voice has lowered so much in the time since I wrote it! (That’s what happens when you talk over band instruments and children for a living!)

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

I also submitted this to a song challenge in my medieval group, and it made me very happy to be able to contribute there.

What were your personal “Ahas”?

I need to practice creativity more! (Like the creativity gym) because I really far too much on eureka inspiration moments and they are far to infrequent for my taste!

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

The other video I submitted is a much more polished performance, but this one shows the creativity I found in the harpistic illustration of the words of the text, so  I thought it was a better submission for the class.

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

The Freestylers in Amersfoort

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 ok to play the gesture of a song. It doesn’t have to be a perfect replica. We started with a dream and turned it into reality

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

We had to take plains, trains and automobiles to get to where we were…

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

As our name suggests, there was only freedom, no blocks, just pure joy, excitement and friendship ❤️ although we did need food at some point 😉

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

There was room for everyone to express their own freedom, no competition, just harmony

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

Signing up for the Academy, playing our harps formed the initial connection between the freestylers but our connection has grown far beyond this and has lead to forever friendships

What were your personal “Ahas”?

Friendship and connection comes in so many ways!

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

This video is a testimony of friendship that travels across screens and borders through music and passion for the harp and is there for eternity!

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

as final beginning I sang “You have a Voice” with the simplest accompaniment.

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 could not do a creative project using the strings because I did not find any creative impulse in me to begin with. Then I gave up on creativity and did a lot of practicing (warm-ups, staircase …) in this quarter.
What moved and touched me most in the last weeks was DHC’s song “You have a Voice” and so I tried to sing and play it as a final. It is the first time I sing with the harp.

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

It took me a lot of courage to sing and show the absolute imperfection and the weaknesses

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

The freedom lays in the decision to hand it in although it is no improvisation, no story or any other creative act

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

the challenges were the voices from the demon pot and the shame that came with them. Not to give up the whole thing but follow the longing this songing is triggering in me.

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

I try more to trust the process that change will come over time when I (and we all) engage in something. That makes me more patient with me and others and more hopeful concerning the many problems in the world.

What were your personal “Ahas”?

It helps to videotape while playing the song again and again and choose afterwards what version to take

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

many thanks to all of you for your commitment and your openness to share and you, Deborah, for the great inspiration and this song.

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

A Mourning Meditation

Created for people who have experienced a loss of a loved one, whether it’s a friend, relative or pet. This is just a sample of a meditation that could last as long as needed depending on the needs of the individual. 

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 some snippet ideas as well as ideas shared from other members of the class. When i submitted my half-bake, I received feedback to develop my own music to accompany this meditation rather than use already published music. That took me on a journey of discovering my own musical style to fully express myself. 

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

I loved when DHC said to “Practice being imperfect” and then you will just keep getting better. And that was my mantra as I developed this project. I tried to embody the character and the role of an ideal mediation harpist and just let myself move into that space.

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

I realized how judgmental i was of myself and tried to work through it by just giving myself a break. A lot of self talk went on,,, “believe in yourself” ” ” Don’t be so hard on yourself” “This is not about you! It’s about the people you are playing for.”

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

Playing around with the many ways to play a chord.
Really listening to music and making sure it was how i wanted to express myself.

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

I am less judgmental of both myself and others. I feel I have developed more “grace.” I am more attentive to people when they speak instead of planning what I want to say next. I seek to understand before striving to be understood. I am also more patient with myself and others.

What were your personal “Ahas”?

I realized that I oftentimes just want to ‘get things done”. Trying to be a human doing instead of a human being. This project made me slow down and really take my time. The video I submitted is just the beginning and I know I will be working on it for a very long time. It may never truly be completed, but will always be in the process of “becoming.” And that is what I am working on personally, always trying tro become the person i truly want to be!

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

This is just a short sample of a meditation that could last longer if needed. i also realized that even without the words, I could use this piece of music for many other poems and settings. So while i developed it for this particular meditation, it has so many other uses and that made this project so worthwhile and more fulfilling than i could have imagined!

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

This is my IDEA of a project — “Theme and Variations on a C Scale”.  I say, IDEA because it is not a polished version.  

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?

Guiding principle — keep it simple!  Having a patterned bass line.  The joy of improv!

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

The predictable bass line gave me all sorts of freedom to play my own thing on top of it.   Also, I just plain had fun doing something imperfect.

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

see answer above

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

Actually, this was more of a let loose and enjoy experience.

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

This class constantly reminds me of the gift of creativity and the importance of using and sharing that gift — even in it’s imperfect expression.

What were your personal “Ahas”?

Aha!  The joy of being creative!

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

Yes, for some reason, I could not get rid of the second time the title page played!  Stubborn computer!

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

This my attempt at the Phoenix.  The background is a picture I have made of the Phoenix.   I am telling the story with 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?

I felt the Phoenix embodied the 7 strings of passion.  I used what you had taught in one of the snippets.  I made the background picture of the Phoenix. 

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

I used the 7 strings of passion.  From the time you showed us the Phoenix in class I just had to do it!  The 1st string of passion – impulse, and I loved the structure & character – the drama of the music and story. I practiced talking and playing to tell the story.

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

I had struggled with talking and playing but with doing the practice of practising string of passion I was able to achieve this.  It has been such a help being able to talk and play as I was recently doing the calypso game and able to say the chord names for other musicians to play along.

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

I used the deconstruction string of passion to simplify parts of the tune so I could tell the story with the music.  Using glissandos was easier than lots of notes and this was suggested in my feedback from my half bake.

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

I have gained more confidence with both singing and talking while playing the harp.  I found that I could actually do this for the first time in front of people.  I recently played and sung in front of 45 musicians and was able to have them sing along with me.  

What were your personal “Ahas”?

It has just recently dawned on me with this course that I like music that I remember as a child.  My brother played boogie woogie on the piano, my Mum did latin American dancing, my Dad played blues on the harmonica and my sisters did ballet.   I love all this music and wondered why other people weren’t interested in playing this music. This course has given me a greater understanding of WHO I Am. 

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

I hope they enjoy the video and the story.
I have attempted to put in more movement and expression with my playing.  Like opening my arms at the end.  I would like to explore more expression with my playing.

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

Improvising and modulating from Mixolydian mode to G major.  Suggestions for left hand accompaniment is appreciated.  

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

Connection v.s. perfection freed me up to improvise.  I “hear” and “feel” my music more. 

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

Knowledge of music theory.  
Emotionally playing from relaxing to positive major music.

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

Permission to make music, make accidents to music and appreciate it.

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

Uneasy.  Lack of confident and comfort to my own musical language expression.  More improvisation practice needed. 

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

Listen to my own inner voice, attend to my feelings.

What were your personal “Ahas”?

Accidents can be beautiful!!  It’s part of improvisation.

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

Can you send the mood change?

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?

Simple if just fine! The goal is reaching out to the listeners. There was no time to go to a process, it just had to go in 1 take or not 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 used 2 themes that I tried to intertwine and develop minimally to be just enough to support the story.

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

To dose the strength of my fingers on the strings, to get the soft and loud sounds on the places I wanted them.

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

To pronounce clear and wel to understand, without loosing the expression.

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

None

What were your personal “Ahas”?

It becomes more easy to accept that ‘perfect’ and I are not acquainted.

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

Q1 Creative Resonance Final Beginning Project: story of my past 30 years in a musical nutshell.

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 was my first foray into writing a story with music.  It was aided by the Academy inspiring more creative thinking and playing with character, feeling freer to improvise with different sounds, and feeling safer to share a difficult story and share a composition that is imperfect.  Much gratitude to Deborah and the other members of the class who share so much of themselves and their creativity—very inspiring!

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

It took courage to face a difficult part of my past and to share it.  Logistically, I had to learn how to use my new video camera, set the backdrop, and experiment with positions and camera angles.

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

I noticed how much I put the needs (and interruptions) of my household, family, and pets over my desire to connect creatively with myself and my harp. The project motivated me to set some boundaries and also learn to use my new camera which I’d been avoiding doing even though I love taking pictures. I dislike learning new technology.  It also motivated me to revisit a couple of pieces I wrote in the past.

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

I wanted to memorize the script and music so I could tell the story more smoothly and look at the camera more, but it was difficult within the time I had, so I didn’t.

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

I took a big step to “cut a cord” tying me to that difficult past. I have applied more creative thinking to other areas of life.

What were your personal “Ahas”?

I felt that working on and telling my story, even just to myself, had a cathartic effect.  And I really must do more harp exercises to gain the fluency I want for better self-expression. Learned it’s okay to share that which is imperfect or incomplete, in other words, I don’t have to be perfect ( lifelong hangup).

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

This is a musical synopsis of the past 30 years of my life. The first 3 minutes of this 7-minute video end with sadness.  The remainder of the story is happy. I would have re-recorded it with a camera angle that exposed my face more throughout, to see if I liked that better, but it was an emotionally difficult process and I liked how this angle highlighted the forest backdrop and the wood of my harp and showed my better side.

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

Snare drum background with me doing blues accompaniment, then me adding blues melody over that.

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?

Impuse:  Acknowledge what I really want to do and go for it.  Structure, keep doing stuff over and over even if it is boring if I need to get it “into my system.” Character:  move my body and allow the groove to come forth.  Roles:  inhabit whichever role you are playing,  Practice:  don’t feel bad when you don’t feel like practicing.  You are not going to play Carnegie Hall!!! Deconstruct:  play parts of a piece, or just a couple of measures until you feel it, or get it.  Lift off:  all parts come together, or they don’t.  Either is ok

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

Logistically it was a nightmare, because I wanted to do 3 layers and I’ve only done one layer before.  I tried iMovie and Garage band, but neither seemed right.  I finally just used voice record on my iPhone to record two layers and then played that and video recored with the iPhone recording in the background.

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

Having the Blues snare drum backing track was cool, 72 bbm, but it was & one & two..Starting with the and.  I think when I played the melody over it I sometimes started with the and and sometimes started with the one, 

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

DHC ask that I consider just using a background drum beat and my accompaniment until I’m comfortable with that.  I am sort of comfortable, but decided to add melody so that it sounds bluesy and nice.  I am more interested in playing by myself for friends than I am in accompanying my boyfriend, which is what I think the emphasis on drum and accompaniment is all about.  Perhaps not,

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

I did open up some other areas; I started journaling and not being quite so hard on my self when mishaps occur, like loosing an earring.  I also realize that I need to get back to sewing or quilting, I’m spending all of my creative energy at home on the harp.

What were your personal “Ahas”?

Aha;  did some non profit work and met with a wonderful group of teachers, two of whom I’m sure to stay connected with.  I believe that my continued opening of myself through harp has facilitated me becoming more engaging with strangers.

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

This is my original song, “The Fezupod,” about a new friend who is full of surprises.  It has several verses that build up to a message about the value of odd friends, which makes the video rather long (6′ 41″).  I recommend watching from the beginning.

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

This is my original, whimsical song about a new friend, the fezupod, who brings all sorts of surprising thoughts and actions. The lyrics tell a very specific story that I wanted to come across.  I tried to connect with my audience through sound and sight, giving consideration to facial expression, body language, and costuming.  I also added, after receiving ideas on my half-baked project, a simple repeated phrase at the end of the chorus that could serve as a sing-along part.  Since the song’s verses are so rhythmically free, I tried to keep the accompaniment on the harp fairly sparse there.  When I struggled to find the “right” approach, I often found DHC’s supportive words in my head: “You’re making music, and no one cares HOW you do it.”

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

Even though I have a written version, I found I needed to be off the page for recording.  That made it extra-challenging to remember/envision which chords my fingers needed to find, especially since I’m still open to changing the chords.  But this is, after all, a final-beginning project, so at this point, I’m aiming for “smooth enough” rather than “locked in.”  I did have to record myself quite a few times before I achieved my aim.

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

It took me a while to finalize the lyrics, but that seemed to be where most of the struggle was.  I had a serious message in mind, but I wanted to keep it happy and fun.  When I got to adding the music, I still had to try various ideas and make provisional attempts, but I felt confident that I would come up with something eventually.  There is a big responsibility to creating both words and music, but also a lot of freedom because I don’t have pressure to conform to someone else’s interpretation.

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

I often find it challenging to shift my gaze to the audience in mid-song, but I felt it was really necessary in this case.  I think the more I practice that, the easier it will become.

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

I am finding reinforcement of the idea that I do have a unique perspective to share and I might be able to make someone’s day just a little better if I open myself to that possibility.

What were your personal “Ahas”?

Finding different ways to practice the same material is very useful to me.  For example, when I was having difficulty remembering the chord progression, I sang the melody with chord indications rather than with the lyrics.  I also tried temporarily limiting my accompaniment to just the roots of the chords (single notes).

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

Inspiration can spring up in unlikely places.  In a game I was playing, I drew seven letter tiles: F, E, Z, U, P, O, D.  They really seemed to beg for meaning as a single word.
My video is rather long (6’ 41”), but I wanted to make the full story available for anyone who wants to hear it.

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

I learned structure, descending baseline, what a G sus might be, paired it down liked my ending and lighting situation. It could be a story someday. 

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 thought about the lighting and how I wanted it. I noticed my bad hand, always improving, descending baseline, kind of like putting things together to make a structured tune about a story. Didn’t have the chops to stick inversions in there yet. See what happens next year. 

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

Allowing myself to pretend I can write a song!

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

Fluidity, I can’t tell you where I go in this song so I was trying to pay attention.

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

Keeping my emotional face out of the equation.

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

My kids think it’s relaxing.

What were your personal “Ahas”?

Descending bass line, need to change up the melody a little more, 

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

Hopefully you can dream and breathe in a surreal way. 

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

“Baggage” an original song from 2015 that I revived & rearranged this quarter

Attach your homework in PDF or JPEG format here:

Baggage.pdf

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.

The PDF contains the lyrics & chords for 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?

While rearranging I deconstructed the song to get to the essence of it and tried to apply more character to the arrangement and performance.

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

A lot of letting go of old habits and self-criticism

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

Learning to experiment more freely and to embody the essence of a piece

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

Frustration with my skill level and not knowing the piece well enough.

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

I can see how deconstructing opens new pathways for a lot of things. 

What were your personal “Ahas”?

There were quite a few, but I’m feeling time pressure to submit this right now.

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

This is a music video for my cover of the Irish Reel “The Youngest Daughter.”  I began working on this video as my final beginning project back  in February.  Once it came together, I realized it would be perfect for St. Patrick’s Day so I released it two weeks ago, on March 17th, 2024. 

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: my impulse was to create a video using an Irish Reel I recorded with two dear friends on fiddle and percussion. 

STRUCTURE: Recording the music required structure from organizing the recording session, running through the piece, and executing it.  I developed a structure for the video by creating a storyline, choosing video clips, and timing the clips to the music.

CHARACTER:  Though I didn’t include footage of human characters in this video, I felt thatl the character of the video footage suits the character of the piece.

ROLES: my roles in the project included choosing the musicians, organizing the recording session, hiring the producer, creating a storyline for the video, putting the video clips and footage together and editing it. 

PRACTICING & PRACTICES:  I’ve thoroughly enjoyed the practice of making these videos. 

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.  

LIFT-OFF:   Recording this tune with my friends definitely gave me a sense of “lift off” as it was so much fun.  Creating a video just enhanced the experience.   I enjoyed it immensely. 

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

Logistically, I needed to organize the musicians and set up the recording session.   Emotionally, I chose a piece that I love so on that front, it was just pure joy recording it with these talented musicians

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

didn’t experience any blocks with this particular piece.  Celtic music just feels so natural to me.  I love it.  It speaks to my soul and it’s so freeing. 

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

Again, I didn’t really feel challenged as I chose something that I love which made it easy to express myself.  I guess that’s the key – find something you love and don’t overcomplicate things.  Simple is beautiful!  

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

I was reminded of how much I love playing Celtic music.  I feel inspired to play and record more of it. 

What were your personal “Ahas”?

I always feel inspired and motivated by our weekly classes/chats in the Academy.    The snippets seem to open something in me each week. They often lead me to creating something completely different to the actually snippet  but beautiful in its own way. 

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

Here’s a link to the video: https://soulharp.co/3vbnzyB   
I’d feel very honoured if you’d consider subscribing to my YouTube channel.

Here’s some more information about the tune:
My arrangement was inspired by Kim Robertson’s wonderful version of this song from her album  “Searching for Lambs”https://www.gourd.com/132A.HTML

“Searching for Lambs” – Liner notes reads:
The Youngest Daughter
This spirited reel appears in O’Neill’s Music of Ireland (1903) and also in Ceol Rince na hEireann No. 1 by Breandan Breathnach as Baintreach na Radaireacht where it is attributed to Sean Potts, a whistle player, formerly of The Chieftains.

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

A video of an old timey southern hymn: Wondrous Zlove.”

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?

Used the Strings of Passion. Researched character by listening to ~20 renditions by other artists.

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

I have been frustrated not having anything complete or performance ready. Even though it could be polished, it is a complete song.

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

I allowed myself to do it imperfectly but still I found myself tightening and played it over until I was somewhat satisfied. It will get better the more I practice.

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

Wanting it to be better. Usually I include photo montages, but I just decided this time to hit the ground running and just lay the track and submit what I had. Not to hide any more.

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

I want to be able to finish pieces and have them polished so that I can share them with confidence as a professional harpist.

What were your personal “Ahas”?

How good it feels to finish!

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

This song was arranged by my teacher Carol Kappus. She encouraged me to roll the root chords to hear all of the notes, the tinkling sound of the harp which is different from the many piano versions. The arrangement is in the Folk Harp Journal.

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

a video of my arrangement of the Irish Trad tune “If I Was A Blackbird”

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 feel I have used all principals of Strings of Passion. After being through this programs several times, I think about all the aspects of SOP that apply to my developing a piece for performance. I have performed this piece – my arrangement – .

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

I was looking for an Irish vocal piece from a feminine perspective. I checked out other harpists who have performed this piece instrumentally and who have included the lyrical melody with voice. Everytime I have played/performed this piece I engage with it on multiple levels – character & roles and how it applies to the storytelling aspect – — the patterns I use on the harp — the conveyance of emotion — the build to the end — the motif — etc 

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

My process involved connecting with the story and going deeper and deeper into that story where it becomes theatrical. The struggle was connecting voice and harp to the feelings of the character. I keep adding and subtracting, simplifying and finding space to give to other instruments.

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

Giving myself to the story and letting go of me.

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

All the time! Playing the harp has a self-esteem ratio to calling oneself a harpist and in the doing of harp performance solo or in ensemble

What were your personal “Ahas”?

How much of a learning curve I am still on to overcome distraction and feelings of failure.

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

This is my final beginning project 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?

This is a piece that I wrote a couple of years ago.  It came out of improv…probably from a mistake/happy accident when experimenting with a snippet.

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

I have not played on my acoustic harp for a couple of years, since I got the electric harp.  It needs work.  This was recorded on the acoustic.  I like the sound and don’t really want to play this on the electric.  Even though I have since changed this piece, I do not have an updated version, so I am just letting this go the way it is for now.

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

I just wanted to get something in, so I let go of the need to perfect and re-record.

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

I only had a basic audio recording, so I worked to import it into SoundTrap and increase the low volume.  I then exported it and struggled with my video programs to put something together.  That took a lot longer than it should have.

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

I always enjoy coming to class to learn not only from DHC, but also from my classmates.

What were your personal “Ahas”?

There is always more to learn.

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

I have a very intense connection to water, as I used to teach aquatic classes.  The water is very relaxing and stress relieving.  I wanted to evoke the feeling of floating with this music and with the video (stock) images.

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

This is what I have put together as my Phoenix

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 Phoenix is Deborah’s song that went straight to my heart when I heard it. But didn’t think I would be able to play it . Over the past years, and also this quarter we got little snippets which I loved but listening to her version the song still felt very much out of reach. Until a couple of weeks ago we spoke about the gesture of a song. Which gave me the courage of creating my little Phoenix.

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

I really practiced a lot. I also kept trying to find out ‘the right notes’. But realizing the gesture of the song is enough helped me to let go of that.

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

I really connected with my creativity, thinking of a different sort of cadenza/improv in the middle of the song and staging for the video.

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

I wasn’t well, also lost my voice and I was so disappointed in myself and the result of the recording that I almost didn’t send it in. Then I realized it is called a ‘final beginning’ and not a ‘final final’. It doesn’t matter, this is not the end of my journey with this song and I’m proud of what I have created!

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

every class opens up more of my creativity and makes me more confident in being a harpist/performer

What were your personal “Ahas”?

That this concept of ‘the suggestion of a song’ gives me way more freedom in playing and creating than the permission to make ‘my own simple version’

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

I created a sampler of therapy harp material as a demo reel as well as a survey form for folks to self assess how therapy harp has affected them. The link to the form is here:https://docs.google.com/forms/d/e/1FAIpQLSfyMMpYoGKqOQ2JmbATJTJSJhnIvgpHHlGvVTXXvCkcwb1ayw/viewform?usp=sf_link

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.

In the form I used data created by an outside scientific source and several snippets of therapy harp 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?

The warm ups and modulation and modal exercises gave me some flexibility to move around the different music. 

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

I recorded this in Logic and it’s just bare bones.

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

I’m coming back to the harp after another hiatus some the freedom of expression is still a struggle.

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

I’m going through a lot in my personal life and it’s interfering with my confidence and ability to center.

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

It’s always good coming back to the harp. 

What were your personal “Ahas”?

As much as I want to pursue more Therapy Harp work in my area for some side work, the real healing begins with healing myself.

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

The Sampler video is the Stoney End Therapy Harp tuned to 432Hz – I don’t give this harp the same amount of time as my Merlin, but it is such a sweet sound.

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

Sung version of original song “Wings” working on expressing the words through the chords (more than my usual guitar-on-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?

principles: structure (of the song) adjusted a lot so it could have an intro & alternating styles. Character—a very needy disciple.  — bass/accompaniment- sung melody- decoration/response/expressing moods of the phrases.  (Also discipleship is a role)
Also Influenced by —story telling &  phoenix snippet , trying to express themes in the song.  

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

In order to manage the dynamics & movement on the strings I had to slow the song way down from how I used to play it.
Also with several challenges at various levels the need for God was kind of in my face this month and that made singing the song a struggle with  vulnerability.  I wanted to hide instead.

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

I had to let go of my shortcomings both musically and spiritually, offer them all to God and ask for His help.

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

Fear and vulnerability.  I had to trust God to get through it.

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

My husband and I talked a lot about structure, and roles.  It looks to be an ongoing conversation.

What were your personal “Ahas”?

Roles and structure.

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

God is faithful…

Describe your project.

This is a song, titled ‘Ode to Age’ I wrote to the tune of Michael Row the Boat…. sung VERY badly by me.  It is 3min 17 sec long.  I’m really hoping that I have time to re-do this.

What principles from this course did you use?

Just get the dang thing done

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

I’ve never used a microphone before.  I had about 40 minutes to get it out of the box, work out how to attach it to the stand, work out where to plug it in… and fiddle with settings… way out of my comfort zone.

I’ll so… my belief is that I’m a croaker (like a frog) not a singer… so it takes a lot to be seen.

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

Thoughts:  ‘This is absolutely terrible, it should never see the light of day, don’t show this to anyone, cringe…. ‘ etc

Then: ‘Just get it done!’   ‘You know you’ll feel worse if you don’t do it.’  You know you’ll learn something if you do it.’

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

How can a person who doesn’t sing somehow connect with a person who enjoys singing…. Somehow I did that… and found that I enjoyed it!

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

I’ve really learned that it’s about connection not perfection.  It is better to have a go than to do nothing.

As a result, I’m organising a conference for Buddhist Chaplains in Australia (because of this course, and thinking it’s about connection not perfection…so  I booked a venue and started organising the conference with no idea how it will all work out.

What were your aha’s

Somewhere in here (in the ideas 1. Connection not perfection and 2. just get it done) there is freedom.