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

I made a variation of Baroque Flamenco arranged in A harmonic minor. I was intrigued by the mystical feel of this key and chose to experiment, making and combining a number of phrases.

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 developed a structure to ground me and then explored different phase combinations. The most helpful advice was “Hear the beauty “. This allowed me to feel the music as I was playing .

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

To be able to play this, I needed to embrace the mystical feeling.

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

Once I came to terms with this style, I moved away from how the tune would come across to others, and just enjoyed it for myself.

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

It was a challenge playing in this key, as it was very different for me, but I found that I enjoyed the sound.

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

What music you play, as well as what you do with your life, needs to come from within you, not from what you think is expected of you.

What were your personal “Ahas”?

“Play time” on the harp has become very productive.

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

It’s a piece based on an improv in C Aeolian (intro + ostinato), with 2 pictures and text.

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?

Improv on a snippet, which appeared after improvising for a while on a starting note (C below middle C) and a mode (Aeolian). I used it as an ostinato.

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

Every day I draw one of the 66 sounds of my lever harp as a starting note and a mode (jazz, pentatonic, hijaz, or invented mode) for a short improvisation which I record, then listen to again and write a few lines to summarize what it evokes for me.

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

It’s a way of connecting with myself. Most of the time it gives me energy, even (or especially?) when I was reluctant to do it.

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

I find it hard to take the time to arrange the improvs so that they’re more unified, but when I do it’s liberating.

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

For me it’s a kind of daily meditation.

What were your personal “Ahas”?

When you don’t know how to compose music, you can just let the notes you need to hear come to you.

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

Credits:

Hasan Kurt
https://www.pexels.com/photo/concrete-pillars-during-night-time-11192539/

Saffron Blaze
https://commons.wikimedia.org/wiki/File:Temple_Apollo_Side_Wide.jpg

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

I did a condensed version of the baroque flamenco on a 22 double string harp. I tried to be as close as I could to the variations from the videos for the easiest version. I’m still a bit stilted but getting more comfortable.

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 variations from the videos. I tried to get better at gestures, but still am not as free with them as I would like.

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

I worked on the variations and tried to play them with the videos, but then as I was putting them together I’m not sure I was at ease especially when my fingers got stuck on a string in a few places.

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

I did the doubling for a number of parts for the melody and some of the transitions.

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

I’m working on gestures and rhythm, but mostly to be more at ease with playing.

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

I’m getting more comfortable at sharing what I can do.

What were your personal “Ahas”?

I take more time to observe how others are playing with their gestures, breathing, and expressions.

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

I thought it would be easier to do this on the double string as I was more comfortable with that harp as I have been playing it longer. Though I haven’t been sharing it as much as I should.

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

This is an original song I wrote for my friend & mentor, Tom Prasada-Rao who has been battling cancer for the past 4 or 5 years and recently received word that there’s no longer anything the doctors can do for him.

Attach your homework in PDF or JPEG format here:

Shining Star.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.

This is a PDF of the lyrics and chords

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 lever changes & a harmonic minor scale. I also incorporated suggestions from the 1/2 bake for the instrumental section 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 had to get over the fear of changing levers in the middle of a song, and spent some time coming up with an appropriate chord progression for the instrumental break. The progression uses chords from the song, but not in the order I used during the break. This was something I’ve never done before.

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

A willingness to be vulnerable in order to share this personal tribute with the world.

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

Worrying whether it was too sad or schmaltzy. Feeling like it might not be as good as other songs written for Tom.

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

Allowing myself to be more vulnerable and take more risks of exposing how I think & feel. Looking for blueprints that can help me stay grounded.

What were your personal “Ahas”?

The importance of grounding and being present. Changing levers in the middle of a song doesn’t have to trigger a panic attack.

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

I just wrote this song on May 18, 2024 and it was inspired by the many photos of friends coming by to say goodbye to Tom and the stories he’s been sharing about what inspired some of his songs.

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

It’s a greeting video, playing boogie woogie  as background music to animal videos from our place.   I have made up the tune which reminds me of music my brother played on the piano when I was a kid.

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 first attempt at making up my own tune and so I’ve taken ideas from your teaching in the chats.  Finding what works and is easiest to do.

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 feel the rhythm rather than work it out intellectually.  I started very slowly  getting the bass rhythm, and then getting the right and left hand to work together.

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

I’ve been reluctant to share something that I’ve made up myself.  Thinking it may not be good enough.  Encouragement from my partner and harp buddy in the Academy has helped.

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

Wanting the music to sound like a boogie woogie
as I remembered and how I would dance around the house when my brother played something similar, when I was a kid.

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

I wanted to share something of my life and the animals that I love.  Putting myself out there, and not being afraid of what people might think.

What were your personal “Ahas”?

I can do this!   I was so excited that by playing around and exploring patterns I could do some  simple things that sounded quite good.

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

When I joined the academy I just wanted to learn how to play the harp.  I had no idea that I might be able to make up my own music.  I have learnt the skills from being in the academy to do this.

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

This is a very simple short version of baroque flamenco

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

I used the idea of grounding by focusing on the melody and the simple baseline first. Concerning skills I wanted to use strumming because it was completely new for me and seemed a way of expanding

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

I needed to choose only simple variations that I was able to play and skip the more difficult ones even those I love most

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

I struggled with the frustration of being technically unable to play the piece with the expression and tempo I heard and felt it inside myself and to fight the temptation of throwing it away completely because of that. The freedom lay in doing the video and showing it nevertheless.

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

I heard so many great versions of the piece that it was very difficult to see my simple meager version as in anyway acceptable and worthwhile

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

I realized that I need a big amount of grounding in order to move forward and that I have to allow myself the time for that, even if it goes against my wish to find quick solutions and to have everything ready fast. That concerns many parts of everyday life. I need more discipline to ground (breathe, relax, bodyposture) first.

What were your personal “Ahas”?

see above

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

Practising “Baroque Flamenco”

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

I explored the sheet music, watched the videos in the course, and tried what I could now.

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

Whenever I watched the folio or videos in the course, they gave me a sense of how to practise next. So I did it.

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

I loved the practice. I soaked up in the sound and felt the freedom of practice.

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

I love the advanced version, especially the transition arpeggios part, so I challenged myself to practise it even though I’m an intermediate player. It wasn’t easy, but I was happy to practise.
I wanted to play more smoothly and relax, making more contrast while playing the various parts. I needed more practice time.

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

The desire to have practice time made me more focused and productive in other parts of my life.

What were your personal “Ahas”?

1) I was so happy to learn various new techniques and try them out. And I felt a lot. It was like an adventure!
2) I became more conscious of the concepts of “gesture”, “characters”, and “archetypes”.
3) I noticed that DHC made the long arpeggios part more manageable for playing fast, using the same hand shapes, so I could relax more while practising.

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

I shortened the various parts to fit the whole in 3.5 minutes and omitted the entire third variation. But I made a very short section (only 4 bars or so) of the improv after the transition arpeggios and before the main rhythmic cadenza.
I wanted to play in a more relaxed state and outlook. But as it was my first trial of practising this music, it’s Okay. I’m really satisfied and fulfilled.

I was just amazed when I first saw the video of DHC playing Baroque Flamenco with the orchestra on YouTube. I didn’t expect to learn this piece, but miraculously, I did. Thank you for all your clear teaching, Deborah!

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

Original tune for the fairies to sing in A Midsummer Night’s Dream
A. My video description: Fairy Lullaby
B. Here’s what I need coaching on: Ideas for embellishment
C. Other stuff I want you to know about this video: This is a continuation of my work for A Midsummer Night’s Dream; a simple lullaby I composed for the non-singer cast members to learn, using Shakespeare’s lullaby verse.  This video will help them as they learn it.  Some will sing an octave higher than me.  Once they are solid with the melody, I’ll embellish what I do on the harp instead of simply playing the melody.

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

The Academy helped me listen to my Muse, improvise, embody characters, and share what I do without being self-conscious that it isn’t “perfect” or feeling “finished”.

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 accept its simplicity because it’s to be used by non-singers who don’t have much time to learn it.

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

The fear that it wasn’t “good enough” because it wasn’t complicated.

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

This tune came easily through my Muse, but then I learned during rehearsal that it needed to fit the Shakespearean verse for the lullaby, so I had to do that on the spot with the cast and it actually worked!  The biggest challenge was in being brave enough to share it as a possibility for the play.

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

This class had a huge impact on my being confident enough to accept the role of musician for the upcoming public performance of A Midsummer Night’s Dream. Much gratitude!

What were your personal “Ahas”?

Simple can be good enough.  The director and cast liked it.

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

This is just one of many tunes and bits of incidental music being created for the play.

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

Here’s a version of “Gloomy Winter’s Now Awa’” – arranged after the inspiration of Baroque Flamenco – so, using the idea of a simple tune that provides an anchor for exploring spontaneous exploration and improvisation- I’m trying to let the music get to me! It’s in a rondo form (a bit truncated to fit the 3.5min brief – when I worked this up to how I’d want to play it for others it lasts around 5-6mins) and uses the brief modulation we learned in this 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?

The form – using Baroque Flamenco as an exemplar- taking a tune for a walk and exploring rhythms and improvising around a finger pattern.

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

I knew what I wanted to do more clearly than usual – this wee tune came to my mind and fingers and it struck me how obviously it leant itself to exploration in a rondo format.
I wanted to play it outdoor since it’s about leaving winter behind and with the garden full of flowers it really demanded it. As ever, I’m self conscious when I hit ‘record’, but less concerned about it than usual, and instead battling with breezes, rustling leaves and dogs barking from a neighbouring garden!

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

I’ve loved working on this – I felt I really could let the piece ‘get to me’ – though I find it takes time, so generally I need a good 5-6 mins to work through all I want to express. Getting there in 3mins trickier, but I’m happy enough with the recording.

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

Only one of pinning down what I wanted to include/exclude in a short version for recording here. When it came to it, I played what I played, it wasn’t exactly what I intended, and I had three attempts – each had their different strengths and I just chose this one to share.

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

I’ve had some fun playing this piece together with my husband since it’s a tune we both know and love.

What were your personal “Ahas”?

I finally ‘get’ that use of the raised Bb to B to complete the modulation to G and the impact when playing the descending chords. And I can hold the structure of a piece – with its ‘tune’ sections and ‘improvisation’ points more readily.

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

This traditional tune is essentially, originally, a strathspey but I enjoyed stretching it about and moving around different rhythms to make different emotional connections with it.

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

The little harp and the magic of nonetheless, as it is too long could you please start showing it after about one minute 

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 chord progression and the main theme so find out how to work with them on the small harps 

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

I had to let go of my picture of baroque flamenco is I am used to knowing it and had to figure out what is possible with the other harps

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

For me the main block was the existing sheet music

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

To let go of what is written down and find my own connection with the musical ideas 

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

Concentrate on what’s possible instead of looking for what’s not possible 

What were your personal “Ahas”?

So much more is possible than than I first thought would be, go for the magic of nonetheless 

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

I really had fun drawing the pictures and was surprised how much expression is possible with harps

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

working from all the wonderful feedback on the arpeggios from my half-bake of “Where Can We Go From Here?” – since nothing has moved and so I’m still stuck in the music as well. Decided to embellish the physical embellishments even more so that every move was intentional.

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?

discussions of developing more musicality and physical presence. Eventually took on a character.

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 slow down and after feedback embraced that even more and made it intentional to the point of desirable

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

Still struggling with what happens next in the story, since the story has abruptly hit a pause and there is no communication again.

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

Realized that my idea of how it is “supposed to be” (Even though I’m writing it) can change to make it more beautiful than originally intended, even.

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

I realize that I do these songs for me, that they are cathartic. If I can accept the outcome of the song, I can also accept the outcome of the story.

What were your personal “Ahas”?

Maybe that is why I’m stuck right now. Maybe I’m afraid of the story’s end, that there will be an “end”

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

My goal was to play Baroque Flamenco, Advanced Beginner version with its wonderful gestures. In order to meet the time requirement, I abbreviated some sections and combined a couple of variations as follows:
Intro-played first 4 measures once, no repeat
Played Theme 1
Combined Variations 1 & 2 (didn’t repeat)
Cut Theme 2
Played Theme 3
Variation 3 played once and skipped to 2nd ending but only 4 glisses instead of 6
Cadenza-only played once, no repeat
Played Theme 4 and Coda

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?

That the skeleton of a piece is important with all of it’s various parts (bones) but it’s also important to connect with the music and feel what you’re playing. I found all of the chats helpful because not only do you learn from the snippets, but also from other students who may be having similar questions/struggles.

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

My personal goal was to play as much of the Advanced Beginner version as I could as it was written just because I felt challenged to learn the gestures of the piece. This was a musical adventure for me because I haven’t used strumming, percussion, finger snaps, etc. in my solo playing but I like it!  I’m still working on expression. I do enjoy playing Baroque Flamenco and hope to continue by learning the Intermediate version.

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

Because this academy gives the freedom to not be “perfect”, it gave me the courage to play and post.
I took a deep breath and told myself, “I can do this!”

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

Feeling awkward and clumsy when learning some of the gesturing, but I know that is part of the learning process! It isn’t always going to sound pretty but when I make mistakes, just keep on playing and let it go.

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

To not be afraid to step out and try something new and completely different. For instance, I was a little nervous about signing up for this class, not knowing what to expect. I am so glad I did! I felt stuck in my playing. I’m learning so many new things and enjoying it!

What were your personal “Ahas”?

When Deborah was comparing playing the piano as opposed to playing the harp. She said, “On the piano the hands are playing two different things, but on the harp the shapes are the same in both hands.” That made so much sense to me!

Her snippets on a descending bass line playing the melody above, using arpeggiations, embellishing the melody, playing up and down, etc. These have been very helpful to me!

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

It may not look like it, but I did enjoy playing Baroque Flamenco! I love the melody and the contrast of the various themes.

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

BF with abbreviated melody.

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 understand glisses better, which should be like waves on water.  I’m trying to use my body more to connect to the harp, trying to feel an extention of myself through the harp into my music into the world as a gift,

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

Emotionally I always feel stuck, like I’m trying and trying to play the piece “correctly” and never get it right.  Some things have to be “right” and have structure or it doesn’t work.  So I try to use timing, number of bars (in blues), getting quieter or louder, etc, to put in emotion but I see frustration and trying too hard in my videos,

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

Blocks within my self are not accepting the level at which I’m playing.  If I’m not trying to improve I’ll always be at the same level, I believe, though DHS says otherwise,

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

Can’t get off of the page.  I told myself that I’d learn it on the page and then get off of the page, but I’m stuck on the page trying to do some parts of BF from the beginners and some from the intermediate portions

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

I have too much stuff in my life and I need to get rid of thing but am having a hard time. I have clutter on my desk in my harp/sewing room.  Clutter in my garage.  Clutter in my drawers.  Clutter in my calendar with too many things to do (thing which I really want to do…)

What were your personal “Ahas”?

Aha that I can string snippets together!  How fun!  i want to put some blues in Eb major into the BF concept.

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

Baroque Flamenco Version 2, with cuts/edits to shorten the length into acceptable time for Final Beginning.

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

I integrated the snippets and exercises to practice gaining confidence moving around the harp, and experimented with the concept of gesture which I’ve not really explored before. I adopted the version 2 as my own version, experimenting with some things I found interesting or wanted to modify to accommodate my current ability level.

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

The warm up practice material and all of the supplementary videos were very helpful. It helped me internalize the parts of the piece. This piece became something

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

I wanted to do more with my hands than they could give me sometimes. I had ideas in my head that didn’t really yet get expressed – but they’re on the way, and I did memorize the piece which I think is a plus.

I expressed the full range of the harp with this piece (not all of it is in this video), low B flat to high G).

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

I don’t push myself to memorize things, but this was easy to memorize with all of the support provided, and it gave me a lot more freedom interacting with the harp and the music.

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

I thought about the time I lived in Mexico THIRTY  years ago a lot, and I usually don’t think about my life that far back.

What were your personal “Ahas”?

I really enjoyed playing with the Merlin and seeing what it can do with this piece.

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

I keep wishing I had more time to really make the video exactly how I want it. But it’s the best I can do with the time I have. I feel it’s not my best playing, there’s a lot of things I hear that I want to fix or do over, but there isn’t time to do it.

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

I am working on a wedding blessing after the bride and groom say their vows. At the end of the blessing, I was going to have the guests sing along with me as I play the chords of Pacabel’s Canon and we all sing “Love.”   My idea is before the ceremony, I will instruct the guests what to do when I get to that section and hopefully, they will join in.

All suggestions are welcome!!

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?

Practicing grounded expansion, i have been learning songs and then improvising to extend the music and then using the melody to ground myself back into the song. In this project, I took Pacabel’s canon and tried to expand it into my wedding blessing as well as encourage group participation.

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

Getting feedback from my halfbake was very helpful and encouraged me to just noodle around the harp until i found the best way musically to communicate what I wanted to express.

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

Trusting my intuitive voice instead of second guessing myself.

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

Being less judgemental and more accepting of who I am.

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

My new mantra is : “I am enough.” Simple can be beautiful!

What were your personal “Ahas”?

The more I practice listening to my playing and the more attention I give to my music,  I am becoming a better harpist.

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

This is a music video I created for the tune “Aged & Mellow Blues.”  

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’m always reminded of Deborah’s words: 
“Connection not perfection”.  

And here’s a new phrase I came up with that was inspired by the Academy:
“Be bold, be brave, try your best, accept it as it is, and don’t be afraid to launch & let it out into the world.”

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

This tune (Aged and Mellow Blues) is such a fun one to sing and play. Emotionally, it just felt right.  Logistically, it took a bit of organizing to get the right musicians for the track.  I was very happy with how the recording turned out.  

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

I always struggle with confidence when it comes to singing.  Fortunately, singing in a recording studio doesn’t intimidate me in the way singing in public does.  I learned to just have fun with it.  If you approach things with the goal of having fun,  it will likely come through in your music & playing.  

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

When creating the video, I initially struggled to find characters that would be suitable for the video.  My goal was to include footage of older men but I wanted it to be humorous.  Since the song has a retro feel, I searched for old black and white footage, and was thrilled to come across these various clips, especially of the men dancing in tuxedos which I thought worked perfectly with the tune.  

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

I’ve been feeling inspired by Deborah’s “Legacy Project” and in a way, I feel like I’m creating my own “Legacy Project” with these videos I’ve been creating for the past year and a half.   In actual fact, I believe we’re all creating Legacy Projects here in the Academy which is wonderful!  As we grow older, and/or when we’re faced with life altering events, it reinforces the fact that our time on this earth is finite.  My goal is to share my music, recordings & videos with the world.  One never knows when our time might be up.  Our music and videos will live long after we’re gone.  That’s a beautiful, comforting thought to me. 

What were your personal “Ahas”?

When I heard the piece come together in the recording studio, it was definitely an “AHA” moment as in, “Yes, this works!”

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

People often ask what I use to create these videos.  I use a mix of various platforms including: “Luma Fusion” and iMovie, and Adobe Premiere.   I find clips on iPhoto, Adobe Premiere and Storyblock.  

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

I’m submitting this to have a form of completion this quarter, but it’s not half baked, it’s quarter baked.  It’s more a place holder for an idea.  Every time I heard the words ‘Baroque Flamenco’ I found the words ‘Broke Flamingo’ swirling around in my head.  I just had to do something with that… it’s nowhere near what I imagine it might become, but I found as I pulled it into some kind of reality that it reference a period of my life when I felt broken…. I wonder where thhhis might go.

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

Connection not perfection!   I connected with the idea that had been swirling around in my head, I connected with some old emotion that I need to explore more, I connected with my harp, I connected with my hope that I might one day tell stories or speak and sing with the harp, and it might connect with some listeners.

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

Courage.
It took courage to let something which feels so far from ready to be shared, to be seen by others.

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

The Freedom is to do it anyway, even though it’s not ready.  And that’s because I trust this Hip Harp community.  
The block is ‘it’s not good enough’, Truly I know it’s not good enough.

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

See answer to the question above.

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

The process of doing this, and finding that the ceiling does not collapse on me, and the sun still rises the next day, even though what I have shared seems so imperfect, has given me the courage to put my hand up to organise a conference even though I really don’t know how on earth it will work out.

What were your personal “Ahas”?

It’s bad, but it’s not quite as bad as I thought it was.

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

Short Video of the beginning of Pedal harp modulation from Cb to t0 Db, 

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 modulation staircase is only availble for Eb to D for pedal harp at this time. Ilearned the pattern and was able to get grounded in that and then work out the chord progressions for all the other keys around the whole cirlce of 5th. I enjoyed it a lot and found how learning a pattern and applying that pattern expanded what I could play with no acutal written music.

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

Working out the arpeggios in the first key and the Chord progression and seeing that the pattern continued into the next key.

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

The freedom was I did not need any music to play my all the way around the circle of 5th. My blocks was getting the chords of the progression and the pedal that need to be moved to advance to the next key.That is why I made the first charts of the keys and chord to play with the pedal/lever to change. 

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

Trying to read and follow the lines on my chart I decided I need a quick easy way to remember the chords for each key and that really there were only 7 to learn, so I made up the phrases to remember them by.

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

Look for patterns to help lean new things, practice/do what was hard will become easier, 

What were your personal “Ahas”?

At first I thought I have all 15 or so progression to learn, not thinking that each note has 3 ways to be played. In playing them I realized I just played that prgression and by writing them down i could see that there really was only 7. 

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

This is a short video of only moving from Cb to Db, for me right now to play all the way from Cb to B takes about 20 -30 minutes. I am meeting my goal with this practice of learning my pedals and what pedals need to be engaged for each key. 

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

Having a ‘final beginning’ version of my “Snippet Library and Noddle Toolkit” (should be attached), I have begin doing the ‘transformative’ part of practicing with it (still in the rough stages.)  This is today’s sample of that practice: Intro the harp, Intro in G7, and Snippet is Circle of Fifths
C F B E A D G C

Attach your homework in PDF or JPEG format here:

SnippetLibraryAndNoodleToolkit_2 June 2024 HRW.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.

This is a nearly-current version of my Snippet Library & Noodle Toolkit.

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 chats: I collected Snippets that seemed either grounding or enticing to me. The Snippet Library includes chord progressions & basslines; connections & transitions; & Noodle Toolkit.

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

1. Being an “analytical” personality means I’m driven to “collect all the data”…. “before I start”.  Mid quarter I realized I wanted a snippet library.  Watching DHC & Shelley Fairplay it had to include some “introducing the harp”.  It still all feels pretty incomplete— but its time for Final Beginnings, so here it is ready or not.

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

Freedom: I’m loving the 5 minute timer with intros and snippets.  My fingers are moving again.
Blocks: It took me a long time to realize that I might learn to play Baroque Flamenco but it’s not why I came— DHC asking “why did you come to the academy” made me remember why I came, and the Snippet library, noodling improv tools, and fluency IS why I came.

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

Nerves!!  Feeling like it’s not done. (But I did read the directions so here it is…)

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

I adapted Carol Booth’s grounding meditation, organized a set of scriptures to go with it, and began work on that (although sometimes I forget and just start playing).  Otherwise it’s hard to say at the moment since this is a very (final) “beginning”. Maybe I’ll know more later.

What were your personal “Ahas”?

Intros and Cadenzas are becoming fun.  I think the DHC-Shelley FairPlay master class was a huge part of that.  I struggled with cadenzas until I saw Shelley doing her intro and then it clicked (maybe her Welshness is a contributing Celtic factor to why I could catch it from her)

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

Make a library of your own, it’s fun!

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

This is a resubmission of my 2nd quarter project. I was having trouble sorting through a multitude of noodles and ideas but after the Monday June 3 chat, I got some new things to try. I pared it all down into a map that I could remember and repeat, used a version of the arpeggios in some parts and tightened up other parts. To me, this version sounds like someone is taking a brisk walk along a sunny trail, suddenly comes to a shaded pool, sits and contemplates the pool for a bit and then continues on their merry way. I love to take Celtic tunes and expand them with jazzy things and other stuff. Bring them forward in history as it were and see what the harp is capable of. Note: I had a stroke in 2021 and my left hand is slightly compromised, so I can no longer do some of the more intricate things I was doing before with left hand.  I really enjoyed working on this, and it has brough me back to playing wire harp, which I always enjoy.

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?

Glide, arpeggios, expand on a chord progression, don’t worry about if it is too simple, make a map of the arrangement and stick to it (you can always add to it later).

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

I was having trouble sorting through a multitude of noodles and ideas but after the Monday June 3 chat, I got some new things to try. I pared it all down into a map that I could remember and repeat, used a version of the arpeggios in some parts and tightened up other parts. To me, this version sounds like someone is taking a brisk walk along a sunny trail, suddenly comes to a shaded pool, sits and contemplates the pool for a bit and then continues on their merry way. I love to take Celtic tunes and expand them with jazzy things and other stuff. Bring them forward in history as it were and see what the harp is capable of. Note: I had a stroke in 2021 and my left hand is slightly compromised, so I can no longer do some of the more intricate things I was doing before with left hand.  I really enjoyed working on this, and it has brough me back to playing wire harp, which I always enjoy.

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

Biggest block was getting the video right. There are sill a few mistakes in this submission, but I got tired of hitting the record button. I would like to edit the audio tracks of videos, so this has spurred me to investigate software that will do that for future submissions.

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

I got bogged down with too many ideas that I was having trouble remembering long enough to explore further, even though I recorded most of them. I had trouble narrowing it down to a set map, but eventually got there.

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

This class is a huge stress relief for me just now as I am dealing with an aging partner with health issues and it is extremely difficult. Retiring to my music room is wonderful therapy, and making any kind of progress helps even more!

What were your personal “Ahas”?

Recognize chord progressions and play with them, use the arpeggios (one finger in left hand and rest in right hand) because they ground you and help you achieve glide. Make a map and stick to it. You can always change it later.

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

I have had a hard time with this – it is now late at night, and although I liked it earlier, I am having doubts now. My first attempt to upload a clip where I had adjusted the audio did not work, so this is the raw file. 

Share the link to your video here:

https://youtu.be/eoskE2QpWME

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

This is a failed attempt at trying to combine the baroque theme, flamenco theme and cadenza.  I just could not get it together.  

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 did memorize the baroque theme (which should not be hard to do).  I worked my way up to the starting note, as DHC suggested.  Nevertheless, everything seemed to fall apart.

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

Emotionally, I was defeated.  I finally had to stop trying, because my fingers started hurting.

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

I felt totally blocked.  i somehow felt out of my element.  

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

The challenge was to actually submit something, because I simply could not get it together.  

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

There is so much I’ve learned in HHA.  Somehow, I was not able to connect with what I’ve learned with respect to this particular project.

What were your personal “Ahas”?

Aha — sometimes, things just don’t seem to work.  I hope next time will be better.

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

It is supposed to be a short version of baroque flamenco but with slightly different rhythms.

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?

Dare to step back from the written sheet music, in order to observe what will happen.

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

I prepared a short structure that I wanted to follow while playing….but that piece became way too long…so I had to shorten it, skip the repetitions etc.

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

freedoms: to toss around with different rhythms…
blocks: to fing a proper transition back to the baroque theme

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

to be satisfied with the things achieved…..not permantently trying to improve

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

music is all around…..some snippets or short melodies sometimes swirl around my head, wherever I am….

What were your personal “Ahas”?

once you take your time, sit down and try, something will always come out!

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

Impression of Largo from The New World Symphony by Dvořák

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?

You can take a piece of music, create a simple structure, and expand it.

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

I was hesitant to use a classical piece by a composer I admire and create a very simple and limited version of it. It took me a while to allow myself to do it.

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

I always struggle with my limited abilities to play the harp, lack of technique and fear of ridicule. Once I gave it a try, I enjoyed the freedom of improvisation without sheet music.

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

I really wanted to play the original melody and express my love for its beauty, but I also struggled with my fear of demeaning it or making it sound cheap.

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

I somehow feel more freedom to play the harp after every class. As if I got permission to improvise, without judgment.

What were your personal “Ahas”?

I can create an impression of a piece of music I like without any sheet music and despite my limited ability to play the harp.