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

 Vincent van Gogh and Rembrandt van Rijn are sharing their new hobby.

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?

We used some of the modulation warm up inspired by Nathaliana

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 find a workshop for the both of us to further develop our skills and creativity.

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

Vincent: I removed my psychological block by choosing a purple way of expressing myself
Rembrandt: I found a way to connect with my own pretty inner self.

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

Vincent had problems hearing the colours. Rembrandt was struggling with the light.

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

We have built a lifelong friendship!

What were your personal “Ahas”?

We found that it is really good fun being creative together!

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

We hope you enjoy watching this as much as we enjoyed creating it!

​

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

Song I wrote for my 4-year-old granddaughter using what I learned from this quarter, modulating from key of C to key of G

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 modulating exercises as well as utilizing feedback from the half bake. I also took suggestions from the chats to take the Three Chord Magic course on the website to learn how to sing and play harp.

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

I first wrote the song and then developed a tune that was easy to sing to my granddaughter. I tried to keep it simple.

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

I always think I need to make it more than it needs to be. Also, originally it was too low for my voice so I eventually changed the tune a bit to fit my voice.

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

Being able to change levers smoothly. 

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

Feeling more confident in my ability to write music within my limited skill set. Also being less critical of my voice. 

What were your personal “Ahas”?

Playing chords while singing makes so many songs more accessible.

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

Always open to more suggestions!

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

This is a revised version of Nataliana with a few extra measures thown in before the 3 minute cutoff.

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 pattern practice to train my hands to understand what I was looking at on the page and not be intimidated by so much ink. I also adopted the chat methodology of “play what you can right now”. I appreciated the lead sheet breakdown and the teachings on the two sections of Natliana, it helped me digest this piece and make it do-able.

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

This is likely the most complex piece I have ever attempted, and I memorized it! In fact I had to memorize it to play it. I broke it down into sections and did a ton of repetition with short phrases, sometimes hands apart and then back together. I also created a simplified version in my hands of the second half (some of which is shown in this video) for when I’m not feeling confident enough to cover “all ” the notes. I am still doing a lot of metronome work and rhythm scrambling of the last two sections, and I think this will be my warm up for a while so I can feel comfortable doing the whole piece.  

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

There’s definitely times I know what the page says but my fingers aren’t there yet. I need to have the grace to acknowledge that’s ok. I also learned how important it is to listen to the harp as opposed to just hit the strings. Sometimes I felt like the harp knew what it wanted to do and I had to get out of the way. 

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

I had to address the little voice that said this piece was too hard. I still have to quiet the voice that says this video is too sloppy or not good enough. 

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

I have appreciated having the designated time to connect with the HHA…sometimes having to be mindful of work or family commitments. By spending more consistent time with the harp I do think I’ve become a bit more stable and satisfied ( as opposed to being resentful of everyone and everything that is keeping me away from the harp)

What were your personal “Ahas”?

I think in the time I’ve been learning this piece my playing in general has become more expressive and is on an upward incline; my practice time with the harp has become more consistent. 

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

I personally don’t think it’s my best performance. I’ve been practicing this a lot. But the submission deadline is looming and I do have my family and work, so I have to call it at some point. Having said that, I think this is better playing than I’ve been able to do prior to joining HHA.

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

“Wanna play the blues”.  From blues by the dozen.  This version is in Dorian blues as I found it easier for singing, and it’s simplified.

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

When I joined the academy a couple of years ago I started with the  Blues course.   Everything in this video is from this course that I’ve learnt.  I had never played blues or sung with the harp before,  and this tune really resonated with me.

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

Well, I wanted to play the blues and I finally got the swing rhythm.  The “riffs bootcamp” was when I ” got it.”   In this tune I could sing and not play at the same time, so that was helpful.

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

I’ve always wanted to sing and play with the harp but just couldn’t do it.   This was an experiment using a mic which also helped me with singing as I’ve felt the harp was louder than my voice and it was a struggle, the mic makes it easier.

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

I had the challenge of changing the key of the tune so I could sing.  The “cubes” we used in the jazz course have been great in helping me do this.  I also put in other variations in this tune using the pentatonic scale and walking bass.

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

I’m gaining more confidence with my playing and achieving my goal of being able to sing & play.

What were your personal “Ahas”?

I can do this!!  I love the blues and I never dreamed that I would actually be able to play it.
I was blown away when I first saw Deborah playing the blues and thought I’d love to be able to do that.

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

I recorded this in the evening after only obtaining the gear to do the electrics for the harp, and mic, so this is an experimental video.

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

This is my ongoing attempt at playing the first part, sort of, of Nataliana

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 had to keep reminding myself on this piece that I didn’t have to play the whole piece and that I didn’t have to play exactly what was written.  

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

It took sheer determination to stick with this.  I don’t know why I had so much trouble, but I did.

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

When I played without looking at the music, I was fine.  As soon as I tried to play what was actually written, I froze!  You can see in the video, when I looked at the music, I lost it!

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

One challenge was that I thought, “Well, if I can’t play this, at least I will wear dressier clothes.  That made it worse!  Dressed up, I felt like I had to play perfectly. I sort of felt like I put myself in a straight jacket.

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

I think I was out of my element on this project.  The only way I would have know that was to try. 

What were your personal “Ahas”?

My “aha” is that I need to take a break from trying so hard to play this.  I will call this experience finished…for now.

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

I am exploring patterns, inversions, with B chord in Bflat key. I wish it was twice as fast. Its the beginning of a story. 

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.

My idea was that the harmonic F and B were like a bell, a call. The A/B bit in the beginning with tapping the soundboard, like a person coming from afar closer. Then we are here. We have a conversation. The harmonic reminds us of the call and keeps us together. We find resolution at the end. (B chord + inversion ta-da)

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 was inspired by patterns and stumbling across B flat. I was trying to think of pauses and dynamics of loudness and softly playing the strings. I liked the F as a harmonic and playing it with the B. I slapped the soundboard quietly and louder. I did look at Sally’s circle of 5ths.

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 over a week to get my hand to play the harmonics. I could hear in my head elements i wanted in the piece and to sound like. It was  a bit hit and miss. Only when the camera wasn’t rolling of course! It was perfect. That was emotionally exhausting.

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

Tiredness, stubbornness. Fixtated. (Harmonics and doing this) Trying different ideas, writing notes, not understanding written notes the next day that made had so much sense. Making up my way to ‘write’ music. (Failure) DId not want to attempt writing muscial notation. (Brain meltdown)

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

I play like a clunky robot. My brain was either two steps ahead or had forgotten what the next step was going to be. There isn’t any happy medium at the moment. 

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

My nephew sent me an audio file of him playing the piano – he made up a jazz-blues riff – after hearing mine. I play alot more of the harp each day. Looking at chakra’s and different keys, patterns, for healing came to mind. 

What were your personal “Ahas”?

I really enjoy making up my own music. I respond to deadlines otherwise i wouldn’t do this. I don’t have the time to put in good videos, but if i can get the idea out, get feedback, I find i am building up on that. A lady said she played for 45 mins – my arms need a rest after 3. I am not strong. My deportment shows up as bad in the video. 

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

Ugh. don’t show them. I fear its just too bad for that. Maybe I should’ve stuck to the blues, but i needed to get this one out of my system. Now i am ready to follow the course outline.

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

This is a brief version of “Nataliana.”  Some extraneous noises made it in, too, for that authentic home studio experience.

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

I used the principles of distillation and rebuilding to create a version of the piece that was short and yet carried a similar feel and expression to the longer version. 

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 teach my fingers the shape of some recurring patterns and I had to be willing to accept some “wrong” notes in my explorations.  I had to live with the piece for a while to discover what emotional content I wanted to portray.

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

It can be hard to feel that an adapted version is good enough when there is a complete and wonderful written version.  However, when I start to explore alternatives, I can sometimes surprise myself with what sounds fitting and good,  That is ultimately very empowering.

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

I tried to be very free with the rhythm.  I found it challenging to keep a feeling of fluidity and stretch throughout.

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

I gained a piece that I will feel comfortable performing even on fairly short notice and without sheet music in front of me.  That’s a great confidence builder.

What were your personal “Ahas”?

Even a shortened, adapted version of the piece can sound complete to the listener.  Playing like you mean it goes a long way.

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

You might notice some extraneous noises in the video: a door opening and closing, a bird clock singing.  I didn’t intend them to be there, but I think of them as part of that authentic home studio experience.

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

This is my final beginning project for September 2023.

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

Last week DHC showed us a technique using a tissue to muffle the strings.  I was inspired to try it.

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

I wanted to challenge myself to create something new with the tissue technique, which turned out to sound like pizzicato strings.  I also wanted to create an alto flute melody to pair with it.  This is just an experiment which I created last night.

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

I struggled with getting things to work exactly as I wanted to; ended up improvising and accepting limitations in order to create something quickly.

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

I also wanted to try to create the pizzicato with the flute and a resonant melody with the harp to go with it.

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

I always enjoy the snippets, as well as hearing what other people are creating.

What were your personal “Ahas”?

My aha here was that there is always more to learn and experiment with, and that I CAN create something with new techniques, even with limited harp skills.

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

I recorded the audio in Soundtrap, exported the file and then imported it into StoryBlocks.  Then I added stock video.  I felt like the pizzicato sound evoked the feeling of raindrops.

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

This is my version of “Nataliana.”

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?

After having it broken down to an almost bare framework, i could slowly start to build it up again. 

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

My desire to play this piece and the realisation it was way beyond me, lead me to to make it simpler and study it in little snippets. After I finally got the snippets in my fingers and in my memory, I could start to glue them together and rebuild the piece in my own way. And ultimately I could start to put some more notes/chords to it.

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

No freedoms and no blocks, just annoyance, waywardness and perseverance

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

I strived to play fluid, and use soft and loud.

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

I had less time for my other highly necessary and deadlined chores. So I got in the survival mode.

What were your personal “Ahas”?

“If you can’t do it as it should, then do it as you can.”

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

Please, enjoy the video and meanwhile be happy you were not with me when I was working on this piece.

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

I finished the song I was working on. This isn’t my best rendition, and I couldn’t get it into Canva to try out editing, which I wanted to do, so I’m attaching the picture I was going to simply end it with. It has been retitled: Unconditional Love (Ode to Harmony), but I messed up when I uploaded it to YouTube – just shows the date.

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 started with a snippet. And it morphed from one song to another. I took the patterns from my first song, then reimagined them by reversing things and it became a whole new song.

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

I’m finding I’m getting emotional about my songs lately, but once I finish them enough to record them, it is kind of cathartic and the emotions aren’t as raw ( for a while, anyway). On the other hand, if a song makes me cry, I think it must be a good song.

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

Well, see the above – have to release the emotions at least enough to be able to get through the song, yes?

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

The feeling that I was writing two indistinguishable songs.

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

I love that these are music PRINCIPALS. And I’ve gone back a bit to my first instrument – the piano – and with the limit of that dexterity, I find I can apply the principals and play things on the piano that I’d never played before. Nothing spectacular, but fun and interesting, nonetheless.

What were your personal “Ahas”?

Life is full of patterns and their variations. Some are the dull necessities of life, and some are interesting. Let’s spend time with the interesting ones!

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

I wasn’t totally happy with my voice – especially the first held note, and the ending came out different every time I recorded, so I just went with this one because there was no light reflecting from the mirror on the left side. As good a reason as any! So it isn’t perfect!…

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

Nataliana – bare bones trying to add expression

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?

Slow down. Don’t be afraid to express yourself. These ideas helped me to really feel the music. Instead of practicing trying to get notes and written music perfect, I slowed down and let myself feel the music.

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 let go of what I had previously had ingrained in myself for this music. I first played and recorded this in 2008. By listening to other harpists, classes, office meetings and catch up coaching I began to get the music and to understand how it made me feel. 

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

I didn’t hide myself behind tech tricks and presentation of the video. I allowed myself to express how I was feeling. It’s hard to get over feeling I’m not good enough or I need to play something a certain way. It’s okay to do it my way.

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

Really opening myself up to the music and the feelings it invoked in me.

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

I’ve become a little more centered- slowing my brain don and allowing to let myself really feel what’s happening around me. How things impact me, how I respond to things. I’ve become more sensitive to to my feelings and allowing myself to feel them. Learning that I’m okay as I am. I can learn and grow – but also be me and not try to be someone else.

What were your personal “Ahas”?

Playing by following my own breathing, letting the music itself breathe and not trying to be perfect. 

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

No fancy props or video enhancements- just me and my harp. Playing for myself this time, not being concerned with anything else.

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

This is my attempt at Deborah’s Nightingale.

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 took me 5 years to learn this song, and I can’t play it well yet, but I can see the patterns now, which is very helpful.

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

It took a great deal of practice and it still has many flaws, I had to accept I always make mistakes in it. I still love the song though, after all these years of practising and listening to it.

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

I struggled with the acceptance of all the errors I make and I enjoyed the expressiveness of the song.

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

My technical/speed limitations.

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

I try to look for the patterns when I study a new song.

What were your personal “Ahas”?

If you follow the patterns, it can sound good even when you simplify the score or stray from the original.

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

It is about a non-human creature who listened to Nataliana long ago. Fragments have remained in their mind: the notes of the first chord are repeated obsessively in a mechanical rhythm, the melody in equal notes has become disembodied.
Nataliana carries the essence of friendship, and the Alien knows this intuitively, but they can’t get it because they don’t know anything about human feelings, and that drives them mad…
By some kind of mystical enlightenment, they can finally hear Nataliana’s original theme, but in the end, something goes wrong, and on an acidic chord, everything vanishes into the dark.

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 basic snippets from Nataliana to create something personal (the Alien’s inner voice) and inserted Nataliana’s theme (the Alien’s external voice) to build a kind of collective thing (Nat-Aliena). Building collective things is, I think, one of Hip Harp Academy’s priceless and avant-garde characteristics.

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

After listening to Nataliana for the first time and thinking it really had the sound of friendship, I heard words in my head, the ones I added to the video. They sounded like someone else’s voice. I knew they were ‘true words’ and I wanted to do something with them, but I didn’t know what. Then I let it go and the project built itself up.

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

This quarter I’ve discovered a form of improvisation that makes me feel good. I choose a sequence of notes for each hand, which I play over two different rhythms to create a shift. When it becomes mechanical, my mind sort of opens up, like when I fall asleep after insomnia. I think it has something to do with hand independence.

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

I still don’t understand the question.

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

Seeing this project through to the end makes me feel whole.

What were your personal “Ahas”?

Hearing that voice was great, and I’m determined to listen to it more often.

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

For a few days now, I’ve had an old pedal harp at home. It has a single pedal movement for alterations, and when all the pedals are raised, it is tuned in Eb. In this respect, it is very similar to lever harps. It weighs ‘only’ 19 kg. It’s a folk instrument from the Tyrol (near Salzburg).
Yesterday I removed the plate behind the neck so I could tighten a few bolts to eliminate vibrations and annoying noises, to be able to record my project on this harp. Then I thought it would be fun to demonstrate the mechanism, so I recorded a video as an introduction. Hope you enjoy it.

​

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

Low Down Hound Dog Blues a little more fully realized.

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 goal was a harp/tap/vocal performance.

It’s only my 3rd video, so it’s still tricky, I simply don’t have the video tech or know how to produce my vision.

I had a lot more ideas I want to use but my Covid got worse, I lost my voice, had a wicked earache and a migraine all weekend, so this was all that was possible and it still took hours.

But it did get me to pull out some old music software I never got to work. So then I used my Korg M3 to get a drum track done, a little bass line and some orchestral hits. None of which I’d ever done before. So now I can see the next areas I need to get set up to actually finish the hundreds of songs I’ve written and never done anything with due to my lack of production skills.

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 loved what someone said in the chat about my half baked submission and it gave me a new goal. To just give it my best in any given moment. My health is very precarious. I never know how I will feel hour to hour. 40-60% of the time I have debilitating headaches and a host of other physical issues. I always have these big ambitious visions I can never meet. So from here on out I’m giving myself credit and atta girls just for showing up and doing the work and putting in the time, regardless of the outcome. I don’t have any control over the issues my body has. All I can do is push through when possible and be grateful I can still do anything at all. So showing up and submitting something has to be enough and so am I. That makes me teary. I’ve never ever felt good enough in any way, but I’m trying.

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

OMG! I know it looks so simple but this was a gargantuan effort! I moved furniture out of my harp studio and had to find a place to put it, requiring another shuffling of items in my recording studio. I moved a heavy keyboard around the corner and LOVE it! Once I started writing novels I 2018 I pretty much abandoned music except for composing a new song almost every single Saturday and the few times I visited the academy. My whole life and family became even more overwhelming during Covid and all of my creative areas have been buried ever since. So I’m excavating my house and my whole life.

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

I was reminded that I have always been this composing, singing, dancing, instrument playing whirling dervish since I was a child. Life just tamed in into the background where it wouldn’t bother anyone. Finally I’m reclaiming it for myself. All of my fascinations work together. Costume design, architectural design of spaces and sets, tap dancing, innate rhythm, singing, composing. I really do have all of the skills to execute my visions if I just put in the time and learn a few techniques like I did this weekend.

I discovered if I give my muses free reign for the first hour I’m awake my whole day is amazingly productive.

Of course everyone is so used to having 24/7 access to me that it only happened once, last Monday. And I was indeed cranky and disgruntled and actually let myself feel that.

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

My freedom of expression was really stymied by Covid. Having tongue, throat, and earache issues are really awful for a singer. I coped by embracing my new “do the best I can today, that’ll be enough” philosophy.

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

I really can’t possible thrive without exercising my creativity daily. No wonder life has felt like a slow death. Even sick, the hours fly by when I’m in the studio.

What were your personal “Ahas”?

That I really can learn to produce. I’ve always heard the whole orchestra in my head when I compose. I always wanted a program where I could just sing the notes I want each instrument to play. I’ve never found that yet, but today when I sang the bass line I wanted it didn’t take long before I was playing it on the piano and then converted that to midi so I could assign the instrument I wanted to play.

I have to admit that it’s just been lazy on my part. Since my brain will write 60 second verse/chorus parts in mere minutes everything else seems like a huge hassle since it’s not effortless. But I guess it’s just like writing. I’ve written 15,555 words in a day once. But editing takes me months. LOL. But you can’t truly finish the book without it. So I will quit assuming I can’t and just learn to do it already.

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

I didn’t have time to make it pretty knowing I had to edit the video and get it past You Tube’s approvals, but at least I did a tiny bit of playing and I love my ruffled sleeve! That was from my original vision. I feel like I was playing to Audrey Hepburn who can be seen in the background through the harp strings. 🙂

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 principals in the exploration of patterns through snippets and progressions; modulating to another pattern and back; creating and exploring song structure and what makes a song structure effective. Feedback on the process was essential from submitting homework on my project to getting as far as I am now and I’ve still got a ways to go. 

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

The joy of my music practice is to write, sing/play my own songs. I have written some songs just for harp but this song project had me look at the dimensions of a production – knowing what I felt and heard in my head when I played the song for myself. It is like seeing the landscape and exploring what I hear and dream with instruments and voices, tempo, rhythm, meaning, expression, syntax, etc., and how to get to what I hear and feel. It’s still in process but never have I been so involved in this shaping and forming and all the ahas that brought to this place.

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

I struggle with continuity and connection. I want to connect on many levels but need to really look at details and the whole at the same time. The process is training me as well as input from others.

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

My challenge is to feel secure in my position as a writer, producer, and performer. Working with other people demonstrated what I want to see evolve in this piece as art. Others always have contributions and I had to consider those and how they aligned with my own vision.

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

I had surgery on my right shoulder which inhibited playing with two hands, writing with a pencil, or even typing, or texting. But I realized I am in a supportive and encouraging community so I kept playing with my left hand and on a keyboard as soon as I felt good enough to be physically present. 

What were your personal “Ahas”?

My personal ahas are that I am more courageous than I ever imagined. Plus people want to help you and it’s a reciprocal position. We share the creative impulse and creative energy. We do see it in others and have a need to accept it in ourselves, and this propels us forward.

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

This song is still in process. I released this draft version to several other singer/songwriters and asked for their thoughts. It was immensely helpful to hear what others were getting and suggestions on lyric and expression. 

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

This is a visual story about Frida Kahlo and her art. It is accompanied by Nataliana v3. I submitted a half baked. The only thing I changed was adding her name to the title page and credits at the back.

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 snippets helped me and version 1 and 3, simplifications of the piece, made it possible to take my first pass and present it.

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 give myself time to allow my creative process to unfold and used the concepts from the Strings of Passion to guide me.

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

Blocks first. Still have a hard time with the technical part of IMovie for credits and title pages…that it was ok for it not to be perfect. 

Freedoms: allow myself to reach out for help…a friend for a healing process…questions. Also the freedom to not know how it’s going to turn out. Another freedom is realizing that my sight reading could really be improved, so I am looking into that.

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

The challenge was letting the images and music unfold the story. Not to have a verbal narrative. It was the mood of the piece that I wanted to speak…not facts written or spoken.

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

I really felt the process unfold. I had to get out and walk in the forest for the inspiration to come and then I was able to flow with it. 

What were your personal “Ahas”?

I used the Vision Sheet to sketch it and used the process again for another project. I am beginning to be in touch with my creative voice and vision and bring it into being.

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

Didn’t change much from the half baked; added title page and credits.

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

This is a piece of music I wrote called “Gentle Breezes.” I used the DCGA, DGC pattern.

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 DGCA,DGC pattern for the foundation.
I also played the chords going up & down.
Both ideas from chat and challenge.

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

I used iMovie for the first time to put in the title page, but I couldn’t figure out how to put in pictures and keep the music playing.

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

I felt a freedom working within a pattern.

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

One of the challenges was the sound. I should have used my other harp.  I think it sounds tinny.
I wanted to make the video outside but it’s been raining.  So I tried to adjusted the background to fit the piece at the last minute.
Another challenge was the second melody.

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

I can always submit something even if it’s not perfect and learn from it.  Also, there is SO much you can learn from the other classmate’s projects.  They are all inspiring.

What were your personal “Ahas”?

I should have worn long sleeves!

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

A video of the Harp Faery catching a sacred song while on an island, called Kormu.

I wrote the song and performed and captured this video on the same day. Its a great step forward!

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 5 part arrangement structure–it really played a part to support the song. I felt the melody. I took time to slow down and practice it and get to know it. A friend I could come back to.

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

Creating a Spirit-Led Artist Retreat for 5 days on an Island. Sitting down with a still mind on moss in a forest with no expectation. I started playing and this melody and song came through. I had the time to explore the song and melody for most of the day, then get ready as the harp faery, find a good spot, and use my new tripod/microphone. Then patience!

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

The freedom of being more expressive with my music on video as the harp faery.

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

Gear was a big challenge. My harp music wasn’t coming through well on video with my phone. I was partly okay with it, as it gave me an excuse to not push forward. But, I pushed through and got better gear and thus made a big breakthrough.

Also, being alone was a gift and a challenge. It was more tiring to film alone but also freeing as I didn’t feel self-conscious at all with someone watching.

The challenge I overcame was distraction. I created the focused space to tune into the Harp Faery and it worked wonders!

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

The sense of team spirit from the Academy to move past my challenges and make small steps forward into the unknown.

What were your personal “Ahas”?

I loved the experience of moving and creating a melody for the Song’s Spirit. As DHC suggested, I used the harp as my puppet for Song’s Spirit and then visualized seeing it move around and me capturing it.

Playing with Shadows and light with the sun—this brought such magic to the video.

Creating a CLEAR storyline before photo/video! This was huge. I knew exactly where i was, why i was there and what the purpose of my movements/actions were.

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

It was a lot of fun! And many years of courage to bring together. Especially getting sound/video quality higher. My goal is to create regular videos with harp that soothe people and bring Rainbow The Harp Faery more regularly into their lives.

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

This is a modulation pattern that I worked on to smoothly move from C major to G major to D major and A major.  The progression is I-vi-ii7-V7 and pivoting on the V7, which becomes I7 in the new key, where I proceed with the same chord progression.

TELL ME WHAT YOU NEED COACHING ON. Provide specific questions here so I know what you want me to give you feedback on. Remember, I’m not grading or assessing your work – I’m coaching – and I can only do that if I know what you’re TRYING to do, so I can gear my coaching to help you achieve that.

I would like to extend each progression, to make it a bit longer in each key.

Is there anything else you want me to know about your video?

Hopefully, I can remember to record it in landscape next 

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

Nataliana—I tried to keep the original feel of the piece, while playing some simplifications. I focused this quarter on feeling the music. This was played in my church.

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?

Identifying the “patterns” in Nataliana made learning the piece much easier. What also helped was being shown ways to simplify different sections. In addition, I realized that slowing down and creating pauses can enhance any tune. 

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

A challenge for me was being able to play the original piece from the sheet music. Once I had the freedom to play what I wanted, with some suggestions on simplifying, it was more doable and I enjoyed the process. 

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

I learned that connecting with feelings in body movement/dancing, can transfer to feelings in music. 

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

I realized that when I had been playing, I had been very guarded and mechanical, playing loud and soft, but without much expression. This was the perfect piece to change this for me.

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

Identifying patterns can be used in many ways, including when learning any new piece, and looking for patterns in people’s behaviors. 

What were your personal “Ahas”?

I realized that I had lost the freedom of my “childlike” behaviors through the years and needed to find a way to connect with them again. 

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

This is a very shortened version of DHC’s “Cosita Latina.” I’m revisiting it after not playing for a few years.

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 broke down the various sections of the piece and played with the patterns I discovered.

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

This can be a long piece, but I needed to get it down to around 3.5 minutes. I really wanted to perform the whole piece but with limited time, I had to cut out some parts that I would to have included. I did an intro, strumming, the loop, strumming cadenza, & an ending that I stole from “Baroque Flamenco.”

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

I had convinced myself that I needed to play the piece in its entirety. However, I discovered that I could drop the bulk of the piece and still turn it into a completion.

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

I was struggling with my back so the harp & harness felt heavier than usual. I think more focused on the discomfort more than musical expression.

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

I don’t need to be so rigid in what I do, and I can change things up.

What were your personal “Ahas”?

There’s a lot of improvisation in the video and I’m feeling much more comfortable with it.

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

I was playing with my green screen. I’ve got a long way to go with the technique, especially the lighting. My screen is not big, and I had difficulty staying in the frame.