Music, magic and transformation

For me, performing music is making a little bit of magic. You go up on stage, take your excitement and inspiration with you and let your skills and preparation do the work. Whether it is a huge amazing experience or something sweet and intimate, music has the capacity to take you away from your present world into another state. I feel that transformative power is real magic.

Discussing teaching with a friend last night, it was brought home to me how different teaching is to performing. Totally, completely different focus. You might need the same knowledge but you have to understand that information in a completely different way and give your attention to different levels of it. Additionally, you need your teaching skills: the relatively selfless discipline of working with someone else, in their mind, for them. Whilst on stage you are also working for your audience, but you don't have to keep a calm and controlled state in the same way - in fact it's better that you don't.

Essentially I have trained to do two things - my daytime weekday job of teaching and my evenings and weekend preoccupation of performing, of creating those magic spaces.

However distinct I've just made those two occupations sound, I feel at their heart they have a crucial similarity: that magic of transformation, the slow revealing of how the world can be a different place. Some of my favourite times are quiet morning lessons, with many small discoveries and moments of magic.

Teaching music? Or being a guide?

I have a real trouble with the concept of "teaching" music. Much like art, it's so much about your own self and reference to yourself it's impossible for someone else to set out exactly for you. From everything from how your hands work to your taste and direction in music, it is something best found for yourself and there are many many ways to approach it. I can only hope to communicate a few good examples and the enthusiasm to continue learning.

What can I pass on?

• A received technique that has been tried and tested by many musicians
• Ways of developing your body awareness to manage and develop your own technique
• Ways of getting into listening, reading and processing music
• Ways of practising and improving coordination
• Give you signposts to what music already exists, point to what music can be but I have no intention of telling you what music should be.
• A positive attitude and an enjoyment for challenging yourself - how to make a game out of difficult things

Good learning states

Current ideas:

Figure the task out by yourself for yourself! It's your information, order it in a way that makes sense to you.

Take time, have patience and be calm. Learn in a way you enjoy.

Play games, explore, go on a whim.

Let the movement connect itself up naturally for you.

Little practice and often eases frustration.

Set up a good environment - easy access (instrument out) - not too much at once - timer (maximum detailed concentration is about 20 mins)

The hardcore part of music is often building the physical side, it's like a tree. Plant a seed then water in lots of little stages, return to see how it's growing frequently!

Life cycle of learning a tune...

1, Figure out notes and rhythm
2, Explore physical side - hand shapes , bowing patterns...
3, Make physical bits easy (play games with it - see below)
4, Re imagine music - add something new (left hand?)

Section 3 is the bit we really think of as "practice". All the normal rules apply - learn what you repeatedly do so you want to sort out small bits and get them right first time. However if you're really exploring the movement then little games are helpful to prevent the boredom:

Treacle practice - like you're moving through treacle - how slow can you play?
Taking a specific movement or pattern and playing with it - rhythm, accent, different expressions...
Re: harps you have block practice, practice finding where your fingers need to go in clumps

The main thing is play with it, improvise, explore through games. When you can mess about with and return to a data set you can understand it in a much more intuitive way, whether a movement or a pattern of notes. It's a great state to learn in and fun too.

Tool kits

When we make music there are many different mechanisms all going on at once, many different skills we need. Since I've been teaching I've been thinking about these as "tool kits", I want to give my pupils the tools to make music for themselves as well as see what I am missing. This is as far as I've got with identifying the different elements and what you can use to develop those skills. This is unashamedly biased towards learning traditional music.





Musical toolkit
immersing yourself and becoming incredibly familiar with the music you wish to make


Learn how the music you want to play works by immersing yourself:

Sources:

• Recordings
• Score
• Live music (gigs, sessions, playing with friends)

Passive learning / absorption

• Listen listen listen - on in the background
  
• Mp3 player for convenience
• Carefully managed set lists

Active Involvement

• Active listening - observe details
• Diddle along with it
  
• Clapping rhythm of it
  
• Dance to it (ceilidhs, your living room, the session)
• Practise

Mental toolkit
attitudes, hearing and reading clearly, recall,

Hearing music in detail and clarity:

• Practising listening and identifying elements by ear
• Listening to slowed down audio files to hear more detail, then listening at full speed again
• Recalling the music in great detail
• Transcription - make yourself notate all the detail
• Imagining how you want pieces to sound
• Being able to tell where the home note is and what note in a scale is being played at any given time
  

Retaining music and being able to recall it at will:

• memorising
• practise starting sets
• learn it more than one way - by ear, then in hands
• categorise what you know - mental filing

For any improvised art form:

Pre-set ideas

• Rhythms
• Harmonic sequences
• Melodic fragments
• Hand shapes

Knowing where the notes map on your instrument - i.e. scales, arpeggios

Performance:

• sense of drama
• presence
• communication with audience
  

Understand the mechanics of playing your instrument intimately - as much a mental skill as a physical one

• Fingering patterns
• How your hands work
• Ergonomic postures!!!
• Know the potential injury trouble spots and what to do
  

Attitudes:

Focus

• Being able to play under pressure
• Paying attention to other people
• Focusing on the music, blocking anxieties

Expectations

• Find out and set realistic expectations

If it's not fun then have a rethink - music has no other purpose than for us to enjoy it.


Physical toolkit

Condition

• Warm ups
• Relaxation exercises (so you recover from all the playing!)
• Stretches
• General exercise, rest, food - be generally well

Coordination

• Practise
• Mental practise
• Always look for unknown / unexplored shapes
• Improvisation
• Rhythm and accent practise
  

Mental interface - ears to fingers

• Improvisation

Hand shapes

• practising hand shapes, learning feel of each
• chunked practise - practising within placement groups

Touch

• Physical feedback
• Contact with harp
• Slow still practise
• Improvising with dynamics
  

Speed

• Clarity of movements (mental practice, aiming for beautiful movements at a slow pace first)
• Gradually building up speed 2bpm at a time
• Remember: the fastest safe speed is determined by how relaxed you can remain whilst playing

Anymore ideas are very welcome! This is just a start.

Learning tunes by ear

I love playing within the aural tradition because after a while it becomes very easy to take on new music, new tunes. Once you've got an established technique, if you can hear a tune accurately, then you can reproduce it. That said you have to be able to retain and reimagine the tune to be able to play it - until you can play with it, it's not yet your music. The nicest bit is that you can just absorb tunes passively, have the music on in the background and gradually the tune just becomes a landscape you know intimately. Bizarrely this can be just as helpful in helping you to learn tunes as really focused attention, so right now I get to learn tunes and write... wooo!

I've been up to the Edinburgh harp festival a few times now and the tune teaching method for trad stuff is as follows...

• hear tune about 4 times through
• teacher plays first phrase a few times, you have a go getting it
• few minutes practice while teacher comes and checks everyone has it
• go through rest of phrases in the same way, often taught by hand shape and certainly broken down into small easy chunks
• all the time consolidate what you know, through group playing or listening to teacher play again
• once melody is stitched together, add bass hand

Throughout the learning process you hear a bit, try it, hear it again, refine it. The teacher may slow it down for you if you've not caught a bit, or show you a tiny fragment at a time.

I don't like learning tunes from dots anymore because the dots don't give me the groove. This is my tune learning method from a recording...

• get familiar with tune, hearing it lots in whatever setting
• use an audio program to work phrase by phrase, listening and trying and listening and refining and listening again
• possibly use audio programs to slow it to hear where the ornaments are / any really tricky bits
• possibly transcribe it - very useful for setting fingering (I often transcribe tunes I've been taught by ear for this reason)
  
• if I have slowed it down at any point, listen to track at full speed again and get the groove at that pace (rhythmic emphasis changes at different tempo)

They're pretty similar methods really, just with different sources. I always prefer learning from a real person because they will spot problems with your technique, you'll get a better sense of the style (all those tiny variations...) and they'll pick up anything that you've misinterpreted. It's just nicer too!