Wednesday, 27 May 2009

Being able to play - what a relief

Gradually as time goes on I can play more as I want to - it's like the overwhelming drive is to be able to express myself within music through music, to be able to hear something in my mind and produce it through my hands. It's bizarre - I am not me if I cannot make music happen. What a bizarre need - why should shaping sound matter so much? Anyway it does. After just over two years of relearning to play harp from scratch to accomodate my right hand music is really becoming fun again.

I can improvise and think with the harp again. It's magic, like mercury flowing, all connected up. I can sense my links when I watch other players - now I can perform those movements at a similar speed I can feel them when I watch others players. That's very beautiful.

My sense of rhythm while playing has also improved massively. That really is a relief. This time last year I could not play a dance tune to speed to my satisfaction. Now there are some that I can and it doesn't take forever to get new ones to that point. Recently I even got my first freebie - when you suddenly can play a tune that you've never consciously practised, your fingers just know what to do. Magic.

Steph's crazy hand history and how it relates to her learning the harp

I started to play harp in Oct 2000. For about a year I tried playing from both sides and then decided that right hand top made much more sense (I'd played piano before and they have the same melody / accompaniment function). I really fixed that in my mind and got on with it from summer 2002. I started investigating harp teachers and got a very negative, cautious view point - faced with my right hand I had a harp teacher tell me to only play with two fingers (very limited!).

In March 2003 I first went to the Edinburgh Harp Festival. I met and heard loads of fantastic harpers, finally got some lessons from people who didn't write me off and who could see how much I wanted to play. I loved every minute of it and it completely set me up to carry on playing.

About two months later I really started chasing a hospital referral that had been hanging over me for two years - by the end of my first year at uni (summer 2001) it was clear that I had movement problems with my right hand, that the corrective procedures hadn't worked as the doctors had predicted. When I finally got the appointment that I'd been waiting so long for I was told fairly bluntly that corrective surgery on growth deformities (macro dactyly) didn't work, fingers were too complicated.

I was deeply unimpressed by the surgeon I'd been referred to, so started looking for other ways to get treated. I got referred to Royal Orthopaedic in Birmingham via my uni physio therapist - an appointment booked by my then boyfriend's mum for which I am very grateful. I was finally seen by my consultant in March 2004, in June 2004 I had an amputation of my extra large finger. The aim was to improve my overall hand function and specifically remove the mechanical problems I faced with harping.

In 2005 I went back up to Edinburgh, found a harp teacher to go to back south and got on with the job of building up speed and technique. I also started going out gigging where I could. By harp fest 06 I'd realised I'd maxed out my speed in my right hand for tunes and it wasn't enough. I dabbled in swapping hands but didn't fully until harp fest 07 - three x 1.5 hours a day for 5 days was enough to get past the initial pain barrier. I came home and realised that all the gigs that were lined up I was going to have to play left hand top - it was too confusing, seriously hurt my head to swap constantly.

So I stuck it and continued with the hard grind of technical work. Around this point I started sessioning massively and it paid off. However I also started getting soreness in my hands in general - a stiffness in the stump that was left from my middle finger made me almost use my hand in two.

Harp fest 08 saw me pretty depressed. In the months preceeding I'd been starting to build my right hand technique and getting pain and weird feelings. It was during this fest that I realised I needed yet another op - that I just couldn't sustain a wide enough range without being able to bend the middle stump, the hand has to work as a whole in order for the forearm to be relaxed.

So MayDay 08 saw me back at the consultants, after a month of absolute fear that there would be nothing they could do. I finally had a hand op Oct 08. During the summer I'd massively over played, and so banned myself from touching my harp for October. That's pretty much when I started this blog, out of sheer desperation to keep moving forward.

It was really really hard not playing, but going out to sessions kept me going and I started to perceive music in a different way - I'm a much stronger player now because of that enforced break.

It was a very difficult time because very close friends with whom I played a lot were suddenly cut off from me. A lot of our sense of closeness actually came from our playing - it's very intimate - and suddenly I'd completely backed off from it.

Oct - Dec was full of physio. During this time I also started sorting out my technique problems. I knew I had been setting myself up for a fall but the previous summer had been so mad - just head down, blinkers on. Now I started assessing and changing habits - sessioning less for a start. That's a bit of a sadness but not too bad - there is a balance in everything and if you aren't having fun doing something there's no point doing it to excess.

Dec 08 saw me meet a harper called Dominique Dodge. She's great - quick, accurate, loads of Scots repertoire and tunes, beautiful voice and sense for the Gaelic song. She pointed out one technical thing - where your carpal tunnel is most open - and just liked what I did. She gave me my confidence back. She also passed on the contacts for a chiropractor specialising in soft tissue overuse injuries. That has also been a major turning point.

So, for the past six months, I've been playing less, playing more slowly, but my overall speed ability has been going up. Wicked. It's finally finally coming together. I still have hand problems, I suspect I always will, but they feel managed and I'm calmer, not panicking. It's such a relief to be able to play how I want and there is still more to come. So the motto: be patient, be kind to yourself, be confident and keep looking for solutions: you'll get there in the end.

Sunday, 26 April 2009

More music / movement links to follow...

Matthew Roger at Belfast University:
http://www.sarc.qub.ac.uk/~mrodger/Academic/
"I am interested in exploring the role(s) of ancillary body movement in music performance and how this develops over the course of skill acquisition.

Ancillary body movements made by musicians during performance (such as swaying, nodding, hand gestures, foot-tapping, etc.) do not seem necessary to create sounds, yet can communicate expressive or emotional intentions, relate to musical structure or facilitate co-ordination with other musicians. My research is into the origin and development of these movements during musical skill acquisition. This research project consists of three aims:

> Exploration of the development of ancillary body movement in musical skill acquisition
> Development of a theoretical framework of embodied music cognition
> Development of an appropriate human-computer interface to exploit characteristics of musicians' ancillary movements as augmented feedback in skill acquisition"

Frustration / inspiration

I've been writing this post and it basically comes down to me wanting to go back to study full-time somewhere, also that I think frustration and inspiration are different sides of the same coin. There you go - you can skip the rest now. If you're daft or bored enough... read on.

***********************
I've hit a huge unhappy block of frustration. Not sure why exactly - I can feel this wall, can't see how high it is or how wide, or how I'm going to get over it - yet. Mostly it's to do with desperately wanting to get on with making some expressive/varied/intense/interesting music and taking it out somewhere and feeling like I don't have the people / finger skills / inspiration - whatever.

Does everyone involved in a creative process have points where they go mad from their own internal pressures? Where what they want to achieve seems so far away from their current point that they can't even begin to think where to go next? I expect so. Somehow though I've noted that it's often in extremis that I come up with something new - that difficulties push me into a corner and so I visit unexplored areas because I can't explore the normal ones.

Whenever I hit a wodge like this it's often because of something to do with my hand, though I'm realising that probably isn't accurate anymore other than needing to take time to build up my playing to a level I am happy with. Bizarrely I think this really will happen - not that my playing is in anyway perfect (or ever will be) but I'll get a set of songs and tunes together and be able to feel like they're hitting neough of the mark that I should take them out here. I think my benchmark is that I have to really enjoy them. Actually my plan is find the right kind of people who can judge that for me and push me off in the right direction!

Even though it has taken me several years just to get this far I feel so strongly that this is my instrument - I can't quite imagine gelling with another instrument so completely - even down to the fact that it's fantastically inspiring and wonderfully tactile but also ridiculously awkward to play on almost every level. And to play it properly is incredibly geeky.

I'm not entirely sure what possessed me to go down this path of trying to make a living from playing a few years ago - I wish I'd had the common sense to pick something else that I could do part-time and carry on studying along side it (hang on... I did... but oh yes it was another financially insecure but interesting job. Whoops). I'm feeling like I'd really like time off from this financial pressure, time just to play and learn and play and learn. Also that I'd really like musical input for me, inspiration for me. Time to listen and watch.

I feel like life is a series of crises and that you don't get prompted to sort things out in a way that will take you to the next stage until you hit that wall of frustration. I guess it's a good thing, even if right now I feel like breaking things. I just have to focus on the next goal more or less within target. Keep on finding the next solution and look for people who can help you along the way.

Thursday, 16 April 2009

Movements / mirroring / social glue


I've been developing my ideas about how our bodies relate to music, how it is passed on. Central to this is the fact that when we see a movement performed, the part of our brain that controls movement copies it - as far as our brain is concerned we might as well be doing the movement. This is one way that we absorb new physical movements, also how we read emotions. We see someone else's expression, copy it, and then that posture tells us how they feel.

Also, our brains synchronise with any rhythm that they hear. I wonder if this is a separate device or an extension of our ability to mirror movement. As I've mentioned before this doing things in unison within a group promotes a sense of loyalty to that group. Music is social glue.

Tuesday, 3 March 2009

Drawing on the right hand side of the brain

In art we are told

"draw things, not nouns"

We have to look at the shape and see it as it is, not analyse it using words. It is this turning off of words that is key. Words are on the left side of your brain, and you need your right side for art.

I can't claim this link - my mum just came out with it - playing trad music, paying complete attention to the shaping of the phrase in a very sensory way is playing music with the right hand side of the brain. It produces completely different results in music making. We were talking about learning by ear and she just came out with this link.

I rather feel that playing from dots is like drawing nouns. It's not even painting by numbers.
So...

"play music, not dots"

Monday, 23 February 2009

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.