Laurie Riley - The Best of "Everything You Wanted to Know..."

The excerpts below are printed with the permission of Laurie Riley. Over a number of years, Laurie provided a column to "The Folk Harp Journal" (FHJ) in which she answered the questions sent in by readers. We compiled the information below as our version of a set of the "Best of Everything You Wanted to Know...".

Q. My harp teacher says that the pedal harp technique I'm learning will give me an edge over other folk harp players. Is this true? (name withheld by request)

A. There are many types of folk harps and several folk harp techniques and styles. Your pedal harp technique can work for a few of the folk harp types and some of the musical styles played on them. It is not appropriate to assume that because one can play pedal harp that it will apply to all folk harp styles; after all, not every well-trained folk harper would presume to be automatically able to play a pedal harp properly. The techniques are not necessarily interchangeable. Let us avoid the idea that a folk harp is merely a small version of a pedal harp. It is a different instrument.

One type of folk harp that responds well for pedal harp players is heavily strung, preferably with gut. These are usually built heavily as well. Some of the pedal harp companies make them especially for their customers and their students. You may also achieve good results with a tightly strung nylon-string folk harp, which may or may not be heavily built (some weigh very little). Folk harps that are made to sound well without the necessity of pedal harp technique are often strung less tightly and built less heavily. Pulling too hard on them will cause overplaying.

I have often heard remarks that loosely strung folk harps are inferior. This is not true, as they are made for a specific purpose and technique, which produces a very full, rich tone, if the instrument is well made. Of course there are poorly made harps in all the categories I have described, and one must be careful when buying. But folk harps in general are not just toy versions of pedal harps. They have been around thousands of years and were widely used long before pedal harps were invented. Pedal harps are meant to serve a specific function: to play certain styles of music, especially chromatic music, within an orchestral setting, to have an extensive range and a round tone with no audible attack (except when intended). Folk harps can mimic the tone of a pedal harp in some cases, but there are equally valid effects which many folk harps are built to produce. A loud, bright tone is common, a sharp attack is often intentional depending on the style of music played, and varying hand positions and use of fingernails can come into play. I have not even mentioned wire-strung and Gothic harps; obviously the style for these are different still.

I would like to stress that if one does not use pedal harp technique, that does not imply inadequacy. Most folk harpers have worked very hard on techniques which require dedication and skill. The techniques MUST differ. For instance, and Irish jig or reel can sound staccato when a pedal harp technique is used. There are specific changes that must be made to create the smooth sound and proper lilt of Irish dance music. This is just one example.

Likewise, one cannot expect that because one can play well in one musical genre that one can play well in any style. There are subtleties, especially in Celtic, blues, jazz, and Latin American music that can only be learned through experience and careful listening and cannot be inferred from notation or played in some other style. For instance, Celtic played in a classical style sounds trite and cute, rather than hauntingly heart-rending or joyfully uplifting, as it should. Itšs the same as a classical singer attempting to sing folk songs (the result is often comical) or a folk singer trying to perform an aria (disastrous!) unless the singer has training in BOTH styles.

Learning several techniques which can be applied to different harps and different styles of music is your best policy and can make you a well-rounded musician. It will not adversely affect your favored technique to learn others as well; It will give you more versatility.

The above is from the Folk Harp Journal, Winter 1994 issue.

Q. Do you cover your harp whenever it is not in use? (Liz Harvey, Scintilla, British Columbia)

A. I don't. If I kept it covered I wouldn't be inclined to give in to the temptation to sit at my harp for a few minutes at a time when the mood strikes, and these few minutes can be important to onešs skill development, not to mention enjoyment of the harp. I'm not worried about dust, because harps can be dusted, or about temperature, because I keep it away from heat sources and direct sunlight anyway. And dust covers do not protect against falling over or being bumped; they are too thin. So I have never used one. I can see why a pedal harpist might want to protect all those mechanisms from dust, but a lever harp is not so prone to this problem. Regarding real protection, if I kept my harp zipped up in a padded case, I'd be quite uninclined to go to the trouble to take it out at all. These are my options; everyone should do what makes them feel best.

The above is from the Folk Harp Journal, Summer 1996 issue.

Q. When I work with a student, I find it more effective to praise than criticize; to tell them what they are doing right, instead of what they are doing wrong. Of course this doesn't mean that I ignore errors. I like to bring everything up to the same level of achievement. Unfortunately some students don't feel satisfied unless they are constantly criticized. I don't know if this is family upbringing, experiences with other teachers, or personality. It is probably a combination. If they have been brought up to doubt that anything they do is ever good enough, they expect to hear that continually. Have you experienced this and how do you deal with it? What do you do when a student expects you to be a gorilla? And what do you do when you HAVE to be a gorilla?

A. This question points up the necessity of seeing the individuality in every student and working them accordingly. There is no one method of teaching that will work for all. There are endless combinations of procured traits that determine the entire lesson experience. Very little music can be learned until you have assessed each student's needs according to those traits. Playing music is such a personal thing; it touches all our deepest spots. the psychological aspects of teaching are the most challenging ones, and make teaching exciting and worthwhile. Sharing musical knowledge is merely half the the job!

I try to make a point of telling a student first what they are doing well, and describing specifically how they are doing it that makes it good. After that, I tell them what needs improvement. It is a good policy to never use the word "but," as in: "You did that very well, but you should play with more feeling." Instead use the word "and," as in : "You did that very well, AND you could play with more feeling." See how different that sounds? The word "but" negates all the good things, while the word "and" indicates that the good parts outweigh the bad.

If a student responds only to criticism, there is no harm in discussing it with them. You could say, "I would like sometimes to tell you when you are doing well, and you respond better to criticism than to praise. Is it OK for me to praise you when you deserve it?" Make an agreement with them regarding what signals work best for both of you. Whenever there is a question of sincerity, a short discussion of this sort will usually break the ice.

The above is from the Folk Harp Journal, Summer 1992 issue.

Q. Is there any way I can protect myself against litigation if any of my students develop hand injuries? (name withheld by request)

A. It is unfortunate that such a thing needs to be considered, especially when we teachers are all just trying to do our best. This is a litigious country. One form of protection is to have each student sign an agreement stating they will not hold you responsible for any health problems they experience related to harping. Although such an agreement may not necessarily fully protect you, it could help.

If you are a good teacher, you will have made it clear to all your students that they are responsible for using a hand position (as well as posture, technique, etc.) that suits them. It is wise to advise your students that the technique you teach is one of many available.

Each student really does have valid individual considerations regarding the way they use their hands, their posture, and the position of their harp while playing. As teachers, we are all fond of our favorite positions and techniques, the onešs wešve worked so hard to learn and perfect. But what works for one student may not work for another.

As I work with harpers and harpists in injury correction seminars, I see endless variations and the ways in which information is processed, understood , and utilized. We must protect our students and ourselves by recognizing this fact, and by informing them that they must work to develop good technique and they are responsible for exploring all their options.

The above is from the Folk Harp Journal, Fall 1994 issue.

Q. Now that I've gained a bit of reputation and seem to be becoming more successful in making harp music into a career, I am finding that there is a lot of jealousy around. I had always thought folk harpers were open-minded and supportive. Now that is all changing for me. Is it my fault? (name withheld by request)

A. The vast majority of harpers and harpists are wonderful people. Only a very few have less the mature attitudes, but those few can make you feel like the whole world is conspiring against you.

Usually the most generous and helpful allies you will have are those who are already truly successful; they know they have nothing to lose by supporting your success, most will be happy for you. Only a few insecure people may feel there isn't enough room in the world for all of us. Too bad not everyone understands that the only one responsible for any lack of success is oneself.

In any career there can be jealousy when your success is witnessed by others. It seems so unfair that when you have worked so hard to accomplish something, and you really deserve to reap your rewards, you arrive at your goal only to find someone waiting to push you off the ladder. Believe me, it happens to all of us, and the more successful, the more it happens.

I can advise three things: first, be the best and the most sincere person you can be to everyone, even those who are not nice to you; secondly, refrain from being jealous yourself; and thirdly, remember that the process of overcoming these negative experiences will make you stronger and more compassionate.

We can enjoy each others' success, if we keep an open mind and a generous attitude.

The above is from the Folk Harp Journal, Fall 1994 issue.

Q. I have been playing the folk harp for three years now, and I have been teaching myself to play. Are there any people you know of that play the harp on their left shoulder? I really don't want to switch sides. I feel that I will be limited because all harps are built for right shoulder. This problem discourages me.

A. There's no reason in the world why you shouldn't use your left shoulder. No matter how a harp is built, you may use either shoulder. In ancient times, the left shoulder was apparently considered correct, and many historical harp teachers require it. Just be sure that, whichever shoulder your harp leans on, there is no weight resting on the shoulder. It should balance so that the shoulder is not stressed by weight. Also if you have it on the left, I assume you are using the left hand for treble (melody) and the right for accompaniment; otherwise you will have an uncomfortable reach.

The above is from the Folk Harp Journal, Winter 1992/ Spring 1993 issue.

Q. I wonder-how do you professionals cope with emotional issues when you are scheduled to play? (name withheld by request)

A. There are many emotional issues we all deal with, running the gamut from a simple overwhelming response to the music we are playing, to a death in the family, and everything in between. How does on detach oneself enough to keep calm on stage and still retain enough emotion to put into the music? Actually a clue to the answer is in that question.

I have found the best way to handle emotions while performing is to channel them all right into the music. Not only is this a healthy way to deal with them, but it makes the music very powerful as well. Every performer knows that any piece of music has a different character each time it is played, depending on one's state of mind and other extenuating circumstances, bad or good, and that this can be used to your advantage. Emotion is not something to be otten rid of or hidden, but to be used in a beneficial way. Allowing yourself to feel ALL of your pain or ALL of your happiness by sending it through creative pathways will allow you to explore it fully and naturally.

Creativity is emotion personified. Not only can we use emotion to enhance our ability to play music in a more creative way, but also to compose it. Sometimes the best thing to do when one is completely overwhelmed is to sit down at your harp and compose something. (There used to be a joke among songwriters about this, which resulted in a song called "Please Make Me Sad So I Can Write a Good Song".) Sometimes a composition is so powerful it cannot be played without recreating the emotional response which prompted its creation, and one has to play it many, many times at home before gaining the control required to play it in public.

This brings up another point. We often lose sight of the original reason or having learned to play the harp; we get caught up in technique of concentration, and end up like machines. It is good to ask yourself once in a while, "Why did I start to play the harp, anyway"? Most of us did because we felt an emotional response to it. Keep that feeling alive - do not let the light go out!

This does not mean you have to put all your emotion into every piece every time you practice it. You do have to concentrate on technique and accuracy when practicing. But when you are playing for fun, which hopefully you do often, and when you are performing, that is the time to let emotions run wild. If music were just notes, it would have very little value, since its function is not to be elevator muzak, but to communicate emotion.

It is actually more difficult to perform when one is feeling emotionally dry than it is when one is, shall we say,emotionally fluid. Playing music is a way to fully experience and explore all the inherent beauty in one of your greatest gifts, the ability to experience our world through our own personal feelings.

The above is from the Folk Harp Journal, Spring 1994 issue.

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