Nadia Birkenstock Von: Southeastern Harp Weekend [carolyn@southeasternharps.ccsend.com] im Auftrag von Southeastern Harp Weekend [smilingharp@gmail.com] Gesendet: Samstag, 8. Februar 2014 04:16 An: info@nadiabirkenstock.com Betreff: Fabulous Harp Tips: Nadia Birkenstock Nadia Birkenstock Harp Tips from Germany Hello all, Nadia Birkenstock is a is a breath of fresh air from Germany, with a 1
luminous way at the harp and a compassionate, clear teaching style. She was a favorite presenter for many of you in 2012, so we're ultra-thrilled to have her fly back from Europe this fall for those you haven't had a chance to study with with her! Nadia Birkenstock - Celtic Harp & Song - Return During her vocal studies, Nadia created her first solo performance for Celtic harp and voice. This exploded into touring internationally, playing concerts and festivals, embassies, radio, and TV, as well as teaching workshops and collaborating with a list of talented musicians too long to recite here. Nadia will also be teaching an intimate all-day course Tuesday after the weekend of workshops at the Southeastern Harp Weekend. A gift is at the end of this interview. Nadia, you are one of my role models of creating the "magic" between notes, never rushing, yet keeping a clean pulse. How do we develop this? First take your time to find the right tempo for the piece. I 2
sometimes work with a metronome, but more importantly, record my playing during practicing sessions to listen for the tempo and drive that feels just right. Definitely start recording or videoing your practice sessions! If you have a cell phone or tablet it's so easy. (They even make little tripods for iphones now.) You will be amazed at the progress you'll make and how much better your playing will develop. What is one thing you look for in that recording? You want it to really swing if it's a faster piece, or glow if it's a slow air or a ballad. To get the flow, I accentuate the important notes, normally the notes on the beat. If it's a video, you can see if you make faces, and see your hands. Nadia on the way to a gig in the Black Forest, Germany 2008 What do you do to get that glow? I like to experiment with clear sound. My goal is always to get 3
the clearest, most luminous sound possible out of the instrument. To do this, experiment with the finger position on the string: How high it is on the string, and what angle? Experiment with how fast you pull the finger when you pluck, and how much flesh you use on a string. So many things can change the sound, and this is great! Think of it as "playing with nuances and colors" instead of "getting it right." You also have a great sensitivity at the harp. I know there are lots of things, but what is one pointer for training ourselves to play with fluidly and dynamics? Make sure that each finger is able to perform individually; a precise movement, without being inhibited by tension in the wrist, the thumb, the forearm. I am working on this all the time. It's like going to the gym, you just have to do it over and over again to stay in shape. Would you you give us one exercise to develop this? Yes, sure! I attached one exercise for you in a PDF, below. It will enhance your fluidity on a passage by training all the fingers involved individually, one at a time. What is a common mistake people make as far as musicality? I think every step towards musicality is a good one; there can be no mistakes. The only mistake you can make is trying to rush things. Often people learn a piece, and as soon as they master it somewhat technically, they move on to the next one, instead of letting it evolve in terms of musicality over a longer period of time. 4
What helps it evolve? A piece you have had in your repertoire for some time can suddenly surprise you with a new musical twist and new depth of expression. Especially if new stuff has happened in your life in the meantime (you worked on a new harp technique, or have taken up a martial arts or Yoga class, or you've become a parent/grandparent, or have moved to another place). Outer things will find expression in the way you play the harp and can deepen your musicality. But if you only play a piece once and then move on to new stuff, you'll never find out! When you learn a new piece, what is one of your secrets to making it a "friend" in your hands and heart? During my practicing I am constantly asking myself questions: "Does this already feel good in my body? Is this already joyful to play? If not, what parts and aspects need to be worked on?" In approaching my practicing that way, I am creating - over time - a strong bond of physical and emotional ease with a piece or an exercise. That is what I call "making it a friend," music that you just love to play, because you worked towards ease and joy all the time. What advice would you share for intermediate harpers? Build a good repertoire and maintain it. And even if you already have a good foundation in technique, always keep an open mind about new technique ideas and approaches. 5
And for advanced? Take your harp out there as much as you can. Play in lots of different surroundings, with different acoustics. Experiment with amplifying your harp. Play with other musicians and share your music and musical ideas with other people. Part 2 will be in two weeks; thank you Nadia! Click here for free PDF of Nadia's fluidity exercise Southeastern Harp Weekend 2014 October 24-25-26 Asheville NC 6
evening jam session 2013 The website will be updated with 2014 info by the end of February. Registration will be a little after that. Don't worry, we will announce it. southeasternharps.com Forward this email This email was sent to info@nadiabirkenstock.com by smilingharp@gmail.com Update Profile/Email Address Instant removal with SafeUnsubscribe Privacy Policy. Southeastern Harp Weekend c/o Verge Events, Nicole Riley 390 merrimon avenue asheville NC 28801 7