Top 10 Things to Bring to an Outdoor Wedding Gig

This article also appears in Pyragraph

a harp at the wedding, Lord Hill Farms (Snohomish, WA)
a harp at the wedding, Lord Hill Farms (Snohomish, WA)

Summer’s almost gone. And I was busy! It comes as no surprise that harpists find a fair amount of private gigs during the summer months, particularly weddings. Even though it’ll be quite a few months before most of us have to play outdoors again, I thought I’d share some of my experiences before they get forgotten.

After a decade or so of doing this sort of work, here are the top 10 things to bring to an outdoor wedding gig. You’ll want to make sure you have the obvious – your harp! (or other instrument). I have 5 core things I always need at any gig: harp, bench, stand, amp and cords.

Outdoors, you’ll also need these 10 things:

1. Water and Heathy Snacks. Its summer. You will get thirsty. If its a long drive, you will be parched before you even arrive. Don’t buy a Coke while you wait for the ferry. Bring snacks like an apple and trail mix, which travel well and give you natural sugar and protein. Stay away from too much caffeine (like coffee, which will make your palms sweat anyway) because it will make you crash, something you don’t want while you’re in the middle of playing.

2. Smile and Help Out. Be friendly. Its someone else’s special day. You’ve been hired not just to play music, but spread positive vibes all around. It hardly needs mentioning that if you’re a sourpuss other vendors won’t like to work with you either – and word spreads. If someone needs help and you’ve finished your work for the time being, think creatively for solutions. I once played a wedding gig where the officient’s clip on mic didn’t have any amplification! The venue or the event planner or the DJ with the rest of the equipment all thought the other person had an amplifier. They didn’t. But I did! My little battery powered amp that I can’t stop raving about has two lines in so we plugged in the minister, and voila! No one else but us performers knew there was a potential disaster in the wings.

3. Irish songs. You’re a harpist. Everyone associates Celtic music with the harp – its the national symbol of Ireland for heaven’s sake! Even if its not your forte, even if you prefer anything but Irish songs, people will want to hear you play Celtic songs. It never fails that every year I have an entire wedding of Irish songs. Have a solid set of jigs, ballads, reels, hornpipes and airs.

4. Extra tuning key and tuner. I leave an extra tuning key in my car. “Its more important to sound good than start on time,” my friend Evan told me once when I had to run home after sound check and get a tuning key. He’s right. But rather than be in that position again, I just keep an extra tuning key in my car (as well as two packed in two different gig bags).

5. Get cover. This is tricky. Playing outdoors can be very dicey, especially in the Pacific Northwest, where precipitation is expected daily in some form 10 months of the year. Ask questions ahead of time. Do they have a plan B? Plan C? Through experience I’ve come up with a personal policy that works for me: I don’t play outside between October 1st – April 30th (unless there is heated covering, which in that case, the event might as well be indoors). Figure out a comfort zone that works for you. This might mean educating your clients of the dangers of extreme heat on the harp, or the dangers of cold temperatures for you as a musician (cold muscles = injury). It might mean asking the venue if there is a tent. Over the years, I’ve learned to stay away from unsympathetic clients who book in venues like city/county parks that have no on-site resources, no shade, exposure to elements, etc.

6. Extra music! Memorize it or bring more music than you think you need. I have binders for three genres: classical; Celtic; jazz standards. Brides and grooms get stuck in traffic. Limos break down. Someone forgets the rings. These have all happened to me, and rather than keeping up that 10 minute vamp to Jesu, Joy of Man’s Desiring, I modulate to something memorized or in my books. Its a skill worth learning.

7. Extra strings! Know of any handy near-by music stores that carry your preferred string brand – or any harp strings at all? Neither do I! It is rare that even the best stocked music stores will carry decent harp strings. And even if there is a store nearby, it may not be open. Enough said.

8. Rug or Board. I use a heavy rug or a board with a rug over it to place under my harp. Uneven, damp ground is unpredictable and can be rough on the harp, not to mention unbalanced, thus making playing with pedal changes real tricky. I have a square thin piece of plywood to do the trick under a carpet remanent. Both are very cheap. In a jam, a car floor mat can suffice in a forgetful emergency.

9. Clothes pins or Music Clips. You must have something to pin back your music. Even with sheet protectors, the wind will blow your music. Clothes pins are cheap, sturdy and let you turn pages.

10. A Contract. Have a contract or some other written agreement. Live and learn. Go without one and one day you will get burned – either lack of pay, less than negotiated (“oh, I only have $150 cash on me, is that ok?”), bounced check, double-booked with another musician, you name it. Even well minding clients will forget money or a checkbook, but you’ll still have your phone bill due on Tuesday. I believe in the law of attraction (the energy you send out is the energy you receive), but I’m also not naïve. A contract shows your clients you mean professional business and it protects you from lack of payment. Plus, you can negotiate your other conditions like parking, sheet music fees, gas mileage, meals, breaks, outdoor conditions, etc. General contract templates abound online if you don’t know where to start looking.

Now you have plenty to prepare and get organized with until next year. But for now…

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Firecrackers

The other day my house shook and vibrated for a few seconds. “That was an explosion!” my husband said. We later found out someone had dropped off a not-quite-empty propane tank to the garbage transfer station we live near. I don’t think anyone was hurt. Days earlier, a boat in the nearby marina caught on fire (from 4th of July celebrations) and melted black smoke into the night. In my garden, I planted some crocosmia because I love their red hot shoots during mid-summer.

crocosmia_lucifer1
red firecrackers

Sometimes all of this July fire energy gets me crazy! But this year I seem to have a good balance down of work and pleasure and mixing the equations of the two together. I’m thrilled that this year we seem to be having one of the best Pacific Northwest summers in recent years. (i.e. We didn’t have to wait until July for some over 70 temps.) Its been warm (not overcast). Hot (but not too hot). And I’m busy (but not totally strung out).

Last week I had a wedding for friends in Leavenworth and it WAS hot though! We experienced gorgeous mountains for camping and a night sky that took my breath away. A few days later I was back at another wedding, this time at a golf course playing Pachelbel’s Canon for the new Mr. and Mrs. Rossman.

This week, I play at Substrata Music Festival, an ambient set for string quartet composed by Christina Vanztou. I’m looking very forward to this! I get to play with some of my favorite musicians, all fabulous women on the music scene. That’s Saturday night. Then Sunday morning will be a low-key breakfast/brunch couple sets of duets with cellist Jackie Robbins. We’ll be at the Ship Canal Grill from noon – 2pm.

This here’s a picture of another little firecracker, my daughter.

Zephyr at the harp, 2 years old
2 years old adorable firecracker

A New Home Page

Well, it seems like I’m on monthly update track. Let’s see if the new home page on my website inspires me to do some posts a little more frequently.

To summarize: this month has made me happy. June gave me four new harp students (all of them eagerly awesome). A seven year old student said, “you have a happy house!”

Of course, I knew that it also had something to do with the 10 feet of sidewalk chalk art leading up the walk that my daughter drew.

welcome!

On Mother’s Day I played duets with my good friend, pianist Josh Rawlings at  Overlake Country Club. Josh is so talented and the gig was so much fun. He’s schooling me on how to read jazz charts. Now he’s touring this summer with the funky, soulful Allen Stone – awesome!

Harp + Piano

At the end of May, I played new music a la Debussy and Stravinsky, written by Hanna Benn and Evan Flory-Barnes at Century Ballroom for the 100th year anniversary of the Rite of Spring. It was another fabulous show with some of my favorite musicians in town to play with. And to think… life is this good and its only the beginning of summer!

Danse Infernale

“Babe I’m Gonna Leave You”

I’m doing some Spring organizing – it feels pretty good! Last winter I performed Led Zeppelin songs with the Seattle Rock Orchestra. Growing up, I listened to a lot of classic rock, so this was such a treat to dig in to pieces I’ve loved for so long with some amazing Seattle talent. Victoria Wimer Contreras rips it up!

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A Guidepost at Winter’s End

I am driving listing to a poem on KUOW written by Carolyn Wright. She is a Seattle poet I have taken classes with. I perk up because she is about to read a ghazal (pronounced guzzle), a poetic form I happen to be fond of. I am all ears when the poem subject matter is given, the Newton CT shootings. The poem is called “Ghazal for Emilie Parker”. When Emilie’s father, Robbie Parker, spoke about teaching his 6-year-old daughter Portuguese, she was prompted to write the poem.

I am covered in shivers by the time she finishes reading, a litany of the fallen children’s names concludes the poem and am weeping as I reach my destination. As a new mother, I am extremely concerned about the prevolence of violence in America today. I feel old when I say, “it wasn’t like this when I grew up!”

But it’s true.

Our politicians give me little comfort, even though nearly everyone and every measure I voted for last Fall passed.The Sequester has sent a very poor message to America’s people from Washington D.C. and I feel terrified that like The Sequester, America’s politicians may stalemate how we discuss and move forward with America’s serious problem with gun violence. Its up to all of us to chime in, no matter what our opinions are, and tell our legislators what we’d like to see change. Clearly, something must change, and I hope for it to be a succession of wise, compassionate and brave moves.

Contact your U.S. Senators here.

Now, I don’t want to get all preachy on you! But do indulge me. I’m going somewhere I promise.

Candace Pert, a reknowned phychopharmacologist, wrote a book called “Molecules of Emotion”. I happen to be half-way through this book, which is required reading for my therapeutic bedside music program. What I thought would be droll, is a surprisingly exciting autobiography of her work at the top of the scientific world in America. Since the mid 1970’s she has been at the forefront of psychopharmacological study (ie. how the brain responds to phychoactive drugs, naturally occurring in our body and otherwise). She has pressed against an all male establishment since the beginning of her brilliant career, and worked on discoveries that effect cancer and AIDS research, as well as researching what parts of the brain are used when our bodies release natural “feel good” endorphins. In the words of spiritualist and M.D. Deepak Chopra,“Pert was one of the first Western scientists who was able to explain the unity of matter and spirit”, aka the mind, body, soul connection.

She In 1975, she was intentionally left out receiving a of a major award because she was a woman. Instead of burying her head in the sand, as she puts it, she confronted many key players, only to be ostricized by her colleagues. Details in her writing of this actually raised my blood pressure! I share this last bit with you because March is Women’s History Month.

I arrive at home, and decide to Google Candace Pert. I can’t believe what I see. Only yesterday she wrote a very compelling take on the Newtown shootings! What timing! You can read it here.

This article provokes an eloquent suggestion that anti-depressant medication of a certain kind, Selective Serotonin Re-uptake Inhibitor (SSRI’s) should be looked at as an emotional trigger to mass shooter’s psychologies. She asserts there is just as much concern to bring the use of SSRI’s to this discussion as the NRA and gun lobby issue, video games, media/entertainment’s glorification of violence, the flaws of our mental health system, etc. If this interests you at all, I really do encourage the reading of her article (she as far more scientifically eloquent than I!).

Dr. Pert informed me in an email that the following statement is untrue. However… even correct labeling does little good. That said, she points out that the FDA does not insist that drug companies label SSRIs, which according her cause, can have the side-effect of violence! After reading her article, and knowing the back (her)story of what sort of ethically honorable woman she is, I believe that the FDA and Congress need to put some pressure on drug companies; that anti-depressant medications be initially administered by psychologisists exclusively; and that we check in with ourselves quite seriously about the ways in which we allow big corporate advertising to manipulate our rationale. (How many drug commercials do you see on any given TV break suggesting that you can simply ask your doctor for whatever it is that you want and obtain it?)

(Uhmerica by Regina Spektor is an anthem to my country’s gun fascination. My two-year old daughter is Regina Spektor’s biggest fan and she happens to love this song.)

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“Science is a process, not so much dramatic results,” Pert says. Any artist will tell you the same is true for their artform. Practicing one’s scales is far from glamorous, but an essential part of the process in order to achieve skill. As a harpist, just tuning alone can get annoying and frustrating, but without it, well… forget about it! Practice IS the practice.

Before reading Pert’s book, I had never thought before that the unknowns of running scientific experiments can be compared to making art. The “creator” has the general idea of what they are going for, but not always know how to get there. One may end up discovering something entirely different than planned. There is beauty and meaning is this type of work.

In the creative process, opening up to unknowns can be raw and unnerving, but they often expose a deeper layer to the task at hand. There are signs along they way that tell you you are going in the right direction. When themes happen in life, they’re like personal mini-movies; subject matters that one should be paying attention to.

This happened to me today when several of my interests and “current themes” intersected in an unsuspecting way – Poetry, Violence in America, Healing Arts, Science. I believe that these signs are guideposts that are pointing me toward the right direction at this time.

Starting this month, I’ll begin interning as a harpist-in-residence at NorthWest Kidney Center, playing calming music for patients and staff. My plan is go forward and work at this and other healthcare facilities and do the same. Which ones? I don’t know, but I’m sure there will be a guidepost for me.