On Singing (to Children) at Home

My grandmother (my father’s mother) loved to sing while she cooked. Folk songs, church songs, musical theater numbers, whatever popular songs were on the radio at the time – that’s what she sang throughout the day as she did her daily housework. Because it was the 1980’s, I’d hear Linda Ronstadt and Barbara Streisand, Dolly & Kenny mixed in with church hymns. My favorite time of year was Christmas. My aunt played at the piano (and later me), while Gramma, my other aunts, my dad, uncle, and cousins sang in four-part harmony. It felt casual in her house, yet magical to think that our own voices together could make such wonderous music together.

Simple pleasures: campfire songs. There was Jim Croce, Bob Dylan, my dad and his cousins bellowing out “Mr. Bojangles” after a couple of beers. Gramma liked the folk tunes: Red River Valley, Shenendoah, Edelweiss.  She’d sing silly songs too, songs I’d only heard in Betty Boop cartoons, old-fashioned, from a time two generations before me. She’d sing “shoe fly pie and apple pan dowdie makes your eyes light up and your tummy say howdee.” These lyrics were famously amusing to my siblings and me. This one she’d sing while mixing up dough and peeling apple skins. Later, while we at it, ice cream dripping down our chins.

After my grandmother died, I asked my dad what songs she had sung to him as a little boy. He remembered “Nature Boy,” the old Nat King Cole song.

Today, I listened to a podcast from Jeralyn Glass about the healing effects of humming. Even without knowing words or melody to a song, the sound of a simple hum tells the body to create more oxygen and less cortisol (the stress hormone). After a headache, I hum various pitches to make the place in my forehead that hurts, vibrate some. This is, I know from my studies as a Certified Clinical Musician, a type of entrainment. One of the most fascinating stories of entrainment is that of Dutch scientist Christiian Huygens in 1665. His is a famous of example of how two clock pendulums swinging in different began to match in rhythm. In the case of this century’s old science experiment, two inanimate objects have proven that they can synch up in rhythmic time. In my case, I apply my humming voice like salve to sooth the physical pain.

I hum after the most painful part of my headache has subsided. I move my hum up and down in  pitch and volume until it finds a match on the left side of my head. In that place, the hum replaces the witless state of my mind with a gentle touch.

Lately, I have gotten into the habit of playing the radio a lot in the kitchen while I cook and my son plays other side of the room. We keep one another company with the radio songs of my choice (new harp tracks, jazz, classical, the local independent station that plays roots, rock & soul) or his requests – soundtracks to Studio Ghibli or Star Wars movies. I haven’t been singing as much.

After my headache and humming episode, I feel inspired to sing. When my son gets home from school I hum “Nature Boy.” Then, I lazily find the words. Maybe I can remember them? Knowing the words doesn’t really seem to matter while humming. Nature Boy is a short song with a melancholy feel.

My son asks, “What song is that?”  

I tell him it’s a song whose notes sound sad, but the words are about a magical boy. The lyrics have a beautiful message about life. The word for that is bittersweet. Bitter for the way the song sounds, but sweet because of the message in the words: “the greatest thing you’ll ever learn is just to love, and be loved in return.”

How to Understand and Apply the Circle of 5ths

The Circle of 5ths is an often misunderstood concept in music theory. So, I created a class on how to better understand and apply the circle of 5ths to playing music. This online class is available to you anytime on Udemy!

In the class, Circle of 5ths 2.0, you will learn what the Circle of 5ths is and how to apply it to playing the harp. By the end of the course, you will be able to see how it applies to chord progressions and melodic structure. You will review basic hand shapes and technique at the harp as well as: look at a PDF of the Circle of 5th; play exercises for better understanding the order of the Circle of 5ths; practice chordal arpeggios; learn the song “Corinthian Bells” with the melody of the Circle of 5ths; and finally understand how “Fly Me to the Moon” uses the Circle of 5ths.

An arrangement of “Fly Me to the Moon” is available to you with purchase of this online class. The song is divided into an easy and advanced section – perfect for your skill level!

This course is for you if you are new to the harp, are returning to the harp, are interested in learning theory, want to learn a jazz standards, or want to learn specifically about the Circle of 5ths.

Monica Schley, Seattle Dusty Strings harp teacher therapy music Circle of 5ths

How to Play Songs of Hildegard von Bingen

Recently I taught a an online workshop with Atrium Health Foundation called “Improvising with Hildegard von Bingen.” The music is in conjunction with my forthcoming book by Mel Bay Publications, “Songs of Hildegard von Bingen for Harp.” Atrium Health host Kathleen Blackwell-Plank has been curating a valuable workshop series for therapeutic musicians for the past few years. I was asked to teach the class rather last minute as a substitute and was so glad to have participated. After a show of hands, I realized that even in the musical community only half of people know who Hildegard von Bingen is.

So… Who was Hildegard von Bingen?

Hildegard von Bingen (1098-1179) was born in Germany during the Middle Ages, at a time when education and literacy were controlled by the Catholic Church. The tenth child in her family, Hildegard was “given” as a tithing to the church, not an uncommon practice of the time.  When she was 14, she was sent to live a life of religious devotion in Disibodenberg. At the convent, she prayed, wrote, and only had access to the outside world through the view of a single window.

When her main caretaker, Jutta, died in 1136, Hildegard was appointed prioress of the abbey. It was during that time that she began writing music. Despite her claim of lacking formal training in either the Latin language or music, Hildegard produced songs that were equal to those written by the most admired men of the Middle Ages. A woman of letters, she often communicated directly with clergy of the church, including Pope Eugene III, who encouraged her to continue writing music and poetry. She went on to write several books about religion, art, politics, philosophy, science, medicine, and herbs.

Hildegard had visions that she called “reflections of the living light,” and she painted what she saw. She suffered from headaches and some scholars of her writing suspect that she may have She had many visitors at the abbey who claimed that she was able to heal them though touch and with her knowledge of herbal medicine. In time, she had so many visitors, that a larger venue was needed. The church relocated her to an abbey of her own, in Bingen, where she was able to attend to more people. She died there at the age of 81.

What did her music sound like?

Monophonic (single line melody), choral, sung in Latin, modal (most often in Dorian, Phrygian, and Mixolydian modes), natural minor keys, Gregorian Chant

How does this music translate to the harp?

Beautifully! Hildegard’s music is often in modes and have minimal lever changes.      

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How To Let Go of Your Judgmental Inner Music Critic

We are not learning music to be perfect. We are learning music to enjoy the process of playing. We are learning music to develop a skill. Let go of judgement! If you are hearing an inner musical critic and it feels like negative judgement, drop it. Let it go. You don’t want to be holding unto so much baggage.

If that seems too easily said, imagine that your fingers are actually holding onto little bags of judgment (from past/current teachers, conductors, peers, recording engineers, yourself, reviewers, parents, friends, neighbors, etc.). Imagine that these little critiques, each in a bag on your fingers, are weighing you down. They are slowing down your playing. That negativity is taking up physical space and you need to free it up!

Question: What if you got rid of that inner music critic? Answer: Your hands would feel the freedom to put your fingers on the actual notes you need to play.

Drop the mental comment section. Close down the critiques that don’t make you a better player. You can throw them away in the trash bin over there. Now, locate the comments that do help – the ones that say “don’t give up,” or “there now – that wasn’t so hard!”

cherry blossoms, Alice Walker quote, miners gold

You can keep the helpful comments, but put them in a safe place at a distance, like picture in a frame. Remember, you want to feel lighter. You want to free up your fingers to do the playing that you were called to do in the first place.

You have work to do. Your work is playful and exploratory.

You are practicing the process of showing up and being ready to play music. Playing music is not about perfection, so much as the journey you take to a place where the playing feels good! This is the work you love to do. By freeing your fingers, you are already doing what you need to do. Now, you are ready to practice!

Two Harp Workshops in October

I’m excited to offer two in person workshops coming up in October at Dusty Strings Music School in Seattle (Fremont). Both of these group classes are for the beginner to intermediate harpist.

Sat, Oct 7 – Introduction to Harp Therapy
More and more, harpists are lending their hearts and talents to playing healing music, as well as seeking certification to play at the bedside from accredited programs recognized by the National Standards Board of Therapeutic Musicians. In this class, you’ll explore effective styles, modes, and songs to benefit your repertoire, as well as what kind of training you’ll need to play music in health-care facilities.

Skills Needed: For the advanced beginner to intermediate-level player. You should have base of songs you know and a desire to learn new styles for therapy harp. This workshop is designed for those new to therapeutic harp, as well as those in certification programs. It does not certify you to play music at the bedside, but you will learn tools from a Certified Clinical Musician and gain access to references and resources to enrich your harp therapy journey.

Sat, Oct 21 – Three Celtic Strains
Join this class for a fun, creative approach to learning more about harp! Irish music tradition recognizes Three Noble Strains, or styles, of playing harp—joy, sorry, and sleep. In this workshop, you’ll learn what these strains are, what they mean, and how to apply them to harp music. You’ll participate in a Celtic Circle of Song, which focuses on chord progressions and playing freely, and add new tunes to your repertoire.

Skills Needed: For the advanced beginner to intermediate-level player. You should have base of songs you know and a desire to broaden your musicality. You do not need to know how to read music, though knowledge of chord charts and some notation is handy.

How to Make Practicing Music a Healing Process

Previously posted (May 10, 2021), this article has been published in Harp Therapy Journal vol. 28, No. 2 Summer 2023

There are many ways to make your practice session more meaningful. I’m going to suggest five methods to make your practicing at music a healing process. A good way is to get started with an open mind. Begin with no worries of mistakes, for that will paralyze you from the get go. Besides, mistake are a part of life, we all make them, so you might as well just stay positive. Best to start with some advice from Benjamin Franklin, “Do not anticipate trouble or worry about what may never happen. Keep in the sunlight.”

Let Go

I love hearing and watching a student play through a song in its entirety for the first time during a private harp lesson. As I listen, I’m also watching for other details.That initial play-through, shows a musician’s excitement or nervousness, where the smooth parts and the rocky parts are in the song for them, and how they physically play, hopefully moving in a flow and not being stiff.

During a recent Zoom lesson with an adult student, I noticed that she was holding her breath. To a teacher, this is nothing new. As a young student myself I did this, along with crunching up my face, in concentration. Sometimes, when we focus on one area of the body, like our hands, when we make music, we might stiffen up other “unused” areas of the body, like our face or back. The illusion is that we actually are using all of our body to play.

After the student finished playing, she asked me how she could improve. She was at the point in practicing where she was getting the notes correct and playing with dynamics, but there was something missing. I asked, “Are you holding your breath?”

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Best of Harping in 2021

In no particular order, I’m sharing some 2021 highlights playing harp, teaching, and writing.

Centrum Artist Residency
I spent the month of March 2021, in Port Townsend, WA, on a truly regenerative and inspiring retreat. Through Centrum Foundation and Fort Worden, I was able to live in a cabin on the edge of the woods where the Straight of Juan de Fuca flows into Puget Sound, watch eagles and deer at my door every day, beachcomb, hike, and oh, yeah, squeeze in a little work! Focus of my work was on Harp Escape compositions and arrangements, as well as solo improvisations (like this one) and with my friend Josh Rawlings.

Harp Escape Make-Over
Since 2019, I have been working on Harp Escape, a therapeutic harp series of meditative audio and video. During this time, I’ve recorded nearly 200 audio tracks and done over 60 posts of writing, video and sheet music arrangements for Patrons! That is a lot for me to feel good about, as far as general productivity goes. Harp Escape is having a make-over this winter. In 2022, I’ll be moving forward with edits on individual tunes, then releasing singles on the various streaming platforms.

Making Music a Healing Process
This pandemic time continues to challenge all of us, so how can we include well-being in our daily work? I was asked to be guest speaker for Seattle Music Teacher’s Association in March of last year, talking about how to merge teaching with healing. It almost seems imperative to do so. As a Certified Clinical Musician, I thought about the mindset I put myself in, in order to play bedside music for people in physical pain or suffering from anxiety and grief. Much of that mindset can be applied to how I play music in general, so I like to share that with students. In this post, I wrote up 5 ways how to make playing music a healing process.

1st Live Concert in 20 months!
In December 2021, I played my first public concert since March 2020 lockdown.  Looking Glass Coffee, a sweet café in Snohomish, WA offered the perfect backdrop for an afternoon harp music: red velvet curtain stage, high vintage tin ceilings, and killer coffee. We were all so pleased, I’ll definitely be making another Sunday afternoon come back in the New Year. The pandemic continues to be a dicey time for performing live music, and I am thrilled to have a found a welcoming venue that matches harp music so well!

thru the Looking Glass

Poor Wayfaring Stranger
I wrote about the history of “Poor Wayfaring Stranger,” a traditional American folk song, and arranged a lead sheet available at Puget Sound Folk Harp Society.

10 Tips on How to Improvise on Harp
I’ve been a fan of creative self-help inspirational books for years. From Natalie Goldberg to Stephen Nachmanovich, I’ve been studying prompts, quotes from the masters, and artist psychology for a long time. This Top 10 list for harpists helps unleash the timid player – many harpists are classically trained or play traditional Celtic tunes. Improvising for anyone can feel like uncertain territory. These tips take you back to “beginner’s mind.”

Circle of 5ths 2.0 Virtual Harp Course on Udemy
I pre-recorded a workshop for the first time! This is a major accomplishment for me, and I put many hours into creating a class on demystifying a tricky musical topic: The Circle of Fifths. The class is available on Udemy and is at advanced beginner – advanced intermediate level.

with some students from Let’s Harp Together! workshop in October 2021 at Dusty Strings

Harp Seattle Workshop – Let’s Harp Together
Another first: I taught my first in person group workshop in over 2 years! The theme of Let’s Harp Together, got everyone playing songs together – something none of us had done since the pandemic. It was wonderful hearing all the harps vibrating together (it was a few hundred strings!). Thanks go to Harp Seattle and Dusty Strings.

Return of the Wedding Cermony

Return of the Wedding Ceremony
My guess is that I’ve played music for about 500 weddings and counting. Most of my summers are booked out for months. 2020 was different. By the end, I had played a mere three weddings, which I suppose was good all considering. While 2020 ceremonies were very intimate and minimal, 2021 was a return to my usual full calendar, larger gatherings (though masked of course). I played for more than one couple who had re-booked their ceremony more than three times! Once more, it was such a pleasure to return to playing harp for another season of wedding of couples, including some really amazing natural scenery at the Treehouse Point, Leavenworth and at Mount Rainier. I feel so lucky!

10 Tips on How to Improvise on Harp

You might be asking yourself, “How can I improvise? How do I start?” These are questions students ask me, and honestly, I have been working on finding answers to these same questions for decades!  

As a harpist, most of us learn how to read all of the little black dots on the page with accuracy. We often have practiced with such scrutiny that to play something off the page feels strange or wrong. I have met many classically-trained musicians who would agree.

Before I give you a couple of tips on how to improvise, let’s look back to our beginnings of playing music, to a time before we “knew” how to “play.” I am willing to bet that the first time you touched your instrument, you were as curious as a child. Have you ever watched a group of pre-schoolers play? They naturally grab objects and play pretend, never second-guessing themselves. With this “beginner’s mind,” let’s start improvisation.

Tip #1
Own it. Act like every sound you make is intentional, even if it surprises you.

#2
Use chord symbols in the music notation to give you clues on what notes might sound good, in addition to the notes written.

#3
Know the scale you are playing and don’t leave it.

#4
Know the scale you are playing and leave it. (I know! What I said above also applies, but if you want to stretch your boundaries, you should.) Brazilian writer Paulo Coehlo said “A boat is safe in the harbor. But this is not the purpose of a boat.” What I mean is: Explore. You can always come back to dock in your comfort zone original key. But you are not anchored down.

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Only the Shadows Know

Umbra means shadow. In particular, it is the darkest part of a shadow. It also means a shadow cast by something that is opaque, not a solid state. I think about how even things we don’t see as being solid can take shape, like our thoughts becoming real. You know that phrase by Emerson, “You become what you think about all day long?” – I think that is true. Those shadows are thoughts, and those thoughts become beliefs.

We are all made up of light and dark, just like the equinox, a fine balance of sun and moon within. I find shadows so evocative. Perhaps that is why I have written more than one song about them.

The song Umbra comes on the return of a trip to see my family home for the first time in two years. This song had a dark feeling to it, it starts off minor but then ascends into a Major place. When I ask my students if they can hear the difference between minor and Major, we often describe feeling of minor as Halloween, sad, spooky, or lonely. Being in the shadows of not knowing can feel similar.

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Motherhood v.s. Creative Time

Time is on my side, and yet it is my greatest challenge!

I am always on the lookout for how creative mothers make their way through the world – I don’t have any other day job; my work is based on writing and music and I have two young children.

There is a real need for artist mothers to share in their creative process in my opinion – for encouragement, creative tips, support, and just sharing how its done in a practical sense. The world doesn’t always make it easy for artist moms to continue on their journey once they’ve had a baby. The path suddenly gets very bumpy. The road bottoms out. You don’t know how to go on. I would read Dr. Seuss’s “Oh the Places You Go” to my daughter and think – Oh, this is real. This is exactly what I’m experiencing.

When I had my daughter 8 years ago, I was really searching for some creative support written by and for someone like me. I didn’t find anything of the sort. Now I know of at least three podcasts: Rachel Zucker’s Commonplace; The Longest Shortest Time by Hilary Frank; and musician Laura Veirs’ Midnight Lightning. I still haven’t found any written material that deeply addresses how new mothers adjust their creative process and how to support it, which is not to say that it doesn’t exist. I just know I’d still like to read a book like that. However, when you are multi-tasking making dinner, a hands-free podcast is just the ticket! (and these three mentioned are great).

I used to have a more elaborate system of writing poetry and prose. I would handwrite in my journal, then transfer to a more refined notebook, then type it up, print it out, and workshop the writing. Since having children, I don’t have time to do practically any of that!

With a baby, I always feel like there’s a ticking timer at nap time. I try to squeeze in moments to write or practice, but I never know how long it will be. How long will my creative freedom last? If I start to record, will I be interrupted with a cry? Certainly, when kiddos are school-aged, time opens up. With more than one child, time must be blocked out with more commitment.

I create lists of how to prioritize. There is the weekly one and the daily list. For example today is – #1 practice music for gig tonight; #2 transcribe a piece for Sunday’s Mothers’ Day duet with pianist Josh Rawlings (that I can use for Harp Escape as well); #3 blast out my album to one agency; #4 write something. If I can do that much – that would be AMAZING! I always aim high. Sometimes only one thing gets accomplished, and if someone has a fever or a field trip, forget about it. I have to be real about the current daily situation of food, laundry, school lunch, diapers, etc. that I have.

When I had my first kiddo, I blended my writing and music together, sort of by accident. Once I stopped gigging late night shows, I began songwriting. The poetry morphed into lyrics instead. I had to become selective about what I said yes to. Would I take a club gig at 10pm? No way, not unless it paid well (ha ha ha). Eventually, people stopped asking me, but that’s ok. Because I changed.

I won’t lie. Sometimes I find myself lamenting over the artists who have more freedom than me. It takes so much time to polish a craft and I never feel like I have enough anymore. I don’t have a creative stuckness; I have a restriction. This is interesting though, because motherhood is also the blessing that allowed me to open up into a new form! When I stopped saying yes to all of the club gigs, I put my energy into songwriting. I started singing in public. I wrote enough songs to record an album. I formed a band (The Daphnes) and now I can be leader and call the shots to what fits my lifestyle. I probably wouldn’t have organized it all this way if it had not been for motherhood “restricting” me. Plus, it always seems like half of my songs are inspired in someway by the process of being mom. So – its a two-sided coin. A yin-yang.

I feel like its now or never these days, pretty much all the time. Its sort of Zen, but its also sort of desperate. I am very of the moment. After the baby boy fell asleep today, I checked my email and immediately blasted out a response which has turned into this blog post. It always feels so good to re-purpose something.

Being a musician mama means that I sometimes practice for 5 minutes with a squirming toddler in my lap, I cram in my own practice time between students, or I have to accept that I might be winging it at the gig a little more.

Its maddening! Its terrifying! Its exciting! Its the gift of a lifetime.

Music and Motherhood