Seems an especially poignant day to be playing harp at a Citizenship Ceremony with all the political turmoil going on, but it was good to be part of something which shows respects and welcomes new citizens to the UK.
I played at the very first citizenship ceremony for my local council when they started way back in 2004.
Since then I have played at lots of these events, and I may be biased, but I do think my local council does a lovely ceremony which is really welcoming to the new citizens.
Today's ceremony consisted of people from 12 different countries. Very often you will get several members from the same family (some being young children) all taking part in the process at the same time.
When they arrive prior to the ceremony, the harp is set up in the room where they have refreshments and I will play some music whilst they have some tea and coffee.
The Mayor and a representative of either the Police or Fire Brigade, as well as the Queens Representive (either the Lord Lieutenant or one of the Deputy Lieutenants) will usually then mingle and chat to the new citizens prior to the ceremony. They then each give a short speech during the ceremony about the responsibilities of citizenship and being part of the community.
Being the Queen's representative normally requires a bit of 'pomp' and over the years I've seen some great outfits worn by the Lieutenants. Everything from spurs, to velvet buckled shoes, to wearing a sword, to lots of lace and very big hats. It's great to have a bit of drama and personally; I love it!
After the refreshments, it's a quick pack up of the harp and dash to the room where the ceremony is being held to play the dignitaries into the room. Then it's into the ceremony itself with the oath taking and the pledging of the allegiance to the Queen and the UK.
I'm always very moved by these ceremonies. Often these new citizens have had a very long and hard journey to get to this stage, and this is always recognised within the ceremony.
After playing more music whilst each new citizen goes up in turn to receive their certificate, sign the book and get their photo taken, the main event for the musician at these ceremonies is playing the National Anthem. It's a simple piece to play, but I'm always aware that this is very special moment for the new citizens as they all stand to listen to it. This is the end of the ceremony and the start of their journey as a British citizen.
I always come away from these ceremonies humbled, and glad to be part of a country which shows respect, tolerance and welcomes new citizens.
2016 ended with a bang (literally), when one of my big gut strings decided to unexpectedly snap during a really quiet piece in a New Year eve's concert at the Bridgewater Hall. Luckily it was near the end of the concert, but I've never had such a big string go during a concert before and it was all a bit shocking, for everyone including me! What a noise!!
December 2016 has been an intense month of work with lovely people. It's such a joy to play good music, in good company. The majority of the month has been all about SNOWMAN with the wonderful talented people who run Carrot Productions.
I'm not sure who looks more scary here... me or the Snowman!!!
As well as the Snowman and seasonal favourites, this year's tour included The Nutcracker as well as a new production of Cinderalla with music brilliantly composed by Dan Whibley.
The whole ethos of the Snowman show is so brilliantly devised and produced by Rachel & Dan and involves performing to so many young children and families, many of whom will not have heard a live orchestra before. It's not often you get such job satisfaction!
We played 30 performances of the Snowman across Derbyshire, York, Hull, Sheffield as well as in Coventry and Chester Cathedrals, and finally ending at Blackpool Tower Ballroom. For me the highlight was a special performance at the Royal Manchester Children's Hospital.
Prior to the Snowman tour, flutist Nichola Hunter and myself had done some outreach work for Carrot Productions at the Childrens hospital as well as in a Dementia unit in Manchester.
Immediately after the Snowman finished Nichola and I did 4 performances of "a flute and harpy Christmas" which included one public performance and 3 private performances at eldery care homes in Cheshire; two of which were specialised dementia homes. Nichola is so wonderful and an absolute joy to work with and everywhere we played everyone loved her, especially when she brought out all her hand percussion for people to join in with us!
These were very special performances and although it came right at the end of a busy work schedule just before Christmas, I'm so glad we made time to do them as it was an appropriate way to "give back" to our community. It's doing these kind of performances away from the concert hall and in the community that really brings it home how important music is for the mind, body and soul.
A timely reminder that music is just magic!
I can't believe it's been three years since I first blogged about using an iPad on gigs! My set up has changed a bit since my last post so I thought it was time to review what I'm currently using when I play at weddings and private functions.
So the main change is that I invested in a new harp a few years back - my amazing electro-accoustic harp, a maple Camac Little Big Blue.
What a beauty my Little Big Blue is, as well as being a complete joy to play!
It has completely revolutionised my experience of playing at weddings and has made my life so much simpler in so many ways. Being a 44 stringed harp, it is physically so much easier to move around than my big Salvi, plus being amplified it is much easier playing for long periods of time. Playing outdoors is no longer a problem as I can usually find somewhere good (preferably indoors or in shade/covered) and just move the amp to where it's needed. I'm still paying off the loan for the harp, but it was definitely worth every penny.
My amplifier is a Roland AC-33 battery powered guitar amp. It's small, powerful and best of all - battery powered. Before I got my Camac I experimented with amps and pick-ups on my Salvi and as well as not being satisfied with the amplified sound, just carting round all the gear was (literally) a pain. Being able to plug just ONE lead from the harp into a battery powered amp and switching the amp on and beautiful natural amplified sound coming out is brilliant.
Earlier this year I had to finally accept reality that my eyesight is not getting any better and reading the music on my old iPad wasn't really working too well.
Which brings me to...
...the iPad Pro. I'm not an Apple fan, but you have to hand it to them for finally making what musicians needed; a decent sized screen for reading music.
My eyes are grateful.
Plus there is the extra bonus of not needing a music stand light or pegs to hold down sheet music when playing outdoors.
I'm still using ForScore software to view my music on the iPad, so that is still the same as my original blog post, along with using Dropbox to get it onto the iPad. The only change is that I'm now using a bluetooth foot pedal to change the pages of the music as I'm now reading the music '1 up portrait' rather than '2 up landscape'. It's taking some time to get used to an extra pedal to operate with my left foot, but it is well worth it.
What's in my bag?
And that's it - all easy, light and quick to carry. Light years away from all the gear I used to carry round with me on gigs.
In all the years I've been using an iPad, I have never had a problem with my iPad or the ForScore software.
However that hasn't stopped the little nagging worries that somehow 'something may happen' and all the technology might suddenly stop working whilst I'm on a gig. For that reason alone I always carry a very small folder of one hours worth of printed sheet music that lives in the handy zip pocket of my harp cover.
I have never had a need to use it.
For size comparison - my iPad Pro on my music stand next to an old copy of Ceremony of Carols which is a standard 'oversized' piece of music. Most newly bought sheet music these days are the smaller A4 size which is around the same size as the iPad Pro.
I use the standard model large iPad Pro which is - WiFi only, 32GB 12.9 inch screen which is more then enough space for a massive library of music.
Having always tied my harp strings the same way for YEARS, I have very recently started doing them differently!
I'm now using wooden dowels instead of a bit of thick harp gut to secure the knot, which meant learning a new way to tie the knot.
Like Pavlov's dog, it's going to take me a while to unlearn a lifetime of tying a knot a different way!
But this new way is a simpler way (I think) of doing it, and for someone like myself who is a little bit dyslexic at times this is quick and works first time without being too 'fiddly' to remember.
Loop under - tail over the bottom end of the loop - tail now wraps into the loop - wooden dowel at bottom end of the loop - grab hold of dowel and the tail - pull
Who would have thought that when we first started the Sandbach Concert Series in 2010, that it would be going from strength to strength and that we would be celebrating 50 concerts being put on in Sandbach.
What started off as an idea and involved hours of filling in lots of grant application forms whilst on breaks working with the RLPO, has developed into an amazing concert series which has the community at it's heart. With eight concerts each year, helping to organise the concerts has been a huge part of my life for the past six years.
At the start it involved friends and family all mucking in to help pull the first concert together, and very quickly volunteers from across the community came forward to help. We now have an incredible team of dedicated volunteers, without whom the concerts just wouldn't happen. I cannot stress enough how amazing it is to have so many incredible people involved in the organisation.
The set up of the concert involves a 30 minute 'spotlight concert' which involves young musicians from around the area, followed by a one hour concert by professional musicians. Incredibly we have had over 500 young musicians playing at our spotlight concerts, ranging from some who have only just started learning an instrument to those who are going on to music college. We are a welcoming and encouraging audience and all local young musicians are welcome to perform at our concerts. As you can imagine the spotlight concerts take a huge amount of organisation and rely on the support of the many dedicated music teachers in our area as well as being superbly co-ordinated and directed by music teacher and organist, Kevin Birch.
We have always had an art exhibition on display during our concerts and we now have an amazing relationship with the Sandbach Art Club where one of their artists will put on an exhibition at our concerts.
Community was always the central idea for the concerts which is why we have a 30 minute interval after the spotlight concert. Not only is it time to have a good look at the art exhibition and have a drink and catch up with friends, but we always have a local charity or good cause that we raise money for at each concert, and very often representatives will be at the concert. As well as the big household named charities, more often we support local grass roots organisations. We have raised an impressive amount for these good causes over the years with our raffles and it's always humbling to see how many good people there are, just getting on and regularly doing good things for others.
Thanks to my husband Andy Scott, and his great Artistic Director skills we have been spoilt with a fantastic range of musicians performing at the Sandbach Concert Series. From classical to jazz to folk, we have enjoyed a wide range of music brilliantly performed by amazing musicians.
From an initial idea about how to do a successful community concert series, it has grown enormously. We now have charity status, have partnerships with our local music hub, The Love Music Trust so that we can also help deliver 3 educational workshops to young musicians each year. We also recently set up the SCS 'Young Musician of the Year' competition which takes place during the Sandbach Transport Festival each year. We are very grateful for the financial support we get from many local organisations, businesses and generous individuals. I can't mention them all here, but they are listed on the SCS website.
Which brings me back to the next concert and the reason for this blog post!
As I was the first artist in the first concert (yes not only did I set up the hall I also played in it!!!), I will be returning and playing with my new trio for the 50th celebration concert on September 28th. Details here about the concert, where with Conrad Marshall on flute and Raymond Lester on viola, we'll be playing trios by Bax, Richard Rodney-Bennett and Debussy
This time I'll be able to leave the set up of the hall for someone else to do for the September concert, but I'll be back to my usual role of chair shifting and hall setting up for the October concert when we have the Martinu Trio from Czechoslovakia performing.
Thanks to all the musicians who have performed in Sandbach, all the artists who have presented their art work, all the volunteers who help to make it all happen, to all those individuals, organisations and businesses who support the Sandbach Concert Series and to our amazing audience.
The latest issue of HARP magazine (for UKHA members only) should have landed on your doormats by now....if you are a member of the UKHA.
Included in this issue is an article I did about cars (!!!) which includes the results of a survey of 100 UK harpists. What cars they drive, which harps they transport, and which cars have split seats for fitting harps plus passengers in the back. Oh yes! If you're a harpist and drive a car it's a must read!!! ;-)
HARP magazine comes out twice a year and is exclusively for members of the United Kingdom Harp Association.
If you love the harp and live in the UK, you NEED to be a member of the UKHA. As well as producing a great magazine of news, reviews and articles, the UKHA put on events around the country, and gives out a bursary twice a year to members.
It's easy to join online, and if you do that NOW from this link here, Rita, our lovely membership secretary, will send you a copy of our latest magazine.
Our AGM is happening in Cardiff on Sunday April 17th this year, and we're delighted to be hosting a concert for the winners of the 2015 British Harp Chamber Music competition. They are a fabulous trio, and it should be a great event in Cardiff.
I have a recurring nightmare where I look down at my harp and the strings look like this!!! However, this is no bad dream - instead it's an amazing video of a Chopin Mazurka played on a 6x6 cross strung chromatic harp by Dutch harpist, Mirjam Rietberg.
To quote from Mirjam's website;
'The 6x6 cross-strung chromatic harp is named this way because it has two rows of strings that cross each other.
One row is tuned in whole notes (6 notes in an octave) from C (c, d, e, f#, g#, a#)
and the other row is also tuned in whole notes but from C# (c#, d#, f, g, a, b) '
Mirjam has a lovely website here which includes info about the chromatic harp, and also more about the FRIENDS OF THE CHROMATIC HARP here
I love the idea of the chromatic harp being used for contemporary music and that she plays jazz on it, rather than exclusively being used to play baroque music.
Playing in a bubble has been around a little while now, but it seems to be getting more common place.
picture above of harpist Shelley Frost performing in a bubble. Looks lovely doesn't it?
and here's a video of her getting into the bubble
and another, Canadian harpist Elena playing in Dubai,
and an agency in the UK is now offering it too
more job and work opportunities for musicians?
I'm all for there being more work for musicians, really doesn't matter where or what as long as it's work, and good luck to the lovely ladies playing harp in the bubbles.
I don't have an issue with playing an electric lever harp in a bubble, because at least then you have full control of the harp and levers standing up. Likewise playing a violin or saxophone is fine, because their playing is not restricted by standing up.
But I do find it very odd to play an instrument fundamentally designed to only be played sitting down - in a standing up position - when you can't change the PEDALS standing up!!!!
What a great promo video for a concert...
and what a creative harpist Uno is.
A Norwegian harpist and composer, Uno Vesje has his Carnegie Hall debut coming up in March, and and is definitely a harpist to watch out for!
He has such a lovely sound, (and a stunning harp), a really brilliant website and I'm going to download his album now...
First performance of his harp concerto - watch out for the paper in harp strings half way through
This amazing looking harp caught my eye a while back...
Tyrolean folk harps are single action (with a rather loose tension) Austrian folk harps, with a traditional curved back. The playing on them seems to involve an extraordinary amount of damping whilst playing.
The lovely silver and black model is made by Extravagant harps and although I can't find a website for the harps themselves there is a rather stunning online catalogue which can be viewed here.
From what I can make out the harps are made by the Tyrolien harp maker Peter Mürnseer, but they don't seem to be listed on his website. However these models are promoted online by Barbara Plattner.... It's proving difficult to track down what the deal is with these harps, so I would welcome any feedback from anyone who knows!
However, they do seem to be for sale online here
I must confess to having not listened to Austrian folk music before, and what I treat I have missed out on!
***WARNING - this video contains offensive language. Don't listen if you are likely to be offended. YOU HAVE BEEN WARNED***
One of my favourite harpists, Lavinia Meijer playing "Cities change the songs of birds" composed by Jacob ter Veldhuis.
Otherwise known as JacobTV he has been described as the 'Andy Warhol of music' and this piece was written for Lavinia and caused a bit of an uproar when it was performed at the 2008 World Harp Congress!
To quote from JacobTV's website...
And at the World Harp Congress 2008 in Amsterdam the world premiere of Cities Change the Songs of Birds by Lavinia Meijer caused a scandal: the combination of beautiful harp sounds and heartrending monologues of female drug addicts in the streets of New York was too much for some of the audience. Kathy Elarte wrote: "The harp, as we all know, is an instrument of beauty, of worship... To see it in the center of this atrocity just goes towards promoting more hate toward American society and is, in my opinion, just another form of Musical Terrorism!"
Now I'm going to warn you again, if you are easily offended don't watch.
You might want to have a quick look here to see the lyrics that will be spoken throughout the piece first.
Lavinia is a brilliant harpist, and I think she performs this piece, brilliantly.
Whether you agree with the use of so much profanity within a piece of music will be to your own personal taste, it is certainly shocking... but that is what it is supposed to do.
I remember seeing the fallout of Claude Delange in concert playing a piece by JacobTV on saxophone and a distressed father walking out of the audience with his young teenage daughter appalled to have gone to a contemporary classical saxophone recital to then be confronted with the repeated use of 'motherf***er'.
As a mother of similiar aged children I did have sympathy with the father at the time. However, I am disappointed I missed the premier of this harp piece, I would have loved to have seen the reaction! Having listened to it now a few times it is certainly growing on me.
A harp.... made of buttons!
This astonishing piece of artwork is by Augusto Esquivel, and his sculptures are absolutely amazing!
I've been busy past few weeks doing new harp arrangements for my lovely students and have just finishing filming a few for my online students. Here's David Bowie's Life on Mars arranged for harp. It's quite chromatic so pedal changes throughout (but nothing too tricky pedal wise!) and it gradually gets more challenging through the piece.
Live on Radio 3 tomorrow night (and available for a week on the iPlayer), I'll be playing this baby with Psappha ensemble. Quest by George Crumb which is an amazing piece full of evocative sounds, and it's the physically largest score I've ever had to play from!!!
(Quest is on in the first half of the concert and not after the interval despite what it says on the BBC website)
A real privilege to have been playing in the band for this one!
The London Philharmonic Orchestra's principal harpist, Rachel Masters with her fabulous singing dog :-)
It's been a pretty stressful couple of years, if you have been one of the unlucky harpists playing Russian Roulette with your spare harp strings. That sinking feeling of knowing you have a full spare set in your bag when you are on a gig, but if you happen to have a string that breaks and you go to put the replacement string on.... will it work or will it break as soon as you put it on?
I first blogged about the harp string saga nearly a year and half ago, although I've been experiencing it for much longer.
I think the thing that annoys me the most is when I see posts on facebook now from harpists who think they are just unlucky to have strings which keep breaking and that it is just them, and not a manufacturing fault.
I've always used the same make of string and when my 1st and 2nd octaves started breaking, I too thought it was just me and would be completely stressed out when I needed to replace a string before a gig and the replacement string just kept breaking as soon as I put it on. To the point where I no longer had any spare of the broken string left and had to use the nearest string I had spare - 1st octave G string on a 1st octave A etc.
I must have spent loads of money over the past few years on strings which were completely useless until I realised it wasn't me.
Then I started sending them back to the shop I had bought them from, who would send me a replacement free of charge. Then when the replacement came, the same thing would happen, it would constantly break and I'd send that string back. Over and over.
The lack of a simple stock control sticker on the individual string packet so any "dodgy batches" can be identified by whoever is re-selling the string seems to me quite astonishing.
Whilst I completely sympathise with the problems of the manufacturers, and would always normally use their strings, the fact that it is the harpists who have bought the strings that have to then play Russian roulette is really unfair. If you are a professional gigging musician and you don't have the spare strings for your instrument, it makes your life kind of tricky to say the least.
So after resorting to putting nylon strings on I had a light bulb moment, WHY NOT TRY A DIFFERENT MAKE OF STRING!
With Pirastro gut being out of my price league, I started using Camac gut and have been using them for over 6 months now and... it's been absolutely fine. There isn't a difference in thickness and they have been no problems having a mix of strings on my harps. No intonation problems at all. No difference in sound between the strings. The Camac do 'feel' a bit different, but nothing that is off putting.
The only downside to the Camac strings is that they are a bit more expensive and that they take a bit longer to get to settle and stay in tune, but once they are settled in they are fine - and they don't break as soon as you put them on.
Which to my mind is what you want when you put on a string from a new packet that you have paid for.
I've written before, briefly, about microphone position but it's a subject always worth coming back to. I suppose it's a bit of a "holy grail" type thing for harpists; like wind players in the search of the perfect reed! Every harpist will have their own preferred set-up with microphones.
There is a really good article online from DPA microphones about miking up a harp. Definitely worth a read, despite it being about selling their particular brand of microphones.
I haven't done any CD recording sessions lately, but I have been miked up a lot on stage for live gigs.
Interestingly, the only microphones I'm given by sound guys now when I turn up on stage, are the small omni directional DPAs, the likes of which you see singers wearing on stage either in their hair, or just discretely on the side of their face.
Unlike the image above, (from the DPA website), I wrap (carefully) the lead around that strut (?) of the harp and then use a bit of gaffer tape over the wire to hold it in place on the inside of the harp so that it is held dangling about one inch inside the harp.
When I work with the NSO on the Katherine Jenkins gigs, the whole orchestra is miked up. For those gigs we use the small DPA above, wrapping the mike inside the harp, with the addition of an AKG pencil mike (or similiar) on a stand sitting on the right hand side of the harp and pointing to around middle C.
I HATE IT.
It picks up every finger noise on the string. It's fine when playing tutti and playing high in the harp. But playing completely solo below middle C is a nightmare. You get that FUTT noise as you place your fingers on the string, and you have to do LOADS of damping just to play a single solo line without it sounded rubbish through the PA.
On the latest KJ tour, during the sound check one of my strings snapped whilst I was miked up. That was interesting!
Since I got my lovely Camac Little Big Blue last year, I've been using the Camac harp all the time on solo corporate gigs, plugged into a battery powered Roland amp.
WHAT A DIFFERENCE playing on a harp where every string has it's own individual pick-up. A really round and gorgeous amplified proper "harp" sound.
I didn't use the Camac on this years KJ tour, as it's still sounding a bit "new", and although it's fine for solo corporate gigs it's not quite ready for taking out on pro orchestral-pops gigs yet.
However, next time, I will take my Camac and see what the sound guys make of that.
Over the years I have taught lots of adults who are learning a musical instrument for the first time and I always get asked,
"I've always wanted to play the harp, am I too old?"
The answer is NO.
The harp is a brilliant instrument to learn for many reasons, not least being that you can make a pleasant sound from the first lesson. Being able to flip some levers and get "hollywood" glisses by the end of a first lesson is pretty amazing.
It's good for you.
It's excellent for improving your co-ordination, a great "brain trainer" and that's without even going into the "therapeutic" healing effects from the vibrations coming from the sound board.
I'll never forget the time during a school workshop when a deaf girl came up to the front and hugged my harp with her hands flat on the soundboard and her cheek against the side of my harp. The look of joy on her face when she suddenly felt the vibration as I started to play was beautiful.
I've taught people who have had all sorts of long standing health issues, and it's possible to adapt your playing style so that you can play comfortably to suit you and your hands/health. You can get brilliant lightly strung, good quality, physically light instruments which are easy to pluck. There are just so many really great lever harps of all styles you can buy now.
You can play ALL styles of music.
It's not unusual to see a harpist playing jazz, pop or as part of a rhythm section as well as in the moretraditional folk and classicalsettings. You can learn to a high technical capability without having to play classical music if classical is not your thing.
It's easier than ever to connect with other harpists.
I was one of the first harpists to teach via Skype. Unless you are living in an Internet connection blackspot, if you don't have access to a harp teacher living near you, there is now a big choice of online teachers.
There are so many great harp festivals and harp organisations that there is no reason not to connect and meet up with other people who share your passion.
ALWAYS WANTED TO LEARN TO PLAY THE HARP?
There really isn't a good reason not to. Go on, it's never too late to learn!
Folie a Deux is a very exciting new opera for lever harp, electro-magnetic harp, and 2 vocalists by Emily Hall and Sjón by the Mahogany Opera Group.
It's been on tour and will be performed in London at the Spitalfields Festival 6th and 7th of June. details here
So what's an electro-magnetic harp?
OK - not harps as such, but..... a fascinating video interview with Andy Cavatorta, talking about the new instrument he's creating which is a magnetised piano-harp
Andy is the creative genius behind the Gravity Harps which he built for Bjork's Biophilia Tour which featured Zeena Parkins on harp.
Another lovely little news item, this time about therapeutic harpist and zoo volunteer, Teri Tacheny who plays once a month at her local zoo for the primates, big cats and polar bears. Teri says the Guerrillas show the most appreciation!
Click on image for video.
Oh my goodness!! A lovely article in The Journal & video about David Watkin's father, Donald Watkins who was a locomotive pioneer and amongst other things, designed the dead man’s handle safety device for train drivers.
It was seeing David Watkins in concert at the Queen Elizabeth Hall, Southbank when I was 6 that made me decide that I wanted to play the harp. The next day I drew a little picture of him playing the harp at the concert and my mum sent it to him. He was so kind and took the trouble of sending me a signed photo and kept up a little written correspondence with me for a while always making the effort to reply to the fan letters I sent him. Lovely man, a true gentleman.
I don't think I am alone in suffering some "disappointment" when the wheels from my lovely Harpo trolley first started to fall off.
The trolley IS really good and has lots of PLUS points. But the wheels falling off are a real design flaw. (This is of course a massive understatement on how annoyingly frustrating the wheels are.)
But here is how you can fix the Harpo trolley using just a cheap metal teaspoon.
The design problem is very small... it's the teeth on the metal disc which turn the wrong way round with use, meaning that rod can't go full length into the trolley.
The teeth should be pointing towards the tyre and flush with the wheel - the wheel below is ok
If it looks like this (below) then you need to fix it
Grab a metal teaspoon rather than a screwdriver as you don't want to accidentally break off any of those teeth, you just want to push the ring down and at the same time try to push the teeth so it's going inwards towards the tyre.
BE CAREFUL NOT TO BREAK THOSE TEETH - don't use a small screwdriver - use the teaspoon as it's less likely to cause breakage.
Make sure you pull the rod towards you so that it is extended to it's fullest and carefully push that ring down.
and voila! The pesky wheels go on the trolley first time without any fiddling about.
It's a 10 minute job and saves hours of cursing at your trolley when you try to get it out of the car and the trolley decides to be a pain... and the wheels keep dropping off... and you're trying to get the harp unloaded... and it's raining... and you're annoyed because you spent so much money on this expensive trolley and.....
Well, I'm a bit of a harp nerd, and it's the quirky more unusual side of harping that usually catches my eye and ear!
Now in it's 6th year, this blog has recently moved from it's original home
on blogspot and the archive is currently being transferred to here.