First of all, I agree with Sylvia Woods, Warren Smith and others who
recommended taking lessons. There simply is no substitute for good
instruction. As a teacher, I have had several students who came to me with
extremely bad technique (as a result of poor instruction or self-instruction)
and I cannot agree with those who think unlearning bad habits is easy. For
most students, it is extremely difficult, esp. for adult beginners. (Kids
are much more flexible learners). I have also found that students with poor
technique have problems when they try to play more difficult music.
Secondly, the argument that lessons are expensive is just not a good reason
not to study. I realize that as a pedal harpist trained in classical
technique, I have a somewhat different outlook than someone who takes up the
lever harp for fun. Nevertheless, why would you spend a lot of money on a
harp and then not learn what to do with it? Lessons should include not only
technique, but instruction on the care, tuning, and maintenance of the
instrument. As to the availability of teachers, there may be more out there
than you realize (perhaps in your own backyard). If you are new to the harp,
you probably don't know many of the connections for finding harp instructors.
One of the first things I would do is contact some of the major harp vendors
(Sylvia Woods, Lyon & Healy, etc.) as they will have information about
teachers throughout the country (and the world, for that matter).
Finally, I think Karen hit the nail on the head when she shared her
experience that proper technique produces the best quality of sound. I
cannot tell you how many times my students have remarked that when I correct
their technique and they can hear the difference! In addition, a good
teacher will recognize that adjustments may be necessary when going from a
double action pedal harp to a narrowly-spaced wire-strung lever (or
lever-free) harp. Brainwashing (as Mike mentioned) is not necessary, and I
don't think we need to fear orthodox technique.
Frankly, harpists and harpers can get away with murder. A few tinkly notes
and a glissando or two will always earn you accolades from the general
public. That doesn't make it good. For example, one evening I was tuning my
harp before beginning to play at a very elegant hotel where I performed on a
nightly basis. A woman came up to me and commented, "Oh, you're so
talented!". Since I hadn't made any music other than tuning noises, I
thought perhaps she meant I was talented because I could tune a harp. So I
responded, "Thank you, I wrote that myself". I expected her to laugh at my
attempt at humor, but instead she said, "Marvelous!". Thank goodness some
people are more discerning than that lady. But it was obvious how little I
had to do just to get compliments.
In spite of the fact that it's easy to fool the general public, get lessons
from a good teacher.
Jan Jennings