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Harmony Workshops by Ray Pool | ||||||||||||||||||
1. Lever Harp Tuning Technique and Comparison (4 page handout) A description of the entire tuning process from calibration, using an external microphone, location of tuner / microphone / tuning key / harp, the order of strings to be tuned in both C and E flat Major. A chord comparison to find convenient accidentals in the key of C Major with E flat tuning. 2. The Treble Harpist (6 page handout) Designed for entry level students of music on the harp. Note reading, rhythm exercises and arrangements at five levels of increasing complexity. All work is done on a single staff in the treble clef. The complete range of notes includes the F below middle C (three ledger lines below the staff) to the soprano high C (two ledger lines above the staff.) Repertoire is drawn from folk tunes, hymn tunes, Hebrew melodies, vintage American standards and songs of Stephen Foster.
3. Chord Talk (4 page handout) The major scale identified by both pitch and Roman numeral, diatonic intervals measured from I and diatonic triads that occur automatically within the key. An elementary and shortened version of “3’s a Chord.” 4. 3’s a Chord (4 pages) A study of the major and chromatic scale in C major, intervals, chords inversions, the Tonic, Sub-dominant and Dominant chords and the I - IV - V - I chord progression. The ultimate study of C Major! 5. Hymn Leadsheet Workshop (10 pages) A study of 5 categories of musical composition which are immediately applied in the performance of hymn tunes from leadsheets taken from the 100 titles in “Hymns & Harmony.” This is the preparation for any sort of music from a leadsheet or fakebook format, regardless of textual content.
6. Improvisation / Modulation Workshop (6 pages) Patterns of improvisation on three chord progressions which include: I - IV - V - I, I - VI - II - V and I - IV - VII - III - VI - II - V - I. Also includes information on modulation among six keys playable on lever harp and pedal harp simultaneously. 7. The Instant Harp Ensemble (14 pages) An extensive study of how to accompany a melody line from a lead sheet. Examples of accompaniment patterns with the three chord progressions discussed in the workshop (6) listed above. Also includes an extensive discussion of the circle of 5th’s. Three familiar melodies accompanied with strumming chords, rhythmic opposition to melodic values and ascending/descending chord inversions. Completely presented in lead sheet notation.
8. Blazing Pedals / Clever Levers Workshop (6 pages) The ultimate in diatonic harmony. A study of seventh chords continues into a discussion of chord tones of the 9th, 11th and 13th. “The Common Glissando” is illustrated for pedal and lever harp simultaneously. Includes performance of a lead sheet melody in three keys with modulation interludes included. 9. Leverobics (6 pages) This contains harmonic patterns that are available on lever harp when levers are moved quickly for chords outside the key signature. Items for study include basic lever identification and movement with agility, the chromatic scale, the whole tone scale with a dominant function, secondary dominants and modulation progressions. 10. "1-2-3-Play!" (6 pages) A study of melody development with increasing range using numbers (1, 2, 3, 4, 5....) for the steps of the scale. All samples will be notated on a traditional 5 line staff. Each note will contain its degree of the scale within its shape. Quarter and eighth notes will have black note heads with white numbers in their centers. Half and whole notes will have white noteheads with black numbers in their centers. The melodies will be introduced in order of increasing range: 1 - 3:11. Lunchtime Music Demo This is a presentation of samples from various publications that are offered for sale at a 40% discount to all workshop participants. All workshops are for participation by Lever and Pedal Harp simultaneously, without exception!
Organizing a Harmony Workshop with RAY POOL
Guidelines for the organization of a workshop are listed below. Presenters in
the past have included chapters of AHS and ISFHC working together, private
teachers with large studios, university programs and regional music stores. The
nature and schedule of the workshop is flexible for separate and specific
presentations. But, for the most part:1. Advertisement: Once it has been agreed that a workshop will take place, I will be glad to provide an official mailing brochure which will include not only the particulars of the study but also the time, date, location and fee. The most effective turnout comes from a good mailing in the very beginning. 2. Location: A church or school with a large meeting room or rehearsal hall and no stairs is preferable. This is not always possible, but it is the best solution. Ask these questions: Can a room accommodate 20 harps? Does it have handicapped accessibility? 3. Equipment: Each person attending should expect to bring a harp, a music stand and adequate seating. In order to cover the maximum amount of material, it is not advisable to share instruments. 4. Materials: Workshop handouts will be provided to the organizer for duplication to provide to each participant as part of the registration. Each segment is fully notated. There is no guesswork. This is why each person must bring a music stand! No one plays alone or plays by ear (with the exception of “1, 2, 3 - Play!” which is a study of ear training). Name tags will be provided for each participant. 5. Time frame: The workshop is presented in three sections of approximately ninety minutes each. A preferable schedule is 10:00 - 11:30 am, 12:00 noon - 1:30 pm and 2:00 - 3:30 pm. There are many possible combinations of workshop segments that can be presented according to the needs and interests of the sponsoring organization. A sample workshop day could include the following segments: I. “1, 2, 3 - Play!” II. “3’s a Chord” III. “Hymns & Harmony” or I. “3’s a Chord” II. “Hymns & Harmony” III. “Improvisation and Modulation” During the lunch break, before the final workshop segment, I will play a short demonstration of the skills we have studied. This is not a recital but r ather a lecture demonstration. Arrangements for a solo recital can be made for special situations for an additional fee. 6. Fee: The fee for each participant is $65 for the day-long workshop. Auditors are admitted at a 50% discount. 7. Minimum guarantee: There must be a minimum guarantee of twenty registrations (two auditors count as a single registration) in order to arrange a workshop. If there should happen to be fewer than twenty, the presenter will guarantee the balance. If there are more than twenty, all fees collected are paid to me. Beginning with registration #26, a rebate of 25% will be returned to the organizer to be applied towards workshop expenses. On several occasions, this has resulted in a considerable return of funds to apply towards the expense of the presentation. 8. Accommodations: Hospitality provided by the organizer in a hotel is preferred, although other arrangements are occasionally substituted. 9. Transportation: I will pay my own transportation. In the event that a workshop is arranged, a non-refundable ticket is purchased. If the workshop is changed or canceled, the presenter will be responsible for penalties or cancellation. 10. Sales: A selection of my works will be shipped in advance and available for sale to workshop participants at a discount of 40% off the retail price. This is a great benefit to workshop participants. It has proved to be quite popular in the past. This includes harmony books, arrangements (other than those published by Lyon & Healy), video and audio recordings. 11. Dates: It is preferable to have the workshop on weekends. Saturday and Sunday are both acceptable. When airfare is involved, a Saturday night stay is mandatory for reasonable airfare. 12. Payment: Checks made out to Ray Pool for the amount of registration should be collected locally, in advance, and held until the date of the workshop. It is wise to have a cut-off date of two weeks in advance of the date in order to assure the adequate number of registrations. For more information concerning specific arrangements please contact me by email at rpoolnyc@aol.com. For more information concerning specific arrangements please contact me by email at rpoolnyc@aol.com.
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