Harp Column Blogs: Brandee Younger

I’m on a quest to find perfect amplification.  Sure, I’ve been on a quest for quite some time, but lately, some gigs have been pushing me to action.  Mainly, the drummers!  

I became super spoiled at the Alice Coltrane memorial.  The high ceilings of St. John, the Divine Cathedral, combined with the oh-so-amazing mics, had me in a trance.  I have not sounded like that since ☹

After playing a few gigs where I put the harp down at points where I was just wasting energy, I started experimenting with the mics.  I’m sticking them underneath me through the sound holes, on both sides of the harp—you name it.  I called a couple of companies that are supposed to be the best in micing and pick-ups.  They weren’t too thrilled with me wanting something right away, so the next gig, I used a silly pickup that every harpist I know has.  I forgot what it’s called.  But, I used the pickup and a mic.  The sound was louder, but not better.  It wasn’t the warmth I wanted.  A few nights later, while playing at Birdland, I was miced Oh-So-Great.  It took one mic, clamped on to that handle thingy on the back of the harp (what’s that called?) and it was amazing!  But, it’s not mine.

So the verdict: I can’t carry that sound man in my pocket, but a well-known company is looking into designing a pickup for me, and in terms of mics, I’m still on the search.  

I’m wondering what everyone else does for great amplification, on stages with loud drums, pianos, saxes, etc.  I don’t like the sound of electric harps…


St. John the Divine--The Harp Sounds Great in Here!

 This morning, as I was practicing, the plumber knocked on the door and was very surprised to see and hear a harp.  He complimented my playing and we began talking about music.  At some point in our conversation, he put his head down, almost as if embarrassed, and said, “I actually like classical music, but I know, it’s hard to believe…I mean, because of my age, generation and background.”  He was relatively young—about mid to late 20’s— and told me that he comes from the South Bronx.  My reply to him was, “So?” because I didn’t think there was anything embarrassing about that at all.

We talked for quite some time and he started asking me questions about myself.  When I told him I was from Long Island, he said, “Well see, you can get away with it”(referring to listening to classical music).  Then I told him what town I was from and his reply was, “Oh, nevermind!”  Luckily, I’m very used to people reacting a certain way when I tell them where I’m from.  Those that don’t know any better equate Long Island with the Hamptons, however, those that do, understand that there are many different parts of the island, just like any other place.  Nobody listened to classical music where I grew up—but so what!

Who is to say that it’s only ‘cool’ to listen to Top 40?  What’s the big deal?  At the same time, so many musicians I know won’t listen to Top 40 at all, but I think they do when nobody’s around.   Can’t we just be ourselves?  

Has anyone ever received a call requesting "just a harpist"? As long as it's a harpist, it's great! Whether for a wedding ceremony, background music, solo performance, jazz or an orchestra concert, they just want a harp! Have any of you received a call requesting YOU? Regardless of the reason: They've heard you before, you came highly recommended, the style you play is exactly what they want. Whatever the reason may be, they want YOU.

So, when is a harpist not just a harpist, and how can each one of us magnify our individuality in order to avoid those calls requesting 'just a harpist"?

We all have different personalities. We come from different cultural backgrounds and places. We all have different looks, and musical tastes. It's everything that makes us who we are. Our playing can also reflect all of those characteristics that make us unique. Listen to six different recordings of the same piece and hear how different each one is. Although it is the same piece, each recording is interpreted very differently. I don't mean that some chords are rolled, others flat, muffled, or left to vibrate. Rather, it is the feeling behind what is being played. When we speak to each other, there is expression in our voice, and most people are able to say the same sentence a number of different ways. When I speak to you, you will know very easily if I am angry, agitated, excited, happy, content, sad or just being sarcastic! It all comes out in my voice. Why can't that be applied to the harp, for all of us?

Our playing shouldn't be generic and our music shouldn't be like cans of coke, sprite, pepsi and rootbeer. However, it should reflect who we are. We each have our own unique voice that wants and deserves to be heard, so I say, Let's Speak! Speak so much and so loudly, that every call received is for YOU!