Every group's interests, ideas, and capabilities are different, but the most popular format for this kind of event is a two- or three-day weekend which includes two or three workshops and an evening concert. Here are some "frequently asked questions" about this kind of workshop-concert combination. If you are interested primarily in a concert or other performance without attached workshops, or if you have additional questions, please click here.
What's the weekend schedule like?
A typical "Harper Tasche Weekend" is usually something like this:
Friday afternoon arrival
7:30-9:00 pm: workshop (or private lessons available)
Saturday 10:30-noon: workshop
group lunch at a nearby restaurant, order-in pizza, potluck, etc
4:00 on: concert setup, sound check, etc
Sunday 9:30-12:30: private lessons available
2:00-3:30 additional workshop if desired
Sunday afternoon or evening departure.
Of course this would flex to accommodate your group's needs; some prefer two Saturday afternoon workshops and one Sunday, with nothing on Friday evening, while others prefer nothing scheduled on Sunday.
The afternoon before an evening concert should be kept open from 4:00 onward for concert preparation, venue setup, and sound check if applicable. (A post-concert reception is lovely, but please no pre-concert social functions.)
Mornings are best with a leisurely start (9:30 at the earliest), to allow adequate time for harp transport and setup.
Participants at hands-on-harp sessions should arrive early enough to be comfortably settled, finished tuning, and ready to begin at the scheduled start time.
Which workshops would be best for our group?
Any group's interests and abilities are far more apparent to the group's members than they are to a visiting presenter. It's often useful to consider a balance of subject matter for multiple workshops: if three workshops are planned, consider choosing one technical session ("Getting the Most From Your Small Harp," "Left-Hand Workout," "Cross-Strung Harp 101," or "Music Theory and Modes" for exmaple), one repertoire-building session ("Scandinavian Tunes" or "Ensemble Arranging" or "Blood From A Turnip"), and one professional-development session ("Performance Coaching," "Performing In Public," or "Working With Special-Needs Harp Students.")
Each of the workshops listed is a full 90" session. Combination workshops are not available in most cases.
Where should workshops be held?
Ideally, all workshops are at the same secure location so that harps and related gear may safely be left between sessions. Workshop locations should have a flat entry (or minimal stairs), and be large enough so that there can be two or three feet between chairs side-to-side and at least five feet between chairs front-to-back. It's always better if participants can form a circle rather than be in rows.
In addition to church fellowship halls, workshops can successfully be held in library meeting rooms, hotel conference rooms, school classrooms, private activity centers at apartment complexes and senior centers, and in large private homes.
A white board, easel pad, or chalk board is helpful for workshops but is not critical. If more than twenty participants are expected, amplification is necessary.
What about the concert?
Harper Tasche is happy to provide a full-length solo concert (two 45" sets with intermission). Shorter performances are also fine if others will also be on the program, or if there are other factors involved (such as a Sunday matinee). Perhaps your local group would like to do part or all of the first set as an ensemble?
Where should the concert be held?
Concerts can be successful in a wide variety of venues. A "live" acoustic (high ceilings and hard interior walls, ceiling, and floor) are wonderful for audiences up to about 150 people, and generally require no amplification. (If a person standing in the performance area, speaking normally at conversational volume, can be clearly heard by someone in the back of the room, no amplification is necessary.)
Many churches are excellent concert venues. Frequently a congregation will consider a "package deal" for renting workshop space in the fellowship hall and the sanctuary for the concert. An additional benefit is that churches may also be open to a full or partial trade for the use of the space if the group (or a few of the members) provide special music for service/s one Sunday. That arrangement works better if the group's performance is not during the workshop weekend; a week or two before the workshops is ideal, as it also generates interest in the evening concert.
For larger audiences, and for noisy or sound-absorbing venues, professional amplification must be provided.
How much does it cost?
If you have an established price structure for workshop registration fees and concert tickets in your area, your numbers are the logical starting point. Typically, prices are something like this:
One concert ticket $15; one workshop $35; both for $45 (save $5).
Two workshops $65 (save $5); two plus concert $75 (save $10).
Three workshops $90 (save $15); three plus concert $100 (save $20).
Of course these figures should be adjusted to local custom; some find $15 to be below par for a concert ticket, for example.
What's the financial bottom line?
Your group provides airfare, hotel/motel lodging, and ground transportation (to/from the airport, etc; a full-size harp-friendly vehicle is necessary) plus a minimum of $500 for two workshops and a concert. Any income over and above that (after your group's expenses are paid) may be split 70/30 between Harper Tasche and your group (i.e. your group gets 70%). Some groups have seen quite a boon to their treasury in this way.
If there is interest, a third workshop may be added for $150.
These figures can be easily met by fifteen people each purchasing the "three workshops plus concert" package described above, plus a reasonable turnout for the evening concert.
Revenues from product sales and private lesson fees are not included.
To inquire about availability and to discuss details, please click here.
Thank you for your interest!