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Lyre Notes
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How the Lyre Came Down from Heaven – Just in Time!

First Lyres
By Christof-Andreas Lindenberg
Glenmoore, Pennsylvania

Ninety years ago, experimenting with music had its hey-day in Germany. What in 1926 had built up to an ever greater tone density, amplification, and acoustical electronics getting ever louder, was like sounds from the underworld that had been bidden to the table of seriously-minded attempts of advancement in music. (See Soundings Vol. 1, No. 1, Autumn 2007.) 

Yet far away from this booming world, the unassuming, humble lyre tone – as though sent by a merciful heaven, and at Michaelmas time – was making its voice heard for the first time. 

The lyre was created in one night. And like out of the night, when the sound ether is allowed to work in silence, this unheard-of instrument has the unique bonus of being brought forth out of stillness, out of night. It was clad with wood connected to the planet Mercury, from the elm tree, (I assume it was the red elm. –CAL) making the top and bottom soundboard, and the cherry wood connected to the Moon served for making the framing. Both pieces were left over bits from wood used for mighty pillars. Mercury relates to movement, the moon to constant change. Is this not reminding one of music therapy? 

Not long before – three and a quarter years – those 26 pillars had still been carrying the double cupolas of the first Goetheanum that burned down, by arson, in the New Year’s night, 1922-23. From that time on, volunteer watchmen were asked to guard the grounds around the site. 

Pracht_Gartner
Among the watchmen were a musician, Edmund Pracht, and the sculptor and woodworker, Lothar Gärtner. They met and shared from their different vantage points about what moved in their souls. Neither of the two young men knew that already in 1912 Rudolf Steiner had spoken about a kind of lyra that would be more suitable for Tone Eurythmy than the piano. Tatiana Kisseleff tells in her Memories of Rudolf Steiner about this, and that Rudolf Steiner himself wanted to help build such a lyra. As Julius Knierim remarks (Hollander/Rebbe, Die Leier, Verlag am Goetheanum, 1996), World War One came, and this impulse was never taken up. [Pictured: Left- Pracht, Right- Gärtner]

Edmund Pracht, who played piano for Eurythmy lessons for special needs children at the Sonnenhof, Arlesheim, was not sure the piano was the right instrument for the lessons. He sat down to meditate on what of the piano could be dispensed with, and in the end was left with a frame and strings. (For this reason John Clark calls his Irish lyre group the Naked Piano!) Something similar occurred when he was asked by a eurythmist what Rudolf Steiner meant in 1923 by the “mood of the fifths.” Explaining to her on a blackboard, he mentioned the tones g, d, a, e, b, making a stroke for each, and then, as if by the way, he drew a bow-curve around these vertical strokes, something like this: 
Shape of First Lyre 2

He looked at what he had just drawn on the blackboard and said: Is that not like an archetypal music instrument that I have drawn here! 

Following these events, by the beginning of the fall 1926, Pracht drew a design of such an instrument, but strictly asymmetric and having corners. This drawing he sent to a violin builder in Basel who, in time, was willing to build such an instrument. He must have shared this with Lothar Gärtner who then sat down on September 24 to make a design of an instrument, but it was all round, very large and mighty, and he wanted to carve this later. 

Then Edmund and Lothar had what is described as a “classical” conversation about the cornered or round form of such an instrument (wish I had been there!). The initiatives just described were, however, more provisional, yet Gärtner says, they both were fulfilled later in the month – Pracht’s design built by the violin builder and Gärtner’s mighty design beautifully carved. 

The actual story of the creation of the first “Leier” begins here, as I heard it from Gärtner and Pracht directly. W. Lothar Gärtner, full of initiative, brought along Edmund Pracht’s design and, having altered it a little, went with it to the big joinery shop in which, almost three years before, the Christmas Foundation Meeting had taken place! He found two pieces of thin elm wood for the sound boards, some pieces of cherry wood for making the frame, and a short piece of an iron rod from a bundle that would serve as armature used in the concrete for the new Goetheanum building. And he worked all night. At the crack of dawn he asked his friend Edmund for the pegs and the strings from an old zither he had used for sound experiments. By 9:00 a.m, when Edmund returned from his watch, Lothar could hand over to him the instrument. 

“Sie tőnt!” was the cry of joy echoing in that history-laden joinery shop. With that exclamation – “it sounds!” – they hurried to four older friends, Elena Zuccoli, Käthe Mitcher, Max Gűmbel-Seiling, and Tatiana Kisseleff, who had surely been confirmed about what Rudolf Steiner hinted to her in 1912. Then in the afternoon, Edmund showed it to Ita Wegman who had known of their plans and supported their endeavor, and later also to Elisabeth Vreede, who became the other godmother of the lyre. Yes, now it was right to speak out the name, not just coined from the Greek Lyre. Yes, all this was on October 6, a Wednesday (I looked it up) which we now celebrate 90 years on. 

The first “Mercury – Moon – Mars Lyre” that brought the new tone out of the stillness:
• giving it inner mobility ☿
• open to change and development ☽
• and with upright strength, the michaelic rod of iron ♂ 

Many thousands of lyres, it is true, have since been built in round and cornered shapes; uncountable versions have been developed, and still they belong to the original lyre impulse. A whole wealth of new instruments has arisen in the wake of the humble kinderlyre, built on October 6, 1926, with just twelve strings.


Reflections on the 2016 Lyre Conference

Lyre2016By Elizabeth Moreland, Shelburne Falls, MA
4elizabeth76@gmail.com 

From July 5 through 9, 2016, at the height of expanding summer warmth and light, twenty-some lyrists gathered at the Hartsbrook (Waldorf) School in Hadley, Massachusetts, to experience the joy of being together and to explore the conference theme, "How Does the Tone of the Lyre Move in Us?" 

It was evident at every moment how well this conference had been planned by the five main teachers, Channa Seidenberg, Sheila Johns, Veronika Roemer, Cate Decker (Spacial Dynamics®), and Karen Derreumaux (Eurythmy), as well as by those who led the small groups and those who organized all the conference details such as registration, housing, meals and all the other unseen elements that make such an event so successful. 

How can I begin to describe the richness of this gathering? I was inspired and moved and deeply touched by the experience of listening and playing together, by the depth of understanding of the presenters, and by the many conversations and sharings I had with the other participants. This conference turned out to be a major highlight of my summer. 


2016 Summer Lyre Conference, Hadley, Massachusetts

By Wendy Polich, Bella Vista, AR – wendypolich@hotmail.com 

Hampshire
Last summer, almost two years after taking up the lyre, I attended my first lyre conference – the International Lyre Conference in Detroit, Michigan. This summer I attended my second lyre conference in Hadley, Massachusetts. 

Instead of an exciting assortment of 100 lyre players, builders, and teachers from around the world, we were an intimate group of 20, mostly from just a drive away, though a handful came from the West, Midwest, Canada, and Ecuador. Another difference was the setting. We stayed at quiet Hampshire College just down the field- and flower-lined road from the Hartsbrook Waldorf School, where we shared space with cows and goats, chickens and pigs, and a children's camp. And then there was the sweltering heat, which, in addition to the smaller group and pastoral setting, seemed to slow us all down considerably. 


How Does the Tone of the Lyre Move in Us?

by Sheila Johns, Cuenca, Ecuador – sjohns123@earthlink.net 

Sheila
Movement is one of the most basic aspects of life. Everything living expresses its life through movement between the polarities of evolution and involution, expansion and contraction, and between birth as a passageway to becoming, and decay as a passageway to death.

Movement and musical tone are deeply related to each other, but what is the nature of this connection? How does music support, influence, and enhance movement, and vise versa? How does tone actually move in the space around us – and does it also move within us? This pathway of discovery requires the true attentive inner activity of listening. 


Tone Shaping and Coloring our Surrounding Space

By Catherine Decker, Philmont, NY – chdecker2@gmail.com
Lyre 2016, Hadley, MA 

Cate 2Karen
How does the tone shape and color the surrounding space, the space that as human beings, we move within, each and every day? This realm, where the tone moves within us, is an exciting and comparatively new area of exploration. This frontier asks for further research. It can be easy to fall into habits, or make assumptions of how music affects us on a soul level. Yet it is a different process to pay attention, to observe, and reflect on our responses to various tones and intervals.

Movement entered into with intention, the deliberate and purposeful movements of Spacial Dynamics and Eurythmy, can open vistas for how we relate to the lyre tone. When we enter the space with attentiveness, we also enter with a mood of listening. We can consciously explore how movement leads us to a place of greater receptivity to the message behind the tone itself. 


Report from the 2016 Annual Members’ Meeting Annual General Meeting (AGM) of the Lyre Association of North America, 2016

Lyre2016_HadleyMA
The AGM took place at 4:45 pm just before the start of the 2016 Lyre Conference in Hadley, MA, Hartsbrook Waldorf School on July 5, 2016. Those present (18), together with mailed proxies (14), constituted a quorum of members.

The business portion of the meeting consisted of electing three new board members for a three-year term: Julia Elliott, Wendy Polich, and Seeya Zheng. The three board members who left we acknowledged with many thanks for their years of service: Catherine Decker, Rosamond Hughes, and Suzanne Mays. In addition, on the June 2016 proxy forms, Diane Barnes and Cheryl Martine expressed willingness to be nominated for future service as board members. We announced the 2016 slate of officers: President: Sheila Johns; Vice-President: Channa Seidenberg; Secretary: Colleen Shetland; and Treasurer: Margo Ketchum. 

We also noted that:
• LANA’s by-laws regarding nominations and election of board members and officers have been reviewed by the board;
• The by-laws will be updated and made available for review by the membership;
• Criteria for board membership and duties of the officers will be posted on the LANA website in the near future;
• LANA members may offer the name of any member for consideration as a nominee for board membership.
Reports and updates:

1. Lyre Rentals: Rosamond Hughes read guidelines for lyre rental. The purpose for the program is to give people new to the lyre an opportunity to try different instruments before purchase. There is a yearly contract, with a two-year limit suggested. There is also a rent-to-own option for some of the lyres.

2. Soundings: Sheila Johns reported that we are now publishing one annual edition of Soundings but that we hope to be able to produce two issues a year in the future. Submissions are always welcome.
 
3. Music Sales: Rosamond reported that LANA members receive a 5% discount on purchases up to $50, and 10% discount on purchases over $50.  

4. Treasurer' Report: Margo Ketchum reported that our total cash assets at the end of the fiscal year (3/31/16, in three bank accounts) were $16,904, plus lyres owned by LANA valued at $11,000, with lyre books and music valued at $7,158 – for total assets of $35,062.

Income over Expense included the following:
Expense
PROGRAM INCOME
Lyre 2015 Conference - $53,996
Direct Public Support - $3,059
Music Sales - $5,390
Membership Dues - $1,895
Lyre Rentals - $1,159
Program Income Total: $65,499 
5. World Lyre Community News via Facebook:
• Horand Gartner’s shop experienced flooding, and he lost many instruments. We will keep members apprised of news about opportunities to make contributions.
• Vicky Deng from China—A series of three successful workshops with John Billing had just been completed.
• Yarden Regal is active on Facebook and very much appreciates communication with members of the lyre community. She continues to play her lyre and sing in public venues in Israel and supports the impulse in every way she can.
6. Regional Reports:
Cuenca, Ecuador: from Sheila Johns, with Andrea Lyman. Beginnings of an impulse for Waldorf Education being offered through the new Uriel Center for Human Renewal through the Arts and Education, which will be sponsoring events, speakers, festivals, study groups, and an Advent Garden and Spiral.
Pacific NW: Channa went to Vancouver, held a workshop including Colin Tanser’s “Everyman.” There was an interest in the planetary scales.
Colorado: Hartmut Schiffer has sponsored the purchase of three lyres for the Waldorf School of the Roaring Fork, Carbondale, CO. Hartmut Schiffer also spoke of the lyre’s necessary role in the future of education and the world. 
Chicago: Two teachers have gone to China. Marianne Dietzel and Sheila Devlin are active in Minnesota. Carol Eisen, Beth Kelly, and Debbie Barford held a workshop in Madison, WI entitled “Lyre Space,” with Colin Tanser’s music
Detroit Area: Mary Lynn Channer continues to teach and play the lyre around southern Michigan and to host festivals with lyre and singing. The Detroit Branch went to the Channers for the St John's Festival, which included five lyres. Mary Lynn also gave kinderharp classes for the kindergarten children at the RS School of Ann Arbor last spring. Michael Brewer continues to compose music for the lyre, both for the Christian Community services and his expanding collection of blues and ragtime pieces. Nancy Carpenter plays for the Christian Community services, for the pre-K to 5th grade Eurythmy classes at the school, and kinderharp sessions for first. second, and third graders. Her three 6th and 7th graders have continued to improve and are enjoying Colin Tanser's music. The seventh graders and Nancy accompanied the eighth grade Eurythmy performance of "The Crystal Ball" at the end of the last school year.
Virginia: Samantha Embrey held a lyre retreat last Nov at her home in Piney River, VA. 
Washington, DC: the Aurora Lyre quartet was preparing a program for performance at a senior facility, which was postponed because of illness of one of the members.
Kimberton, PA: Veronika Roemer translated from German into English, Gerhard Bielharz’s book about playing the kinderharp.
  [Diane Barnes sent an update this Fall:]
• Newtown, CT: Afterschool kinderharp class has just begun at the Housatonic Valley Waldorf School in Newtown, Ct. Diane initiated this new class for 6-8-year-olds and has started the class with three adorable little boys of three different racial backgrounds. Everyone is having a great time, and we hope more will join the class in the future. The lyre is truly a Michaelic instrument for all ages.
Much more could have been shared, but the reports from the Northeast were suspended because of lack of time. These will be updated in Lyre Notes.


Notes from the U.S.

Activities of the Kimberton, Pennsylvania Lyre Group

By Kerry V. Lee, Spring City, PA – musiklee@verizon.net 

The activities of a lyre group can be so diverse, and then they can also be very similar in so many ways. We, of course, do what so many lyre groups across the country do, that is, the Rose Ceremony at the beginning of the school year. The seniors greet the new first graders and become their buddies, giving each a rose, while the lyrists play beautiful music fitting to the occasion. We also play at the end of the school year for the Rose Ceremony, where the first graders wish the seniors farewell by giving each of them a rose. We are joined by a bass recorder, which sounds beautiful with the lyres, and a side flute for these occasions. We also play for the Advent Garden the first Sunday of Advent, another occasion loved by each of us. 

LifeWays Training

lifewaysBy Kerry Lee, Spring City, Pennsylvania – musiklee@verizon.net 

I had the honor of being part of the LifeWays training in the Kimberton, PA area, with 24 enthusiastic students. LifeWays is a training that offers an alternative to pre-school teaching, creating a home setting instead of a school setting for the preschool child. Founder Cynthia Aldinger is enthusiastic about including “Uncovering the Voice” and “Mood of the Fifth” as part of the musical training for the students. 

Tips on Caring for the Strings of the Lyre

Kerry Lee, Spring City, PA

In preparing for the start of the 2nd grade children's pentatonic harp class at the Waldorf school, I care for the strings each year. Here’s how: Using a special cleaner, which you can order through Choroi or go to the local music store and get string oil, wipe the strings with a soft cloth. (Look at the cloth…. Yuck!! You can see how dirty the strings are!)  You would be surprised how much better the lyre strings sound when they are clean!! 


LANA Members Travel Around the World


Lyre Conference in the Czech Republic

By Sarah Stosiek, Hillsdale, NY – markristo@fairpoint.net Cesky Krumlov

This summer, I spent an amazing week in the beautiful town of Cesky Krumlov in the Czech Republic, participating in a Lyre Conference organized by Jan Braunstein and Helena Bartosova! 
Czech
The week was filled with workshops and lyre groups, as well as time to explore the town and castle that boasted a bear in the moat, plus evening music sharings, a street performance, and a final concert given to the public to cap it all off! 
Czech2
Playing the lyre with other people is enjoyable no matter what, but this conference was extra special. As a group of about 25 we learned Czech folk songs, improvised, shared music, learned new techniques, and struggled to piece together Pachelbel's Chaconne until we were successful. It truly was a wonderful experience, and I look forward to many similar conferences in the future!   


Introducing the new Free Music School in China

By Pan Kai, China – 1394368417@qq.com 

Group in China

August 1-11, 2016, we began the first Freie Musik Schule – teacher training in China at the Shenyang Free Waldorf School. We had 83 adults to study with Reinhild Brass and Channa Seidenberg. Everyone studied "Uncovering the Voice" and sang many songs together, also Anthroposophy and AUDIOPAEDIE. Everyone learned how to play the kinderharp, and the planetary scales were introduced. Everyone is very happy here and relaxed. We will meet again near Beijing in Feb 2017. 

August Weeks in Shenyang, China

By Channa Seidenberg, Philmont, NY – channaseidenberg@gmail.com 

Channa in ChinaYou may remember at last year’s International Lyre Conference in Detroit that we had Pan Kai as a participant from China, who was already well known to a number of people in Europe. I received an invitation from him to come and teach at a music course in China.

He had met and worked with Reinhild Brass, a well-known musician and teacher from Germany, and together they had a vision of creating a training model based on the “Freie Musik Schule,” which had its initiation in the 1970’s. Its aim was to have students travel to the teachers and gather their experiences through working alongside their mentors. Julius Knierim, Per Ahlbom, Christof-Andreas Lindenberg, Lothar Reubke, Jurgen Schriefer, and many others were involved in this initiative. This summer, the “Freie Musik Schule China” was established. 


Children's Camp in China

By Veronika Roemer, Lehighton, PA – vbrtnstn@gmail.com 

In late July, Channa Seidenberg and I flew to Shenyang, China to teach at a music conference organized by Pan Kai, whom we met at last year’s International Lyre Conference in Detroit. The conference took place at a Waldorf School on the outskirts of Shenyang. The school is set beautifully amid the hills, surrounded by vegetable gardens and forest. A little beyond the school, the first high-rise buildings of the city can be seen, but otherwise one feels like being in the countryside. The school building was well suited for the conference, with large and small classrooms and a large kitchen where our delicious meals were prepared every day. I was placed with 30 children, ages 6 to 12, far enough away from the adults that we could do as we liked. 


A Quick Overview of My Trip to China, November 2015

China KerryLee 2By Kerry Lee, Spring City, PA 

There has been quite a demand for all things from the "West" in China! I was privileged to be one of those who traveled there, joining Barbara Baldwin as she taught with adults who were interested in working with handicapped children. It was a pleasure collaborating with her. We sang in the morning, I introduced the "Uncovering the voice" exercises, and sang some fun songs. They didn't mind singing in English, though few spoke it. Then in the afternoon, I worked with the three groups of instruments with them, percussion, wind and string, using the lyre for the string. We did improvisations, wrote music and learned to play music combining the three instruments. The people were very grateful and eager to learn. It was a JOY!


Teaching in Xin Zhuang and Beijing, China

By Alan Thewless, Pottstown, PA – athewless@fastmail.net

In July I returned from a 5-week visit to China, teaching with Barbara Baldwin in the village of Xin Zhuang, outside Beijing and lecturing in the city itself. It was my first trip to China, and I greatly enjoyed the work and my first experiences of this wonderful country.

In Barbara's 'Fundamentals of Curative Education' seminar, I taught Choir, Music Improvisation, Painting and Modeling. I also gave public lectures on Waldorf Education, the Waldorf Curriculum, and the Temperaments. Over the course of one week I had the opportunity to give daily lessons in Zhiai Curative School to a small group of children with special needs, bringing to this group hygienic/musical experiences. In Beijing I led a workshop on Shakespeare's "The Tempest," and I was invited to give an introductory workshop on 'Youth Guidance,' the work within Camphill, with young adults with intellectual and developmental difficulties.

The lyre was featured in much of this work, along with native American flute, choir chimes, and a great variety of other percussion instruments.


News from Brazil and the U.K.


First Brazilian Nacional Lyre and Kânteles Conference

cantaro lyre group in opening concertBy Karla Polanczyk (karla@task.com.br) & Flavia Betti Souza (kantelira@cantaro.com.br)

The first Brazilian conference for lyres and kânteles took place at Cântaro in early September 2016. It was organized by "Círculo Musical Association,” together with Cântaro, in Belo Horizonte. Círculo Musical is an association that brings together musicians, music teachers, and professionals who have their work outlined in music. We had 38 lyre and kantele players, and seven music teachers who offered some musical activity or presented their work. We had people from at least seven different Brazilian cities, from the very southern part to northeastern Brazil. 

News from the U.K.

By Anna Prokhovnik Cooper, for the Arion Lyre Association of the UK and Ireland – aprokhovnik@hotmail.com

The Arion Association decided that this year, 2016, we wouldn't have an annual lyre workshop in one place, but take a small tour around places in the U.K. that request a lyre concert. We have decided to "showcase" the wonderful music of Colin Tanser, who has written so much music to enhance and further the playing of the lyre. Also, we hope to enthuse more lyre players in the areas we visit, and so build up our lyre playing community. 


Announcements


The School of Uncovering the Voice, with Christiaan Boele

• Contact Sheryl Adler, healing.round@gmail.com. The schedule for 2016 & 2017 can be found at http://theschoolofuncoveringthevoice.blogspot.com.

China Workshop

• A Chinese lyre conference at the beginning of October, held in Chang Sha and 35 people will attend.


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LANA's MISSION

  • To foster the experience and recognition of the freed tone
  • To foster the rediscovery and the deepening of the capacity to listen
  • To initiate, inspire, and support the sounding of the lyre for artistic, pedagogical, and therapeutic activity
  • To support the development of a movement for musical renewal in all its manifestations.


RESOURCES

Membership in LANA

We invite you to join the Lyre Association of North America!   LANA members receive a subscription to Soundings: A Lyre Review (containing substantive articles and a music supplement) and a discount on fees for all conferences and workshops sponsored by LANA, as well as on music bought through our service. Membership runs for one year from the time dues are received or one year from the expiration of current membership, whichever is a later expiration date.

Please make check for $40 (or $50 as Supporting Member) payable to "LANA" and send to: LANA, c/o M. Ketchum, 2237 Kimberton Rd, Phoenixville, PA 19460. Or pay with PayPal by sending money to lyrists@gmail.com.  To fill out a form online, click this link: LANA Membership Form


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Instruments and Accessories

Lyre Rentals
The Lyre Association has Choroi and Gärtner lyres of various sizes that are available for rent. Monthly rent is $30$40, depending upon size and quality.
  • Choroi Soprano, 35 strings -and-
    Gärtner small Soprano, 27 strings 
    Contact Channa Seidenberg: 
    518-672-4389, 
    channaseidenberg@gmail.com
For more information on lyre rentals, contact Rosamond Hughes: 604-985-3019 / rmsh@shaw.ca.


New Lyres for Sale
LEIER_INSTRUMENTECurrently, most new lyres must be purchased directly from the builders, although we are exploring the possibility of having an American representative for some of the builders in Europe, etc. Please see our website for a list of builders, along with the ads below.


Lyre Builders:
Alan Thewless
  • A full range of handcrafted Soprano & Solo lyres plus Kinderharps, designed and built by Alan Thewless. 
  • Derscheid lyres faithfully reproduced in the Tir-anna workshop as Derscheid Legacy Lyres. 
  • Lyre repairs and restringing 
  • A small selection of secondhand and restored instruments. 
  • Strings for most lyres, good quality, made by Pyramid Strings in Germany 
  • Located in Pennsylvania, in the US 
Contact Alan Thewless: 610-970-3047 / tirannalyres@fastmail.net / www.tir-anna.com

Martin Nies 
  • Handcrafted lyres in a German workshop. 
  • Kinderlyre, solo soprano, alto, tenor.
  • Handspun metal strings. 
Contact Martin: post@leier-instrumentenbau.de Website www.leier-instrumentenbau.de


Wanted:

(Send us your want ads or instruments for sale, and we'll be happy to post them for you!)


Music Sales

Check out LANA's website (http://lyreassociation.org/music-sales) for a list of our available music to order as well as information about how to order. 

For inquiries, contact Samantha Embrey at
434-277-8180 or Samantha@sembrey.net.


LANA Board Members

• Sheila Johns, President – Cuenca, Ecuador; 301-681-6546 / sjohns123@eathlink.net

Channa Seidenberg, Vice President – PO Box 925, Philmont, NY 12565; 518- 672-4389 / channaseidenberg@gmail.com

• Colleen Shetland, Secretary –3307 Cool Spring Rd, Hyattsville, MD 20783; 703-998-5264 / mcshetland@earthlink.net

Margo Ketchum, Treasurer – 2237 Kimberton Rd, Phoenixville, PA 19460   610-608-9281;   margo.ketchum@gmail.com

• Debbie Barford – 934 W. Carmen #2W, Chicago, IL 60640; 773-561-7910 / dsbarford@yahoo.com 

Nancy Carpenter – 17155 Sioux, Detroit, MI 48224; 313-879-1212 / necarpenter@hotmail.com

Julia Elliott – 11 Anderson Dr, Boxford, MA 01921; 978-352-5581 / juliabelliott@verizon.net

• Wendy Polich – 9 Hopewell Lane, Bella Vista, AR 72715; 303-618-6879 / wendypolich@hotmail.com

Seeya Zheng – 84 Camphill Rd, Copake, NY 12516 518-329-7971 / seeyasino@gmail.com


Lyre Teachers

Quebec, CANADA – Audrey Paquin~819-327-5075, audreyatdorion@yahoo.ca

Sebastopol, CA – Robin Elliott ~ 707-829-2409, SongLyre@comcast.net

Fair Oaks/Sacramento, CA – Andrea Pronto ~ 530-637-5970, jpronto@hotmail.com

Detroit, MI – Nancy Carpenter ~ 313-879-1212,
necarpenter@hotmail.com


Ann Arbor, MI  MaryLynn Channer~734-856-5380, 

Chicago, IL  Debbie Barford ~ 773-339-8707, dsbarford@yahoo.com

Temple, NH  Juliane Weeks ~ 603-291-0447, juleweeks1@gmail.com

Copake, NY  Monika Talaya ~ 518-329-0249, monica.talaya@gmail.com

Hillsdale, NY Diane Barnes ~ 518-325-1113, dingraham1@netzero.com

Harlemville, NY  Channa Seidenberg ~ 518-672-4389, channaseidenberg@gmail.com

Kinderhook, NY  Christina Porkert ~ 518-758-2428, cep@fairpoint.net

Chestnut Ridge/ Spring Valley, NY
Christiane Landowne 914-425-8589 clandowne@optonline.net
Laura Langford-Schnur ~ 845-469-2227, jlls@optonline.net

Kimberton, PA  Kerry Lee ~ 610-948-5026, musiklee@verizon.net

Allentown, PA Veronika Roemer ~ 610-377-3086, vbrtnstn@gmail.com

Washington, DC  Colleen Shetland ~ 703-998-5264

Central Virginia – Samantha Embrey ~ 434-277-8180, samantha@sembrey.net

Chapel Hill, NC
 Joanna Carey ~ 919-885-7569, joannapcarey@gmail.com
 Suzanne Mays ~ 919-929-1073, suzannemays@gmail.com

• Skype from Ecuador
 Sheila Johns ~ 301-681-6546, sjohns123@earthlink.net


LYRE NOTES, c/o Wendy Polich: Email: wendypolich@hotmail.com
Membership, c/o Margo Ketchum:
2237 Kimberton Rd, Phoenixville, PA 19460 / margo.ketchum@gmail.com
www.lyreassociation.org



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