I am a strong advocate of taking information from one discipline and applying it in another where possible. Whether is is using musical principles in motor design, using cantilever beam theory or things learned in building bicycle wheels to understand how a harmonica reed might work, taking elements for a rifle trigger and incorporating it into a printer paper pick system, you probably get the idea. Keep your eyes and ears open, useful concepts are everywhere.
Along those lines, I came across this excellent tutorial intended for trombonists and I was amazed how much of this applies to harp players. About the only thing that does not apply are the specific techniques for buzzing the lips. Even the part about slide work and how critical the timing of the articulation is applies to the harp (ever tried to play two notes an octave or more apart on a harp and got a glissando instead?) If you are so inclined, watch this and see if there is not something you can use to improve your playing. Breathing, articulation, practice regimens, there is a lot of good stuff here for any instrumentalist.
I recall a night in Denton Texas when my partner and I with a couple of rhythm guys had a gig downtown. That day at lunch a waiter at an Italian joint had mentioned he played 'bone and I invited him to come sit in. He showed and we had a seriously great synergistic meeting of harp and trombone. I quickly named him the Velvet Machine Gun and I definitely took a staccato approach he used with me from that. His last name was Blauner but his first escapes me. I hope he's doing excellent today. He was a part of my continuing development. ---------- Reverbnation