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featured in this issue

Interviews

Harpsicle Explosion

—by Alison Reese

When the father-son team of William and Garen Rees came up with their idea for the tiny, colorful Harpsicle harp, they said they had no idea how successful it would be.

Feature

Gut Reaction

—by Alison Reese

Wondering what to do about your gut strings? We take a look at current state of affairs in gut and help you sort out your options.

Feature

From Solo to Section

—by Elizabeth Volpé Bligh

The harp section in an orchestra is usually a table for one. But when you are called to play with one, two, three, or more harpists, we’ve got expert advice on how to be a good team player.

November-December 2016

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Columns and more

From the Editor

No Harpist is an Island

—by Alison Reese

Team harp.

Sounding Board

Gratitude for Ginastera

—by

Recording artist Yolanda Kondonassis talks about her special connection with Alberto Ginastera’s Concerto for Harp.

Harmonic Curve

Charting Your Course

—by Jaymee Haefner

Understanding your musical landscape to deliver a better performance.

Advice

Tips for Improving Sight-Reading Skills

Tips to improve your sight-reading skills.

Strange But True Harp Stories

New Love in the Golden Years

It’s never too late for love.

Reviews and extras

Recording Review

Dancing Day: Music for Christmas

—by Alison Young

Sara Cutler, harp; John Scott, conductor; St. Thomas Fifth Avenue Choir of Men and Boys; Resonus Limited, 2015.

Recording Review

Noël Nouvelet

—by Alison Young

Caroline Leonardelli, harp; Julie Nesrallah, mezzo-soprano; Matthew Larkin, organ; Cen Classics, 2016.

Music Review

Never Play Alone

—by Jan Jennings

Six new arrangements for two and three harps.

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