It’s also amusing how so many people who consider themselves devotees, call it the “Grandjanay” method. Salzedo and certainly his disciples did promote his method aggressively. He was very astute at promotion. It was a missionary zeal, born of real faith and belief in his vision and teachings. That is why it has lasted and is so concrete. But, yes, it was very French, and all of his texts were bilingual, though I have always wondered how many French harpists read them. The idea of launching a new, separate school is part of French teaching in general. The book, French Pianism, is very enlightening in this regard, and there are many more schools of French pianism than harpism, though there are many parallels between them.