Etudes

[barbara-brundage]

Since it is *exactly* a page, I suspect it was an error. Her edition is the oldest published version, so possibly she inadvertently skipped a page when copying or lost one somehow without knowing it.

[barbara-brundage]

Or possibly Hasselmans left out a page when he gave it to her to copy.

[barbara-brundage]

Meant to say Hasselmans or whoever gave her the music to copy. Since he died in 1912, she might have gotten the score from someone in his family after his death.

[Evangeline Williams]

I use the first of Naderman’s “Sept Sonates Progressives” sometimes.

[unknown-user]

La Source is actually a very good piece for dealing with tendonitis, if you approach it correctly. It is strengthening and allows for maximal relaxation at the same time. One must not exaggerate positions at the harp, like pressing the wrist against the sounding board, or stick the elbows up high enough to tense the shoulder, or push the wrists in so much that there is pressure, generally speaking.

[mr-s]

there are exercises by Dulova,its good technically and great for articulation,and beautiful sound,not only etudes.but i find Bochsa good for technique.

[Alison]

Dare I say it but missing out the repeated theme (1st tempo) 3 pages from the end is an economy I am affording myself whilst I learn this. This is my

[HBrock25]

I had no idea that they did that. I’ve ordered stuff from abroad before
but I suppose those were too small to have VAT put on them? (completely
clueless)
Thankfully I do try to have a bit of extra just incase, you don’t know
when the prices will change to something else and at the moment I’m just
using a converter to change dollars into pounds.
business and
employments

[Saul Davis Zlatkovski]

I have added Bochsa’s advanced etudes into my practice to see what would happen, along with some of Damase and a few others. I do feel some strengthening. After doing exercises, they seem to clear my mind before going on to solos. However, I am also remembering old patterns, where I tend to only sight-read them, as they are too boring for detailed practice, or too consistent to present clear challenges, and I am fatigued if I play one more than twice. Thus they present frustration and challenges that are not well overcome, when they have one sticky spot. I remember as a student that I benefitted much more from extensive use of exercises, and working on orchestra parts and literature. I think the biggest problem is the lack of first-rate etudes. I think that we need a project to have many composers writing etudes. Harpists who compose have a difficulty in overcoming their great knowledge of the instrument to be truly creative. It is also a rather stale genre. Damase’s etudes are good, but seem to mostly make it much more comfortable to play his vast oeuvre of harp music. They do create much familiarity with diatonic harmonies. Bovio’s look good, haven’t really used them yet. The Bochsa, Dizi, Godefroid seem too limited, especially in left-hand use, and harmony, and rather stuck in keyboard ideas. Hasselmans is a cut above, but doesn’t seem to have many. You can’t really beat La Source or his Prelude for arpeggiated etudes. Salzedo’s are, of course, supremely difficult and specialized. I have completed a few transcriptions from Paganini’s Caprices, but may not do more, because so much of them are engaged in chromatic scales, and how much of that do we really need to work on? Naderman’s Sonatas, the long one, make certainly good etudes, as do Krumpholtz, Rossetti and Cardon. Not necessarily great music, but some pieces stand out. It would be a good thing to find more solo music by Boieldieu, if there were any. Why has the original ms. or publication of his concerto never surfaced?

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