French or Salzedo technique?

Posted In: Young Harpists

  • Participant
    unknown-user on #167326

    What do you think is better or sounds better?

    Participant
    unknown-user on #167327

    I can hear the bomb ticking.

    Member
    tony-morosco on #167328

    There are a lot of posts on this subject, and it tends to bring out the worst in people. I suggest looking through the older posts and reading what has already been posted.

    Getting a new conversation started on the subject will probably not be very productive.

    Participant
    Tacye on #167329

    If the question is which to learn I think the answer is whichever has the better teacher (whom you get on with) in your area.

    Participant
    unknown-user on #167330

    The answer lies in your ears, your mind and your heart. And of course, your fingers.

    Participant
    carl-swanson on #167331

    I can’t stop laughing!

    Participant
    unknown-user on #167332

    oh dear..

    Participant
    unknown-user on #167333

    The way my practice went today, I’d have to say the best technique must be the one I’m not trying to do.

    Participant
    carl-swanson on #167334

    For Pete’s sake!! Doesn’t anyone have the guts to stir up the hornets nest???
    Are we really going to pass up this wonderful opportunity for a real knock-
    down, drag-’em-out brawl??

    Participant
    unknown-user on #167335

    Well, pilgrim, I’ll meet you out front of the saloon, and we’ll see who’s left still standing. . .
    Is that what I get for trying to be sincere?
    It must take a W.A.S.P. (or Lutheran) to be a hornet.
    Besides, what about the Croatian harp technique? And the left-handed back-facing dyslexia technique?

    Member
    tony-morosco on #167336

    Carl,
    The hornets’ nest has been stirred up more times than we can count.

    What more can any of us say that we haven’t said before? None of us has gotten anyone else to budge in their opinions.

    Besides, some of those past threads are monuments to our collective stubbornness and orneriness. It’s only right that we should direct people to them so that they can be admired by many.

    All I know is that I no desire to repeat myself. I have said what I have to say on the subject, as have most of us. Going through it all again would just be a non-productive use of our time.

    Participant
    Evangeline Williams on #167337

    I think it is best to use the Force when playing.

    Participant
    unknown-user on #167338

    I think the point of studying a method is to reach your individual best. Music is a collective language and the culmination of all who came before us. Learning how they did things gives us something to measure ourselves against and a point of reference for our individual whims and caprices. I know that if I had stayed in Minneapolis and never studied with Lucile Lawrence and Alice Chalifoux, I would be a very mediocre player of limited ability and conception, if I were even still playing. They helped me to dedicate myself, and to be at least a pretty good player. I have built on what they taught me and brought myself up to what I never thought possible for me. I think that is the beauty of good method. A good method is also flexible and accomodating to all interpretative requirements. A great actor is not bound by their method, but supported by it. The ones who are “method” actors are limited in their scope and choice of roles. These forums have helped me to pinpoint my thoughts, so I appreciate the discussions, even if they have been at times unnecessarily contentious. It has certainly been educational. Thank you all.

    Participant
    Evangeline Williams on #167339

    I’m curious….do other instruments have different schools of playing the way harps do?

    Participant
    carl-swanson on #167340

    Evangeline- What

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