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I don’t think it’s actually painful, no. Just doesn’t sound very smooth, loud or clean – lots of buzzing on replacement, because my hands are quite small and don’t quite stay open at the right chord shape easily, and because some of my fingers aren’t all that strong and sort of ‘slide’ off the string at that stretched angle, rather than a good strong movement. But hopefully those will improve eventually, with a lot more practice!
Thank you both – yes that’s exactly what I was thinking regarding the studies etc (and to be honest, the simple pieces I have are often written kind of for the purposes of studies/teaching I think) – I don’t want to miss out on an important technical skill that would be useful later, if that’s what it’s written for. I’m not having lessons right now, but it’s on my list of things to ask when I do. But at the same time, I can see the practical advantages in a piece of just adapting to what is comfortable for small hands! I was just wondering what the underlying reasons for practising the 4231 fingering were, so that I knew whether to persevere – it sounds like it probably would be worth it, if it helps for chords later. My fingers need to get stronger, so this is probably good for me.
Not a suggestion, sorry, but a request – I love the Tallis canon (used in a variety of hymn settings, eg., Glory to Thee My God This Night, but also in campfire songs and so on). I ‘ve heard some lovely arrangements of it for choirs, chamber groups, etc, but never harp, and wondered if anyone had come across an arrangement of it – not just the simple canon, as obvious that’s fairly straightforward, but a much more involved and interesting arrangement that uses the canon (e.g., version by Libera boys choir, might even have a harp in it, but not solo).
I actually want the pedal version; I just thought this looked like it might well be in a lever harp book, so thus might be from this collection, which helped with identifying it, so thank you for that.
The books sound very useful, and good value (just not at the amazon price here, which I suspect is a couple of sellers importing it from the US, one at £53 and the other at £157!) – but there are a couple of music shops that stock them at normal prices to order from. It was interesting to see the old copy online just so that I could follow along – but it’s not really something I could play from easily.
Did you make any recordings of them?
I have found places I can order the books from (though turns out amazon is fiercely expensive and not the way to do it!), as well as an old original copy online. I don’t think I’d have been able to identify it just looking at the music. I don’t think she is really playing it allegretto, but it is still pretty, even slowly, and there aren’t any metronome markings anyway.
I will look for youtube videos of some of the others as well, as it’s nice to hear them first, and etudes are not things you often find recordings of.
thank you very much – that’s exactly what I needed to know. I think both the pedal and lever harp books are available here, and through amazon.
I wondered if any of you that is very familiar with Bochsa’s etudes could perhaps identify which one this is? It sounds like it would be from one of the first easy collections, but I don’t know which – maybe it is in this new collection you have been talking about here? I think it would be playable on the lever harp, and I think it’s very pretty and would like to find out where it’s from.
thank you, that’s an interesting observation. I know that I often find I’m holding my breath or bracing somehow; I’ve been taught how to breathe properly before, but it’s hard to remember that as well as everything else. Some kind of biofeedback – not really what sort of thing would work – that let me know when I was doing it right or wrong would probably help a lot.
It is often connected to the actual action of plucking a string, like I need to get more strength from somewhere; I think I end up tensing far too much in my fingers and hands each time I play a string, and whilst I spend ages trying to relax it all in between, I am not sure I ever quite get there! That’s why I’m trying the AT lessons, to really learn what that feeling is. We work on breathing there too, but it’s not yet become a new habit.
that’s cute – would be interesting to see it done like someone properly playing, and actually seeing how the bones sit and move as one plays!
Does anyone know what piece it is?
Thanks very much – I’ll give all those a try!
Yes frustration is definitely part of it, as I can hear how different the sound is when I am tense or not. I am aiming to be able to keep a good hand position, and to play a note or two, without introducing tension.
I have had a few occasional lessons, but she hasn’t any ideas for this. I probably am anxious, rather than afraid, but wanting to do well; this seems to be more of a physical thing though. I hope that getting stronger fingers/arms will mean that there less temptation to clench and tense so much. I guess it really just is a habit, and like all habits, I have to just keep making myself aware of it, and trying to replace it, and there’s probably no magic solution apart from general relaxation stuff, both mental and physical.
thanks.
Thank you for the suggestions.
I do the really slow stuff already – in fact I’ve not been able to get much beyond this, as I have to consciously relax everything after each note and I don’t seem to be getting ANY faster at that! I listen to each note and try to make it beautiful, but I can hear that it’s not, unless I manage to get everything released before I play it (and I can’t always tell in advance). I think my fingers are quite weak, so I am trying to recruit other muscles to help, and clenching my teeth or bracing myself might go along with that – maybe it will diminish as I get stronger.
But I will think about yoga, and more stretching and so on. I can completely see that mental state will be important to relaxing, so will work on that too.
If you’re anywhere near London, there’s a top hand therapist (and arm/shoulder/etc) who works specifically with musicians, lots of very well known ones.
