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Do you need to keep moving it if you put it on one of the pins, or will it pick up vibrations of any string? Don’t think I could see it in the hole in the back, as I’m always standing up to tune (hard enough to reach the lowest bass wires tuning pegs as it is). Quite like the idea of the tuning key attachment, as that would just move along with you – but does it register the changes as you are turning it? Is it that fast? It also looks quite big to fit on my tuning key, but maybe appearances are deceiving.
There’s actually loads by Snark it seems, not just Sn-2 and another, but lots of numbered ones. Sn-8 appears to be the newest, but not sure that it does both mic and vibration, though it says it’s faster than the Sn-2 (and also black). [edit: just found out that apparently the sn-8 is only vibration, so the older one sounds better as it can do both]
Korg has one called Pitchclip I think? Don’t know if that’s any good.thanks, I will perhaps give both solutions a try.
I have found other adapters that should work with the phone and a Korg/other pick-up, so unless there’s something particularly good about the Peterson cable and/or pick-up, I could give those a try first as they’re easier to get hold of.
oh that’s interesting, never thought about clipping it to the tuning key itself! That would certainly solve visibility problems, if there was enough room to clip it on and still turn it (I have a T-shaped rubber key).
I looked at the Peterson adapters – it seems quite expensive compared to lots of the ordinary 1/4″ to 1/8″ adapter cables, but maybe it is better quality/sound. The pick-up that I had been recommended was the Korg one (which is what I was searching for when I came across these other ideas!).
thank you
I’m going to try to arrange another lesson soon I think.
I don’t think examiners generally play the harp (unless you’re lucky – or is that unlucky!) so I doubt they would mind which fingering, as long as it sounded smooth and was up to speed, as long as it doesn’t mean missing out on a skill that would be valuable for later pieces. I did try it with the fourth finger, and it kind of worked, though felt very strange! I would probably get used to it though, especially as my fourth finger got stronger.The current grade I think requires just first inversions, and then the next needs second inversions in C and F (though really I don’t see why they specify the key as it’s the same for all of them!) so I was thinking I’d start adding them to my practice, because it takes me a long time to get the muscle memory.
I’ve just had a thought! I wonder if I could do them with the fourth finger instead? At least for the purposes of exams etc. If that exact pattern ever came up in pieces, I’d be able to use my fourth finger. I suppose the idea is still to get good at playing that interval crossing my third finger under, as there are probably times when I’d have to, but maybe there’s no point killing my arms trying to repeatedly do it with arpeggios, if it’s something that I would be able to finger otherwise in most pieces.
thanks, I will try to keep my elbow higher and see if that helps.
I have just practiced a bit, and my wrist and arms are hugely aching after just a few goes through the second inversion ones. There is no way that I can keep my thumb in the same position/shape when I cross my third finger under – it only just barely reaches with my thumb totally flattened out, and my third finger stretched as much as it can go, to touch the higher string. And at that angle, my thumb can’t really do anything! To make a sound at all, I sort of have to flick it sideways, which is suspect is probably what hurts my wrist in the end (my wrist angle ends up twisting back and forth as I try to reach). Coming down is alright, but it’s going up that’s the problem. I can keep my thumb in the same position and play one string higher, sort of in the same position but a bit flattened when playing two strings up, and totally flat and barely reaching when I try to play three strings up, which sadly you need for second inversions.
I think I have too small hands for the harp really. I know they say small hands should be ok, just have to refinger stuff, but I know arpeggios with standard fingerings are needed at least for exams! And quite probably pieces will need them too, though at least a bit of leeway there.
I’ll keep the high elbow in mind though, and aim lower on the string if I can stretch further – the right hand actually seems easier at the moment, so maybe it has stretched a bit. (I’m an adult already, so hands are going to grow any further).
I haven’t had a lesson in quite a long time, but she just thought I’d be able to stretch more with time. There is definitely not the same space (or shape!) when my third finger is above rather than below – well in the second inversion certainly – so I suspect it is my basic hand position that is the problem, yes. All my fingers and thumb are pretty short. I will try to stretch it so that it is lower on the string, thanks, that might help somewhat if I can get it further down, and maybe it is just a matter of developing some strength to be able to play with it at that sort of angle/stretch.
thank you
