Biagio

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Viewing 15 posts - 961 through 975 (of 1,135 total)
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  • in reply to: Future harpest who's blind. #187295
    Biagio
    Participant

    Janis, I’m not saying that the piano would not be excellent theory training. But I’m puzzled – if I were to just run over the keys without making a sound won’t I simply be learning the chromatic scale by feel? I’m probably missing something here since I don’t play piano. Or anything else aside from saxophone back in high school. Not much music theory there:-)

    Back to CelticKnot’s issue about knowing where the strings are…..wire strings are incredibly hard to see even in the best of light so many players go almost entirely by feel. They use two concepts called “coupled hands” and “finger anchor”. Not that I’m very good at this yet but I do understand the concept: your two hands are coupled in that they “know” where they are in relation to each other spatially, and one finger of each hand is always anchored on a reference string. Obviously this technique won’t work too well for octave jumps, but then a wire harp is not usually more than four octaves at most…..

    Biagio

    in reply to: Future harpest who's blind. #187288
    Biagio
    Participant

    Here are a couple of thoughts for you…..

    With respect to levers: there is a technique that double strung harpers use since they cannot, of course, see the right hand side. The “trick” is to place your finger on the string, then quickly slide it up to the lever and flip it up or down. This is easiest with levers having a long handle (cam) such as the newer Lovelands and the Truitts.

    If you are starting music pretty much from the beginning it’s unlikely that you will need to be “flipping levers” (that is playing accidentals) for some time; at least until you’ve developed good technique.

    On that score (pun intended) I respectfully disagree with Carl to some degree unless you already have a piano. A piano keyboard is certainly easier to visualize (white and black keys) and I wish I had started that way. Singing lessons would have gotten me started just as well and are lot more useful (ie to accompany the voice on the harp).

    But if you can’t see the keys anyway how much would a piano really help? Technique is totally different and you would be training your hands to do something they would not do on the harp. It might be better to use your ears just as the blind harpers of Ireland did. There are plenty of good books out there on theory written specifically for harps and I am sure at least some are available in Braille.

    Ask our blind musicians on the Virtual Harp Circle how they went about it (I am the owner and moderator of that forum).

    As a matter of convention, most people say “harpist” when referring to those who play the pedal instrument, “harpers” for the lever or wire strung. Those who have a quirky sense of humor (that would be me) sometimes say “harperist” which usually gets a laugh.

    Chairs: I love my “Adjustright” chair since I play several different sizes of harps, but it is pricey. The advantage is that you can change the height by almost a foot, as well as the angle. Aside from cost, the main disadvantage – it is heavy!

    You will be fine with Dusty’s back pack straps but be aware that they are best for a lighter instrument – that FH34 is probably about as heavy as I’d want to do (though it certainly beats lugging the thing with a shoulder strap).

    Welcome to the magical world of the harp!

    Biagio

    in reply to: Question about string spacing…. #187272
    Biagio
    Participant

    Hi Balfour,

    Well I did say “about” heh heh. I suppose it depends on what we are calling the middle two octaves and of course what string diameters and therefor specific spacing the designer came up with. Still a two octave stretch from C below middle C to C above gives one a fairly good idea of the rest of the string spacing: 8″-8.5″ sounds about right to me.

    Cheers,
    Biagio

    in reply to: Headphone amplifier #187268
    Biagio
    Participant

    Mae, this sounds to me as though you want a pre-amp; would that be right? One reasonably priced option would be the K&K Pure pre-amp with single or dual pick ups. I don’t know what kind of output jack it uses nor specifics about volume/gain controls but it might fit the bill.

    Biagio

    in reply to: Question about string spacing…. #187240
    Biagio
    Participant

    Many if not most lever harps are designed with “concert spacing” but that’s really not a set standard, more of a reference. Typically the spacing gets wider to allow for thicker strings and more vibration as one progress to the bass. A very common measure for reference is that across two middle octaves: 8.5″/21.6cm from C to C “concert spacing.”

    I’d expect any gut strung harp at or near concert tension would have similar spacing. The L&H 34 string Ogden suggests itself (Lyon & Healy is owned by Salvi). Another possibility would be the new Dusty Strings Boulevard, also a 34. I can’t think if any smaller harps at concert tension off the top of my head.

    Hope that helps.
    Biagio

    in reply to: Learning Harp Regulation & Maintenance? #187225
    Biagio
    Participant

    I would suggest Mike Lewis’ blog as a starting place:

    http://www.harptech.com/index.html

    Some maintenance is fairly simply; some gets more complicated as you must thoroughly understand string theory and the pedal harp mechanism. I don’t know of any books on the subject. Perusing Mike’s blog may give you an idea of what might be feasible for you and what might not. Factory trained technicians tour and you can make an appointment with them for the more complex stuff.

    in reply to: Travel Harp #187219
    Biagio
    Participant

    I have not had one of these Wickford harps in my hands, but would say that the concept is sound (small pun):

    http://wickharps.blogspot.com/

    Biagio

    in reply to: Question about harp types #187169
    Biagio
    Participant

    Balfour, I’ve read your testimony for the Ravenna 34 and definitely agree. If I could do it all over again I’d have just bought that to start, later an 36-38, a 26, and a wire strung and forget the building.

    As it is, I got in through the back door with a scratch-built Limerick, then a Voyageur kit that I modified (did not like the transition strings), then proceeded to design and build custom harps – first for myself, then for some others.

    But by gum if I just wanted to play the lever harp and no fascination with design – Ravenna 34, Eclipse, Lorien Raphael, and a Triplett Luna wire. That would have saved a LOT of work!

    Biagio

    in reply to: Moving Between Lengths and Strides #187154
    Biagio
    Participant

    I’m certainly no expert on this but can share with you what several professionals whom I know do. They memorize the intended set, not only the music but the sequence; write the names down on a piece of paper placed inconspicuously on the floor. Then they practice practice practice, preferably with their friends and students listening. They not only practice the tunes but what they might say between them – for example the tune’s origin, interesting or amusing stories etc. The idea is to establish a conversation, personally as well as musically.

    I don’t know about you but a performance that just goes from one tune to the next is much less interesting to me than one where there is a transition between them. That not only gives me as an audience member some personal involvement, it also gives the performer a short period to gauge the “feel” of the performance.

    Biagio

    in reply to: Disability issues, thinking of returning to the harp #187142
    Biagio
    Participant

    Fied, at what I guess would be “optimal” length my nails project no more than 2mm beyond the pad, and even 1mm would be OK for me. I play with nails or the pads depending on the tone I want (and how clumsy I am) and shape the nails somewhat as well. This because I also like my nylon strung harp and don’t want to be restricted. Getting the thumb nail right has been my main “issue”, I’ve had to experiment.

    I’ve been taught to press into the string slightly before the pluck which of course exposes a bit more nail surface. Further, I kept the same spacing on my wire harp as on the nylon ones. I’m aware that really dedicated wire players like that minimal spacing, play entirely with their nails and eschew blades entirely. Fine for them but I don’t want to completely “re-educate” the hands:-)

    Our wire harp group got together yesterday; of the harps, there were two Caswells, one Triplett Luna, one (and the only wire) Dusty, a converted Triplett Zephyr, and my own which is similar to a Caswell. None of those harps have the traditional narrow spacing and none are tuned with “the sisters.”

    I think it’s as much a matter of philosophy as anything. Some people are really into historical harps and that’s wonderful for the rest of us. At the tender age of 65 and a beginner as well I’m just not real interested in becoming the next Cynthia Cathcart or Ann Heymann. Couldn’t anyway!!

    Biagio

    in reply to: Teeth clenching #187129
    Biagio
    Participant

    I used to have the same habit and still do when deeply into arranging. I’d say that the key to relaxation lies in one’s mental state – it is well known that we retain more and play better in what neurologists call the Alpha wave state. Here are a few harp-specific suggestions:

    Start with slow relaxed stretches, particularly the spine and lower extremities.

    Sit comfortably at your harp with feet flat on the floor and back straight – NOT military ram-rod. Then begin with very slow scales and argpeggios – I know one professional who does this no faster than one quarter note at 20 bpm.

    Listen very closely to the sound of every note. Do NOT try for speed but for beauty.

    As soon as you find yourself tensing up, stop. Get up, stretch, whatever until you feel relaxed again.

    Just as strength and agility take practice, so does calm even playing; one must break the habits of rushing and stopping to correct every single mistake.

    As my teacher keeps telling me, “If you practice with bad habits they will become habitual. Therefore practice good ones no matter how slowly you need to do it. Speed and precision will come sooner and more easily that way.”

    She does half an hour of yoga every morning upon waking – me I need my coffee but you can see where she is going with that.

    Biagio

    in reply to: Question about harp types #187126
    Biagio
    Participant

    Incidentally, since I like the Egan but only needed 34 strings I made my own version, the “Selchie”; it and her “sister” 26 string are pictured here:

    http://www.harpcolumn.com/members/biagio/media/

    Note that the fairly long bass strings give this style of harp great sustain, but they can be played quite softly if I wish. Strings are Nylon, Savarez Alliance FC and a few wound in the bass for the 34. Both are round backs.

    If your budget is limited the Dusty Strings Ravenna 34 has an outstanding reputation among both students and professionals; Dustys are available in Europe and I am sure the UK.

    in reply to: Question about harp types #187124
    Biagio
    Participant

    In general for well designed lever harps the issue of tone is probably better related to the kind of music you want to play and in what venues. Cogent arguments have been advanced for square or extended boxes having somewhat more volume than round backs. Conversely, a round back (shell) weighs less and can be thinner and stronger. This has an indirect effect since you will not need as much internal bracing as you might for with the square back, with resultant freer air space. So I would argue that the issue relates more to your physique and preference.

    Rather more important would be your sound board and string choices. With a wide solid wood board and fairly high tension you can play from a whisper to a bellow. For equivalent volume at lower tension the board must be thinner and probably also wider. As to my personal preference in a lever harp……

    I like potentially great volume and sustain; if money and portability were no object I’d favor the Salvi Egan or Triplett Eclipse over anything else out there. For a smaller harp I would certainly be happy with the Eos or preferably the Telor 34. And yes, my repertoire is mainly Celtic and “folk”, but these are capable of classical repertory as well.

    Resonance depends on your technique to a much larger extent than it does on the harp’s physical characteristics, again with the caveat of tension and excellent design.

    Hope that helps!

    Biagio

    in reply to: Disability issues, thinking of returning to the harp #187122
    Biagio
    Participant

    I find lighting is a fairly big deal with wire, painted or not. The “trick is to have the light directed at the strings, say with a goose neck floor lamp, and with a light carpet or background. One soon gets used to it and soon plays by feel anyway.

    Biaigo

    in reply to: Disability issues, thinking of returning to the harp #187117
    Biagio
    Participant

    Hi Ellettaria,
    On reading through this thread there were a few things that sort of jumped out at me – both as a harp maker and as a (recent) convert to the wire strung harp. Here are some thoughts for what they’re worth, with reference to sme friends who suffer from ME….

    Design – Both weight and length would be a consideration for playing in bed or on a couch. I have a double strung 23 and while it is light it is a bit too tall for comfortable playing while lying down. I’d say the same about the Harpsicles (which I don’t like with the standard strings – but they now offer a higher tension string set). For playing while sitting, especially in a wheel chair I feel it is very necessary to have a solid stable support for a floor harp, and a design that does not require tipping the harp back. It would be quite easy to injure your back otherwise.

    Wire Strungs – I am a real fan but have to caution that most are fairly heavy compared to nylon/gut harps of the same size, Ardival in particular. Accidentals and chromatics generally must be “worked around” as sharping levers do not work well except on steel strings (which I dislike). Brass or bronaze need blades to avoid breaking the strings and you really can’t “flip” them. You mentioned the Triplett Zephyr – a friend recently restrung hers with bronze and is very happy with it.

    Other Types – I think that Wil-Weten has a good idea in the cross strung if you play a lot of chromatic music. Another option would be a double strung, I have made several from a light rental/travel harp to a large cherry 26 string. Both doubles and crosses must usually be somewhat heavier than singles but they give you far more options.

    Availablity – I am not very up to date on European makers and distributors but I do know that Blevins, Stoney End, Rees, and Dusty Strings have distributors there, all good makers. Harps of Lorien makes a lovely single 26 (the Raphael) but I don’t know if it is available in Europe. One option that is often over looked however would be to approach a maker directly for a custom design. Surprisingly perhaps, many will design one specifically for you and at not much more expense than a stock model. Finally, if you know some one who is a decent wood worker, a few excellent kits or plans are available. As one example, I am about to modify the Music Makers Shepherd harp plan to be bronze strung instead of nylon.

    Best of fortune,
    Biagio

Viewing 15 posts - 961 through 975 (of 1,135 total)