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Elizabeth- I learned only recently that the Salzedo Conditioning exercises include placing in sequence.
Modern harp effects? If you’re referring to the stuff that Salzedo wrote, it was written mostly in the 1920’s, which makes it almost 90 years old! Salzedo is now as ‘modern’ as Hindemith, Ravel, and Debussy. The ‘effects’ that he created are really just 15 ways to play a glissando. A simple written explanation should suffice whenever a non-standard written symbol is used in music. Is it realistic to expect anyone who plays this stuff 100 years from now to buy a video tape from Lyon & Healy to figure out what the symbols mean?
There’s no easy answer to this, because each student’s needs are so unique. In general though, I tell the student what to play, OR, I give them a choice of two or three pieces that I feel are appropriate and let them decide which one to learn. I have occasionally misjudged a students ability and have had to withdraw a piece after one or two lessons because I didn’t like the way it was progressing. Under no circumstances should a student work on a piece that he/she is not technically up to.
I got an email this afternoon from someone asking me to blog about something quite similar, so I’m going to put a longer response to this on my blog. Soon.
