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If your harp has an extended soundboard, projection will likely not be a problem. There are so many variables, like how loudly you play, your technique and whether you’re trying to be heard over an orchestra or as a soloist or what. Even a concert grand sometimes needs amplification in certain situations. If you can get to a store or harp conference where there are different sized harps together, get another harpist to play several of them for you so you can hear the difference and decide for yourself.
If you pick the harp up in person, you’ll have to pay sales tax. Check to see whether that or shipping is more. May be cheaper to have it shipped to you.
Sometimes our hands are a little too clean. Try running your fingers through your hair before playing to see if that stops the squeak. Camac strings are very good but awfully expensive.
There are many but one of the best is Ray Pool’s “Winter Wonderland.” One of the best arrangements ever for harp of “The Christmas Song” plus “I’ll Be Home for Christmas” and “Have Yourself a Merry Little Christmas” and many more. An indispensable book every year. Sure beats trying to use the original piano music!
One reason is stability. It has to do with the way the weight of the harp is distributed. Also when you set it down, it will be less liable to fall away from you. Moving the harp in the same profile which it assumes when you play it gives you more control over it when moving it by yourself. And yes, it does protect the column somewhat, especially the gilded ones which are so easily damaged.
I prefer harp carts made of metal rather than wood because they are less likely to fail from innate structural weaknesses. If you use wood, be sure the parts are fastened together with screws, not nails. Have the largest air-filled tires you can get (for a softer ride and easier going over gravel and other rough surfaces) and the largest base under the harp that you can get. You don’t want the harp bouncing off the cart when you hit a bump or go over a curb or up some stairs. Use heavy strapping to be sure it’s fastened securely. And always use the padded transport cover before cart moving (unless you’re just riding from one room to the next).
I believe it’s from his Basque heritage and their frequent use of 5 beat music patterns. Somebody correct me if that’s wrong.
If you’re going to play in ensembles at all, extended is helpful. Also more desirable for resale value.
The Daphne and Arion are both larger than the Clio and they are Salvi harps which, though good quality, are known to be heavier in general. At her age, the lighter weight of the Clio would be a consideration.
I have to tell you, Denver, if you buy that Clio, she may love it so much she won’t let you sell it! I use my concert grand in orchestra when needed, but I wouldn’t give up my Clio. I even use it in orchestra sometimes (it has extended board). Also consider any advice her teacher may give. So much depends on your daughter’s age and height.
An extended soundboard does not increase the bass disproportionately to the treble. It increases the volume over all. For purely practice purposes it makes no difference whether you have a straight or extended board. Frankly, if you’re planning to buy a concert grand in two years anyway, I’d go ahead and invest in that if she’s tall enough to handle it, rather than buy a harp you don’t intend to keep and will have the trouble to resell. You won’t be able to resell the first harp for what you paid for it. Harps only increase in value through inflation.
I used to patch strings in college but no longer. With rising costs, though, I may do it again!
There is a diagram on pages 40 and 41 of the Lawrence/Salzedo Method for the Harp. You can only do it between the adjustable nut and the tuning pin. Try to use strings that are as near as possible to the same diameter. It looks similar to when you grip your forearms with the opposite hands.
The strings lie parallel. Each ties once around the other. When tension is applied, the knots pull against each other. Clip any excess lengths coming from the knots so they don’t buzz against the string. Wind onto the tuning pin as usual.
For me the most difficult are the first octave, as I find it easiest to put the string in from the top of the soundboard and then make the knot. It’s hard to get that thin nylon to hold the knot taut until tension is put on it, so I put the loops of the knot around the string anchor so they hold it in place long enough to reach the back of the soundboard. When they tighten, they do make extra loops around the anchor and I have found the string is also less likely to break as you wind it up to pitch.
When I change strings, I make string anchors (or splines) from the 5th octave gut excess that is cut off above the tuning pin. I cut them into appropriate lengths with the wire cutters (much easier than scissors). Also, I try to put red ones in the knots for white strings so if the string breaks and the knot flies off somewhere, it’s easier to find. I don’t use them below middle C either.
