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Yep, that’s exactly what I do. I have had a few brides ask me (when they see the overtime clause) what will happen if the ceremony runs long. I tell them not to worry, that my concern is ceremonies which start late. I usually build in about 30 extra minutes (unbeknownst to them) because some officiants are garrulous and because some people think the ceremony begins with the seating of the mothers rather than the processionals. It also doesn’t hurt to let the wedding director know (when you’re setting up) that you will need to leave at x time so she or he can make an attempt to keep things on schedule. It’s really a bummer when you need to leave, they’re late, and the only way out is down the center aisle in front of everybody!
My charge for a ceremony is already about what I’d charge for a non-ceremony job of two-three hours. My concern is that, when the ceremony is over, the client would expect me to stay and play the remaining time (while they’re taking pictures or whatever) because they’d think the time was paid for. I charge a flat rate whether it’s a 10 minute civil ceremony or a 45 minute Catholic mass. It’s about the same amount of work for me. But when it’s over, I want to be free to leave, not feel like I have to hang around to fill in the time remaining until their two (or three) hours is up.
Yes, David, that was a great story, and you write so well. Thanks also for giving that sweet little dog a good home.
I’ve had to leave two weddings because they were so late getting started that, had I stayed, I would have been late to the next wedding. I try not to book them close together for safety’s sake. In both cases there fortunately was someone else who could play organ or piano and who covered the rest of the ceremony after I’d already played an hour or more of prelude. Whenever something unusual happens and I imagine there could be any chance of the bride contacting me later to ask what happened or why I left, I make extensive notes on the contract and keep it in a file forever, just in case, for my own protection.
On a couple other occasions where I didn’t have to leave, I did have to take a break because the prelude was going more than an hour. I don’t know how the guests could bear sitting on those hard pews so long.
I do have starting and ending times in my contract and a clause which states I may have to leave at a specific time for another job. That doesn’t seem to matter to anyone but me. I did add an overtime clause but so far haven’t had to enforce it. I put that in because of a bride whose wedding was more than an hour late because she’d forgotten her shoes and she went home to get them herself which delayed her finishing make-up, etc. Why she didn’t send someone else I’ll never know. I haven’t charged overtime for other brides whose delay was beyond their control, i.e., officiant became ill and they had to find another, guests ignored public announcements of scheduled construction traffic snarls, etc.
I do address the issue at consultation when it seems advisable; that, too, has made little impression on them. The worst are the brides with no director or consultant so there’s no one watching the clock. Have you noticed how many young people today use their cellphones in lieu of a wristwatch? I always worry when I see the wedding director doing that. Seems unprofessional and asking for trouble to me.
You can buy Burgundy gut strings and wire strings from Vanderbilt, and they send them very quickly. On a Troubadour III, the bottom 5 strings (not 4) should be wires (5th octave G & F, 6th octave E, D, and C). If you have never changed wires before, get help from an experienced harpist to be sure you have enough slack before winding them on the tuning pins. You should buy Carl Swanson’s book “A Guide for Harpists,” from them, too. It’s the best investment you’ll ever make. Read it before changing your strings.
There is information on your mailing label to tell you when the subscription expires. Check your last issue.
A picture would be helpful. Also look on the metal plate on the neck where the strings wind on the pins. There is probably some engraving there with a name of the manufacturer and possibly even a serial number.
I don’t know for sure, but my theory is that on the first pedal harps (which were smaller) the first (bottom) string was E, so octaves were measured from there. Some of our harp historians can probably give you a better explanation.
Perhaps this would help:
I’ve played it twice although it’s been a while. I don’t think it can be done on lever harp without omitting a lot. There’s one place in particular (Song of Love) that’s difficult even on pedal harp because it’s a series of descending fifths that’s chromatic, exposed and fast. You should listen to the original Broadway recording (1959, Carol Burnett) to hear what you’ll be dealing with. The recording for the 1997 revival with Sarah Jessica Parker does not list harp in the orchestra so I’m assuming it was re-orchestrated without harp (shame but unfortunately not uncommon these days).
Are you accustomed to playing in an orchestra and following a conductor? Playing in a show’s orchestra pit is all that and then some.
This person may be someone to contact:
LINDA KAISER SEEKING INFORMATION ABOUT CLARK IRISH HARPS
Would anyone who owns a Clark Irish Harp please send me the serial
number (stamped on the base of harp) and taborette number (stamped on
the underside of the folding base or taborette). I need to know if it
is an “A” model 31 strings, or a “B” model, 26 strings, or a Baby
Grand model with a curved soundboard (14″ wide). If “Lyon & Healy” is
engraved on the plate on the upper left hand side of the column of
harp (or anywhere on the harp) that is important. If you know its
original approximate date of purchase, that would be most important.
It could have been purchased originally from Clark Music of Syracuse,
NY, (or its branches) Oliver Ditson in New York City, Lyon & Healy in
Chicago and New York City or Wanamaker’s in NYC. I have serial
numbers for a few Clark Irish Harps but most without complete
provenance information (history of the harp). I hope to get enough
coordinates that I can better identify the date of manufacture
of the Clark Irish Harps, and make a chart that everyone could read.
There are a few original records remaining but not enough after 1910
to be helpful. I would really appreciate your input on this project.
Linda Kaiser, lpkharp@… (315) 423 5708
If you’ve never performed this work before, you should work on it with your teacher. If you don’t have a teacher, get some coaching from a harpist who’s done it many times. He/she can show you the markings and tell you things you’ll never learn from the music alone. Also get a good recording and listen to it every day while watching the music so you’ll understand how the choir fits with the harp part in case you need to “catch up” with them if either they or you make a mistake. That will also give you a strong feeling for the tempo; don’t let a bully conductor push it faster than it should be so it becomes unplayable. If you don’t have the music yet, consider buying David Ice’s arrangement; it’s very playable. You can contact him through this website.
