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I went to their web site and discovered that the first prize winner was Lenka Petrovic from Serbia, second prize was Joel von Lerber from Switzerland, third prize was Marina Fradin from Israel.
There is also the Royal Conservatory of Music. Here’s the link to the Harp Syllabus.
https://www.rcmusic.com/sites/default/files/files/HarpSyllabus_2016_online_SECURED.pdf
plus the errata list
https://www.rcmusic.com/sites/default/files/RCM-Harp-Syllabus-2009-1-errata.pdfThey are also available in the UK at http://www.creighton-griffiths.co.uk/acatalog/Elizabeth_Volpe_Bligh.html
Biagio makes a good point. Not everyone plays their thumbs the same way. It is quite possible to play the thumb without bending it. Watch virtuoso Sasha Boldachev’s thumbs on this video, among others. He closes them sometimes, but not all the time. He’s got one of the most impressive techniques I’ve ever seen.
They are now available from Harp Column Music, right here on this web site! You can also get them from Lyon & Healy, and Canadian Music Centre. My publisher, who ran The Avondale Press, has retired, and her web site is no longer functioning.
I have played it many times, with different types of choirs, and always used the same harp part. But I would be interested to see others’ responses to this question.
This would not work well as written. The left hand is busy with a different chord, and the right hand cannot play multiple harmonics. As Tacye suggests, the left hand, if big enough, could play the bottom note of the right hand chord. But those harmonics are on strings which are too short to make good harmonics. Another solution would be to play those harmonics as single natural notes an octave higher, and take as many notes as you can in the left hand. What piece is this? Has anyone ever played it?
I always inform the composer if the music they have written is impossible, and explain what has to be done to make it work. Usually, they are grateful for the advice (though not always). I can’t count the number of hours I have spent editing terrible harp parts. It would be great to be paid for the work, but I have never heard of anyone actually achieving this.
I use both Google Calendar and a big paper calendar. The main thing is to write your events and appointments into both, so there is no confusion! I like being able to see the paper one at a glance, and in case my files somehow crash.
Though this has nothing to do with the care of the harp, you should have enough brightness to be able to see your music and strings clearly. Otherwise, you might be craning your neck or squinting, neither of which are good for you. You may also make mistakes because misreading a note due to inadequate light. Once you’ve learned your music, then it’s a good idea to see if you can still play it with the lights turned lower.
Here are the PDF’s of both pages of my edition. Our last tempo for this was 88, not 72. It varies, depending on the conductor.
No, I have a different version than in Sarah Bullen’s book. It can go very fast. Nowadays, it seems that everyone is going as fast as humanly possible, or beyond.
She’ll be greatly missed! She was a great teacher even when she was a teenager. She gave me a brief lesson when I was just beginning the harp, and she was in town with the National Youth Orchestra of Canada. (This was before I started lessons with Judy Loman.) She was only one year older than I was, but she called me “Kid”, which I thought was really funny. Her book and lectures on “Power Performance” were life-changing. What a loss to the harp community!
