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The first $5,000 was the easiest to part with… And, if needed, “The second $5,000 was harder to part with….” They can go figure from there. One tech averse friend actually went and started searching the internet to find out though, and did.
My experience has been with coaching student string quartets (fun!). I started the fees quite low (students initially being in Jr. High), and I also went along to all performances to ensure all went well. Over time as they got older, musically more able, and also able to negotiate the protocols of the situations they were playing for (think weddings, where there is no room for failure), I kept moving the price up and also eventually stopped going to their performances. They always got all the money (divided equally), and never got up to full professional fees but certainly got up to where they felt about on top of the world and that their efforts were very tangibly paying off.
The other issue I addressed is money management, and I stuck close with the parents involved to be sure we were on the same page. By gradually easing the fees upward over time from a very modest amount, it, to put it in rather crass street language, kept it from going to their heads – they saw in a very real way how earnings were commensurate with effort and improvement over time. I felt this was valuable and had the freedom to do this in consultation with the parents involved; others might not have (or chose) that liberty.
I’m surprised a lot of folks aren’t responding here, as everything I’ve heard about Wurlitzer’s is, about them as a class, very good. I would think it very much worth your while to get to Atlanta. Also, since it seems you are pretty new to the harp world, if the harp is laid down for transporting be sure the side to a players left is facing up, and that there is a lot of cushioning underneath and around the sides.
Hope it’s worth the trip, and that you’re rewarded for your efforts!
… and who’s your doctor?! (don’t need to know – just expect someone who can do it clean twice would be in high demand!). glad for your recovery
I have one of the earliest Ogdens (SN #189), and had extreme breakage for the first 9 months or so. In consultation with the dealer I started using abrasive cord (as mentioned elsewhere here), and eventually the breakage subsided nicely. I believe I recall reading that L&H advised using synthetic strings for the second octave (rather than the original gut??), but have chosen to stick with gut.
Nice harp – I like it and hope the issue doesn’t thwart too many buyers!
1) I’ve referred them to slip in the back of another wedding/function we’re playing for – enough to get a feel for the music/performance capability of the players, and assuming the function is open to the public (or that one can discreetly be off to the side.
2) I’ve allowed them to come to rehearsal. Found out the hard way it’s best to say “for the last 20 minus” (or whatever), or they take much more group time than I ever intended.
These let them hear the performer(s) live and get a sense of decorum, etc., but without impinging on performer time in any significant way.
There’s an excellent forum at http://www.sibelius.com > Support > Forum (http://www.sibelius.com/cgi-bin/helpcenter/chat/chat.pl?groupid=3).
Posts are quite specific, and searchable. A highly knowledgeable Sibelius staffer (Daniel) frequently posts responses as well. I’ve posted several times, and responses are quite quick (hours if not minutes), well informed, and have led me through my issues.
I highly recommend this site, but if people want to post here (Harp Column) as well, further liberty.
Check to see if you can have it itemized on your homeowners. Also, you may need to declare whether you use the harp “professionally” (i.e. is it income generating) – that can be an issue.
Not sure I’d take a harp out, but could always use the FEMA approach – pre-position it when the weather’s good (in a nearby secure building), and return it there after performing until the storm is past. Don’t know if that’s an option, but if it helps.
It’s a good reminder to have weather/calamity contingencies covered when booking, as a matter of course…
I put solo music first, then ensemble. Within each of those categories it is by composer’s last name, with collections at the end.
The comment about a trunk fitting through an airplane’s cargo door seemed appropo – one has to think of virtually
