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Wil mentioned that buying a harp is an investment. I tend to agree if we’re talking about pedal harps. My experience with them is that they hold their value better and appreciate at a faster rate; lever harps not as much. For example, folks who are looking to buy a used lever harp expect the buyer to sell them at a deep discount as compared to a new lever harp, even if the used harp is only a few months old, whereas the same expectation doesn’t seem to apply to the pedal harp.
Hi Catherine,
I’ve heard of harpists charging $25-50 to buy and learn a new song for an event, so I personally think that $10 is not out of line.
Hi Saul and Balfour,
I didn’t realize that new replies came in for this thread!
Saul– I was hoping that you’d respond to this topic. That’s wonderful that solfege has been so helpful to you. I can see how having the bass line grounded in one’s mind would enhance performances. Makes me wish that I had listened to my teacher’s advice and learned it!
Balfour–Good to hear that you are o.k. Electricity has probably been restored since you last wrote. Also, what is shaped-note singing? It sounds intriguing!
Is it standard procedure to ship a harp in plastic wrapping? I wonder what the advantage is in using it? I don’t know where you live, but since summer is over, it should be o.k. However, I did hear of an issue once with a new lever harp that was shipped to Arizona by a well-known company (not Dusty) in the middle of summer. It was wrapped in plastic and then put in its case and box. The heat during the southwest leg of the trip was so severe that the plastic fused to the harp and could not be removed. The harper couldn’t live with the way the harp looked and eventually sold it.
That’s wonderful! Yes, please let us know what you think of them. And it’s so great that you’ll be able to hear Isabelle in person!
and this one: https://www.camac-harps.com/en/harps-en/pedal/canopee/
Has anyone had a chance to try them out? I understand that they were introduced at the World Harp Congress in Hong Kong a few months ago.
Other pieces of advice I’ve received are to look at your music (not your hands) wherever possible and while playing in public always be gracious to your listener even if he/she is rude or inconsiderate.
Hi Balfour–Great to hear from you!
It’s so important to stay relaxed in order to avoid injury, etc.
Did your French training include the solfege method? My teacher offered to teach me, having learned it from Miss McDonald, but I declined, thinking I didn’t enough time to tackle it plus everything else she was teaching me. I sometimes wonder how learning it would have improved my performances.I hope that more harpists respond to this thread!
Hi Elizabeth!
Yes, excellent advice from Miss Loman about ensuring that we are actively engaged in our music as opposed to just going through the motions. I caught myself playing on autopilot a few years ago and made certain that I became more engaged in what I’m doing, especially when reviewing gig repertoire that I’ve played many times publicly in the past.
I was thinking also of something Sylvia brought up earlier in this thread, that we should tape record ourselves to check on our tonal quality, etc. I remember when I first bought Brook’s Dusty 36S. It was such a different-sounding instrument from what I was used to (pedal harp) with a medium tension that definitely required a different playing approach. A tape recorder was very useful in helping me to understand that I needed to adjust my normal playing style to get the best sound out of the instrument; I just couldn’t evaluate the sound properly with my ears alone.
Hi Biagio,
That is very good advice. I remember my teacher telling me the same thing. It also brings to mind something Sylvia said about practicing a piece faster than you need to for performance tempo (as a buffer against nerves, distractions when performance day arrives).
Hi Phillipa,
Thank you for your input!
I was wondering if Alice is also trying to have you release tension when she says to “let go” after your fingers are brought into the palm? So much unnecessary tension can be created while playing that can be a real impediment to our overall health as musicians.Hi Kathy and Sylvia,
Some advice that I was given was:
1. Sing in your mind what you’re playing with your fingers.
2. A simple piece played beautifully is much better than a complicated one played poorly.
3. Like Sylvia, I was taught to never speak disparagingly about another harpist.
4. Never try to interfere with another harpist’s gig (whether short-term or long-term). Find your own jobs.
5. Practice with passion/feeling as soon as you can in the process, e.g. while working on phrasing once you’re comfortable with putting your hands together in a section.Hi all,
I owned a Salvi Ana back in the early 90’s and loved it! Mine had a beautiful warm tone, and its classic look really appealed to me. I eventually traded it in for a Salzedo pedal harp.
That’s wonderful, Carl! What a great opportunity for you both!
Did you attend any jazz harp concerts, and if so, can you give us details?
I wonder why Lyon and Healy doesn’t offer a gold option for the 17? And I also wonder if the spacing is too tight in the upper register to accommodate 47 strings on a semi grand? Has anyone had a chance to test drive the latest version of the 17 yet?
