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Good to hear some voices speaking up for ebony! I like it too and would only avoid it if the underlying wood were so beautiful that it would be a shame to cover it up.
The 23 is a very handsome harp, but it looks so naked in natural. At least until a few years down the road, when the white wood starts to turn amber. Any figure the maple has doesn’t show up well in natural either, and any gold-leafing also shows up better on a stained wood.
Goodness, Deb! Don’t overlook yourself in your generosity! I agree, brand-new harps don’t clutch at my heart the way older ones do.
Love that model 12.
More likely they’d scream “Thumbs up!” at me. But you see, I have kid-sized hands, and my thumbs won’t go up any higher.
Addendum: Lizzie is lizlops007 on YouTube. Look her up! She is also on my Favorites list (I am jessyquedens) playing Dussek Sonatina #1, 1st movement.
If you watch Loreena playing “She Moved Through the Fair” on YouTube, you will see that she has a whole bunch of back-up musicians filling in. You don’t, so you may want to take her advice and “get creative.”
Other things being equal (but are they ever?), I’d go for a full set of levers. But note that there have been recent reports of Camac levers’ breaking. I can tell you that they move a lot more smoothly than Lovelands.
Deb, I am also practicing “She Moved Through the Fair,” with melody and chords in no particular arrangement. It’s on that Mixolydian page in a book by Sylvia Woods on learning to arrange for the folk harp and I’m using it in part (but I’ve always loved it) as a way to get used to putting hands together again after a long hiatus from harp playing. Start with just playing the chords flat-out in root position, then arpeggiate them, then play in different positions . . .
