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Carlin, I was the same. Changing strings for me was so horrible before I started using the alternative knot. That’s why I still cringe with a 0G breaks. You have to use the old knot on it. I feel your pain! I hope the alternative knot works for you!
I’m extremely surprised by the Savarez strings. I have a DHC light, which I love, but it took me awhile to get used to the very light tension. You don’t need to pull hard at all. (which is really tough to do for an orchestral harpist..LOL!) I actually found with the DHC Light that if you want really big differences in dynamics, its better to use a volume pedal. I’ve had my DHC for two years and have yet to have a single string break yet, which is HUGE since I live in a very dry climate. My gut strings on my pedal harps, well, something breaks weekly, at least.
Oooh! My part is still in America. I’m sure you will find someone. I can tell you its not a difficult part 🙂 And its one of my favorite pieces.
Susan…I think it happens to everyone. The key is learning how to control these “symptoms.” For me, I had the shaking, and sometimes I still do. Oddly, it crops up at really random times. I found not panicking about it is the main thing. If you start thinking “oh no, I’m shaking” then you lose your concentration. When I was first experiencing this, before a concert, I played for as many people as I could. I invited them to the house or in to my practice room. I had them sit extremely close to me, move their feet too much, basically, any situation you think you can get in. Also, its one thing to know how to play a piece from start to finish. Its also really important to be able to start a piece anywhere. In the middle of measures, in the middle of difficult passages, in the middle of easy passages. Literally, everywhere. All these things and simply performing more helped me get over the shaking. Its actually more normal than you think 🙂
Not sure if this link will work, but I use the alternative harp knot described here. http://cdn.harpcenter.com/downloads/78Knot.pdf
Good advice Tacye and Donna! Be gentle. I had a lot of trouble before I changed the way I tied my knots. For some reason, the double loop method never really works for me (which is why I curse every time I have to change 0 octave G). When I was using the double loop version, my knots would slip and the string would behave a bit like you describe. Which way do you tie your strings?
Breaking at the bottom can sometime mean there is something sharp in the string hole. I have a chord of sand paper (looks like a sand paper string) that I run through the string hole if the string breaks at the bottom. As for it being too loose, I usually find its a problem with the knot itself. If I had trouble, as I did often many years ago, I used to use two string ends instead of one. However, sometimes the best thing to do is to walk away for a bit and try again later.
Trust me, even if you’ve been playing a million years and in orchestra every day, you STILL have concerts like this. 🙂 A few weeks ago, I was thinking to myself, are my feet still attached to my body or did they grow their own brain and decide to sabotage me? hehe. It happens, we’re human!
Hi! Its not very common over on this side of the world. My suggestion would be to look for Europeans that studied with teachers of the Salzedo technique in America. (Someone who studied at Cleveland Institute for example.) Is there a particular reason you are wanting to go to study in Europe more than America?
What brand of instrument is it? They should keep records, although, some have been lost. I think its best sometimes to call someone at the company, emails often get answered incorrectly 🙂 Good luck!!
Bummer that you missed Beginning in the Middle in Virginia. We have a family friend that went many years back and she loved it. Maybe something for next year 🙂
I don’t play for free. I sometimes play for no pay, but I always expect something in return. I believe, for some, volunteering your time is not the same as playing for free. If you are given something from the performance (tax deduction?, someone offering to do something for you) then it is perfectly acceptable to not take pay. Playing for free, however, only cheapens what we do.
Etudes are great, but I’m a big believer in using your current repertoire and turning sections in to etudes. Most pieces have sections that are difficult for us and if you create a series of exercises, with the help of your teacher, around those sections, you will both be learning the piece AND working on an etude. Its great to have etudes, but, learning to come up with your own exercises can keep you going for years! Just think, a new etude within every new piece you learn. (I agree with all of the above, by the way. This all needs to be teacher guided, for sure!)
