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Carl:
Great question and great thread! I use a lot of what has already been mentioned. There are particular pieces in the Graded Recital Series by McDonald/Wood that I find very useful, such as “Processional” and “Two Guitars.” These seem to really appeal to people and are kind of “milestone” pieces with a lot of my students who hear them performed at recitals and want to advance to a new level. Also, there is a lot of wonderful material in Betty Paret’s Second Harp Book (too bad the title sounds so elementary) that really fits the level you’re describing. Most pieces are only a page long, but complicated enough to be a good challenge and teach a particular skill. I also like that this book includes snippets by Mozart and Bach so the student begins to assimilate some traditional music theory concepts and get a feel for music that isn’t just “harp music.” Grandjany’s Petite Suite Classique has been mentioned, and that’s a good one too and has the advantage of appearing like “real music” so students feel like they’re really moving into the standard repertoire. “Moorish Garden” from “Magic Road” is good, although the rest of the book is much simpler.
For a big step I like “Minstrel’s Adieu” if the student is mature enough to handle such a large piece. The theme and variations style gives them a lot of individual challenges. Some of the variations are pretty challenging though–this isn’t right for everyone.
Anyway, those are some of my favorites…..I’ll keep thinking…..anyone else?
KIM
Carl,
Yes, I think that’s the key, and what Rosalind was also saying. The point is to get the student to understand what they’re doing wrong, by listening carefully, and not just keep repeating mistakes. It is hard to get younger students sometimes to stop and analyze something they’ve just played so they can fix mistakes, rather than just repeating a passage over and over and not thinking about it. It’s definitely a challenge!
Of course this exercise only works if a student can tell if whether what they’ve just played is correct or not!!! Sometimes that’s an even bigger issue…
KIM
I have a little trick I use to get kids to isolate a passage. It’s called the “ten penny” method, and it also works with M&Ms that they can eat if they finish successfully.
Take ten pennies or M&Ms and line them up on the left side of the music stand. The student chooses a section of music that they think they can play perfectly with no mistakes. If they play their section perfectly they can slide a penny from the left side of the stand to the right. The goal is to play the passage perfectly 10 times in a row, and slide all the pennies from the left to the right. If they make any mistakes along the way, ALL the pennies go back to the left side.
Usually the first time I try this with a student they choose a section that is too big, and they play it too fast. They soon realize that to finish the exercise they must choose a small section and play it very slowly. The kids seem to really like the challenge of this exercise and it’s a good way to get them listening to whether they are really playing perfectly, rather than just playing something over and over again wrong or sloppy.
Good luck!
KIM
Carl:
I agree that this piece is an awkward choice, however I have different reasons. I think it’s great to expose young students to different genres, especially contemporary music. However, as far as the competition goes, I feel that this piece is going to penalize any student who doesn’t have a teacher that is familiar with contempory music practices and isn’t wiling to take the time themselves to learn and interpret it. As you’ve already identified, it is going to take a lot of time, not only for the student but for the teacher as well! I’m willing to put in that time for a motivated student, but I do feel that there are lots of talented students out there who might have teachers that aren’t willing, aren’t able, or simply don’t have time. This is not the kind of piece a 15 year old is going to get their hands around by themselves, therefore I think for most of them it is really going to be spoon-fed by the teacher. I suppose an argument can be made that the same is true for any piece, but I agree that choosing something from the standard repertoire would be more usful for the student, and I think more fair as since there are many avenues an enterprising student can pursue to learn and interpret a standard repertoire piece.
Another problem I have with it is that as far as I’m aware there is only one recording, by Judy Loman. When I called to order the music, I was immediately asked “do you want the recording as well?” So I have to wonder how many competitors will simply be spitting out what they’ve heard on the one recording. It seems like there will not be a lot of room for personal interpretation as everyone struggles simply to “get it right.”
I’ve told a few of my own students that this is going to be the “make or break” piece for this division. I wonder how many in this age group will have the time or motivation to see “Quarks and Shadows” to the end. Perhaps that’s the ultimate reason why the AHS chose the piece–to weed out those not willing to put forth the effort. I’m personally not convinced it’s a great reason, but who knows…. I do applaud them for trying something different and exposing young students to something new, but I share your feelings that this might not be the best or most useful choice for the student.
Diane: Good luck with the Suburu–I do think it is a good choice for someone like you who is OK with a smallish car. We never rave about it in the Harpmobile review because compared to most of the other cars we look at, it doesn’t hold as much stuff. But if it works for you great. Another small car some of you may want to consider is the Toyota Prius. I haven’t tried it myself yet but Elisa Dickon has one and she says it fits her 85 CG just fine. A student I know just got the Pacifica, which is definitely the wagon I’d look at if I wanted a wagon right now.
We are in the process of planning our next harpmobile review for this fall, so keep telling us what you want to see!
KIM
Mary Ellen:
I just saw your post. I too and the proud owner of a brand new Honda Odyssey. LOVE it!!!! On our last harpmobile review I picked the Quest as my favorite, but in the end I went with the Odyssey. I was extremely disapointed to enter the minivan phase of life (I don’t even have kids!), but I was tired of cramming a ton of stuff alonog with the harp into my SUV. I just completed my first long distance trip with the Odyssey and it was really great.
I LOVE column loading the harp. It is easy to do yourself if you put down some plastic office chair mats to help the harp slide in easier. I moved my two middle seats together and put the harp down the passenger side, which allows a ton of room for stuff next to the harp. All the technicians I’ve talked to say this is perfectly safe for the harp, and actually better for it since the harp is not resting on the extended soundboard “wing.” (No matter how much padding you use, the harp still rests on the wing if you load it on it’s side.) Regardless of the harp’s safety, I have to say that I am much more concerned with my own personal safety and I feel much more secure knowing that if someone rear-ended me, the column of the harp is not pointed directly at my spine as it was in the old SUV. My assistant here at the HC (Alison Reese) was rear-ended in her SUV a few month’s ago, totalling the car, but fortunately the harp was not in it. It got us both thinking about personal safety and what would have happened to her in the crash in the event her harp was in the car. Alison also now owns an Odyssey!
So, I am a big fan of my Odyssey. I got the one with the navagation system and an added bonus is that on my recent trip to Georgia and back to PA it found me three Starbucks in the middle of nowhere! Yippee!
KIM
Carl, I would like to assure you that there are many of us out here with a Salzedo background that do not embrace the above labels and stereotypes, and I find them equally as offensive as you do. It is a method, like any other, that has served me well, but the fact that I am a so-called “Salzedo harpist” has absolutely nothing to do with what music I choose to play, and I count Tournier and Hasslemans among my favorite harp composers. This is exactly the point about creativity I was trying to make earlier. We should play what interests us, and encourage our students to do the same. A technique is simply the means to an end and should not in any way limit, dictate, or stiffle anyone’s creativity and exploration of the harp.
Surprisingly, Saul, I agree with many of these points. I just wish you would allow us to apply them to all aspects and genres of harp composition and performance, and not just those that you personally deem worthy or tasteful.
I’m sure some would argue that the “Arkansas Traveller” is not an appropriate work for the harp and is hardly discriminating. Maybe Salzedo just thought it was a catchy tune and decided to make an arrangement of it (Traipsin Thru Arkansas). But now the melody to “I’m Bringing Home a Baby Bumble Bee” has made it into our standard harp repertoire and onto the concert stage of an opening recital of an AHS conference (2004 in Philadelphia). Why shouldn’t harpists of this generation have the same liberty to play and arrange whatever music catches their fancy? I personally feel strongly that it is much more important to encourage creativity than to be worried about what the public is going to think. Isn’t that what art is all about?
This thread is interesting. One important point I feel hasn’t been mentioned, especially for students, is that by not playing certain works or composers you’re missing out on an entire segment of musical education and music history. Maybe a Mozart Sonata doesn’t sound as good on the harp as the piano, but does that mean a harp student shouldn’t have exposure to these works? Should they be denied the experience of understanding classical sonata form and harmony by playing it with their own hands (and feet!), simply because it doesn’t sound as good on the harp? Who cares! Maybe in some cases a student’s needs are more important than an audience’s needs.
I fondly remember performing the Debussy trio (written for harp, flute, and viola) on my husband’s senior percussion recital–he played the flute part on vibraphone. After that he played the Mendelssohn violin concerto on marimba. Percussionists are famous for “borrowing” from other instruments. Would it fly at Carnegie Hall? Maybe, or maybe not, but it doesn’t matter. He was musically enriched by being exposed to those works in a way he never would be by limiting himself to repertoire written only for his instrument, or by simply listening to the works.
I think it does an extreme dis-service to a student’s musical education not to expose them to the works of every master composer and genre, or not to allow them to explore works by any composer that interest’s them on their own.
KIM
Hi all:
We don’t like to modertate these forums, however this thread has gotten way off topic and deteriorated past the point of constructive argument. I’ve edited some posts and removed others that I felt were not productively contributing to the discussion. A gentle reminder to please stay on topic.
Thanks!
Kim
Barbara Brundage of Seaside Press has done some advanced level transcriptions of classical works for lever harp. Definitely worth checking out all of her stuff.
KIM
Carl:
Wow, you have opened a can of worms here! I can’t resist answering. I would say the
biggest contributing factor to being a good student is being prepared. I fully enjoy
working with students who might not be as naturally talented as others but are commited
to the harp and well prepared, versus students who are gifted musically but don’t practice.
I would also say that students who have interactive personalities, ask questions, and are
interested in the learning process are rewarding to teach. Conversely, students who just sit
there and expect you to do all the talking and turn them into great harpists by osmosis are
the ones whose lessons I dread.
Also I find students whose parents are fully invested in the harp experience to be more
enoyable to teach. Are the parents willing to bring the kid to all recitals and concerts, harp
ensemble get togethers, concerts where the kid isn’t playing but the teacher thinks it
would be good for them to attend, etc.? These are always the most enjoyble students
because they are interested in all aspects of the learning process, and naturally, they learn
faster.
And finally, it’s obvious when a student loves the harp. Anyone who naturally loves the
instrument, regardless of talent, is someone I enjoy being with and teaching. These
students are always more interested in every aspect of lessons and learning. They are the
ones who make you feel like what you are doing is worthwhile. Those who are apethetic
and uninterested are not fulfilling to teach.
Anyone else????
KIM
Serina:
I would not advise covering your harp. My cat likes to climb to the top of my harp when it
is covered and one time she knocked it over, totaling it. I wish was kidding, but I’m not.
She seems to avoid it when it is not covered. Another friend I know had a cat knock her
harp over by jumping on the kneeblock from another piece of furniture. I love my cats as
much as my harps though, and I could never take it out on them for doing anything…..it’s
not their fault they are following their instincts….it’s my fault for allowing a situation
where this could happen….I don’t know anything about chewing strings since I haven’t had that problem with any of
my 3 cats. They like to chew the broken gut strings I remove from the harp, so maybe you
could try giving her one of those as a decoy……but it might just encourage her to come
back for the real thing….the only thing I can say is to make absolutely sure the harp is up
against a corner or chair so that it couldn’t possibly fall if she gets too ambitous.Good luck!
