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Michael, your last statement makes me want to jump in and comment. You could use that reasoning to apply to nearly everything: “. . . a very advanced level of competence, regardless of how inherently desirable, is quite simply not required to . . . ” drive a school bus, produce our food, manufacture prescription drugs, be a counselor, teacher, lawyer, doctor, whatever. However, we all benefit from those with the highest standards in these fields; that’s true in music as well. Any harp music that is presented to the public as “professional” (and the public won’t necessarily know that the harpist at last weekend’s wedding was the bride’s cousin’s friend’s sister who started playing eighteen months ago) should ideally be of the highest possible caliber. The more that the public hears “professional” harp music at a lesser level of competence, the more they will associate that level with the harp in general. Why would anyone who loves the harp want this to happen? This, even more than pricing (and that’s a big issue, too), is the problem I have when pretty much anyone who wants to calls themselves a professional harpist. That said, I’m definitely not saying that friends or family shouldn’t play for their loved ones’ events, and we all have to start somewhere when we first play for pay. But there should be some thought given to the broader picture in making those decisions.
David’s arrangement is now published by Vanderbilt Editions, available at http://www.vanderbiltmusic.com.
Would it be remotely possibly to just answer this student’s question and not deteriorate into another Salzedo/French debate? For Pete’s sake, if we as a harp community can’t just help out a student with a simple, legitimate query, then why would she want to become part of it (the harp community)? Jeez. . .
Clare, my answer is a. Good luck with your project!
There is a transcription by Carlos Salzedo of the Adagio from the “Moonlight Sonata,” published by Lyra Music. Lots of pedal changes, but not too difficult. People always seem to like it when I include it at a gig.
Having taught for some 25 years, primarily in Virginia and Colorado, no, I have never heard of such a policy. I offer a “sample lesson,” at no charge, to meet the potential student, show her/him a few things about how we will start, talk about how the harp works, my expectations, etc. This allows both of us to see if we “click,” and if my style of teaching fits that student. There is no obligation on either of our parts, and they are free to try out other teachers as well. I certainly don’t want to teach a student who has reservations about me. I definitely feel that my time is valuable, but we’re talking about a potentially years-long relationship, and it’s good to start out comfortable with each other. (By the way, I have no problem with other teachers charging for the introductory lesson.) Assuming what you’re saying is accurate, I can find no reason at all to pay this $50 fee. Please don’t be discouraged! Wouldn’t it be lovely if we got paid for the time we spend thinking? I would be enormously wealthy!
Having taught for some 25 years, primarily in Virginia and Colorado, no, I have never heard of such a policy. I offer a “sample lesson,” at no charge, to meet the potential student, show her/him a few things about how we will start, talk about how the harp works, my expectations, etc. This allows both of us to see if we “click,” and if my style of teaching fits that student. There is no obligation on either of our parts, and they are free to try out other teachers as well. I certainly don’t want to teach a student who has reservations about me. I definitely feel that my time is valuable, but we’re talking about a potentially years-long relationship, and it’s good to start out comfortable with each other. (By the way, I have no problem with other teachers charging for the introductory lesson.) Assuming what you’re saying is accurate, I can find no reason at all to pay this $50 fee. Please don’t be discouraged! Wouldn’t it be lovely if we got paid for the time we spend thinking? I would be enormously wealthy!
Having taught for some 25 years, primarily in Virginia and Colorado, no, I have never heard of such a policy. I offer a “sample lesson,” at no charge, to meet the potential student, show her/him a few things about how we will start, talk about how the harp works, my expectations, etc. This allows both of us to see if we “click,” and if my style of teaching fits that student. There is no obligation on either of our parts, and they are free to try out other teachers as well. I certainly don’t want to teach a student who has reservations about me. I definitely feel that my time is valuable, but we’re talking about a potentially years-long relationship, and it’s good to start out comfortable with each other. (By the way, I have no problem with other teachers charging for the introductory lesson.) Assuming what you’re saying is accurate, I can find no reason at all to pay this $50 fee. Please don’t be discouraged! Wouldn’t it be lovely if we got paid for the time we spend thinking? I would be enormously wealthy!
Gymnopedie No. 1 by Erik Satie, arranged by Robert Klotman
The Olive Tree by Arlene C. Stein, arranged by Doris Gazda
Both published by Neil A. Kjos Music Company. One of my students did these two pieces on lever harp with her middle school string orchestra. Both included lever changes throughout. She also did a piece called Once Upon a December from “Anastasia,” but I don’t have any other information on it.
Putting aside whether or not all prizes should be awarded in a competition:
There is just no reason whatsoever to have one contestant and one prize remaining (having already awarded the 2nd and 3rd prizes), and then announce that there will be no first place winner. The only word for it is cruel, regardless of contest protocol or whatever reason they might have had.I’m sure that Emily has the grace and internal fortitude to get past this, as she is a remarkable young woman, but there are likely many people who might not bounce back from such a crushing blow.
Not an orchestral piece, but in college, I played Prokofiev’s Ode to the End of the War, for winds, 4 pianos, and 8 harps.
I’ve had my Camac for over 9 years. However, about 4 1/2 years ago it went to France for some warranty work, and they put on a new soundboard at that time. So it’s an older (relatively) Camac with a newer soundboard! I’ve been really happy with it.
Hi Sid,
I just tried on my Mac, and my husband tried on his PC, and they both worked, so I don’t know what happened with you. My dad had trouble voting last night, but that could be because he’s a bit Internet-phobic! I hope you can get it to work. Thanks for trying!
Lynne
Laura, thank you so much for your kind words and vote. I am keeping my fingers crossed (except when I’m playing, of course)!
And Paul, thanks also for your reply and vote! This has been a fun project and it’s exciting to be a finalist.
FYI, voting ends on Sunday and results will be announced on March 2.
Hi Heide,
I’m not sure exactly what you mean by “I am talking about not the how-to, but the what.” But it sounds like you’re on the right track with your practicing, and your subject, “What practice teaches” is especially apt. I sometimes tell my students that I am their teacher only one day a week, and the rest of the time they are their own teachers, with the hope that they will do the kind of analytical practicing that you’re doing. Keep up the good work!
