patricia-jaeger

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  • in reply to: Music for Harp & Strings #216877

    Hello Mr. Chauret,
    From Vanderbilt Music Inc. in Bloomington Indiana, take a look at three different Collections arranged by Patricia Jaeger: Twenty Carols With a Friend; Folk Harp With a Friend; and Familiar Hymns With a Friend.This last includes a CD with Danielle Perrett from London, at the harp. That CD alone is $7.00, from Patricia Jaeger in Seattle who asks no postage if it is from the USA.Her These are all scored for A String Quartet plus Harp. First violin carries the melody; harp is always accompanying. Intermediate level.
    Her contact information is with Vanderbilt Music.

    in reply to: harp in an apartment? #213231

    HPN: After reading all of the posts submitted here, I realized no one has told you about the Harp Mute that was sold by Lyon and Healy in Chicago,
    USA some years ago for $3.50. I bought 2: one to keep, and one to lend temporarily to any student to try. These were narrow lengths of heavy red
    felt such as used in pedals on their harps, that the buyer would weave in and out of strings to block much of the sound and resonance in a place where you do not want your sound, and mistakes, to be heard beyond the room your harp
    is in.The length of one mute will be just about half of the width of a large concert harp when woven into those. So buying two would be useful for muting that size harp but not everyone plays that size so many customers simply bought one mute. I live in a single family house, not an apartment so I do not often use the Harp Mute. Most musical instruments have some form of muting their instruments to practice more softly.

    in reply to: Advice on composing for lever harp #212109

    Maya, besides lever harps with as many levers as strings, there are now lever harps called single action, that need only seven levers. The C lever can manage to change all the C’s to C#, for example. The harmonic curve contains all the action, so on top of the harp is where all levers re placed. The maker, Douglas (Arsalaan) Fay, invented it for “The First Lady of the Harp”, Mildred Dilling, renowned American harpist and teacher when she wanted to accompany a singer on an American tour, and did not want to use her concert harp but one smaller and lighter. One gains much more repertoire with this model which he patented. Paul Hurst, Emily Mitchell and other well known pedal harp professionals have this model, You can see Mr. Fay demonstrating it on YouTube. Go to Douglas Fay plays Douglas Harp in the search box. Just thought you might enjoy composing for this advanced
    model that is unique, and made near Sarasota, Florida.

    in reply to: Pedal rod for Pilgrim 41 #210737

    Hello tenthousandclowns

    Have you used the e-mail: info@pilgrimharps.co.uk ? That might connect you with John Hoare, head engineer there. You could also ask whether Pilgrim now has a USA or Canadian dealer, quite possible. Pilgrim is a cooperative run by the owner-workers who years ago bought out Wilfred Smith Harps Co. for which I was the U.S. dealer at the time.

    in reply to: Trying to decide which LEVER Harp to purchase? #210733

    Hello Gail, Many good suggestions are above. No one has yet mentioned any single-action lever harp.There is already, for decades, the Tyrolean single action pedal harp, which some players have researched and imported
    from that area of Europe into their own countries. When Mildred Dilling, American First Lady of the Harp as she was called in her long solo pedal harp career here in the last century, wanted to tour across the country with a singer, she had a wish. That was for a more portable yet resonant smaller harp to take on that tour inatead of her large very heavy gold harp that she usually used. She looked to a clever builder in the New England area of the U.S.: Douglas Fay. He designed such a practical small harp for her, and took out patents to protect his single mechanism inventions. These are operated by either hand, only needing seven harp levers, each activating all the C’s or all the D’s.etc. on the entire instrument to change pitch by 1/2 step. Formerly called the Dilling Harp, this new model is now called the Douglas Harp and is now made in Florida near Sarasota by Mr. Fay and his crew.Contacts: Tel. 1-941 445 2208
    http://www.douglasharpco.com.
    http://www.youtube.com/watch?v=aK2NsuY-EQk
    Prominent owners of these harps include among others, Emily Mitchell, Paul Hurst, Erik Berklund, Julia Jamison.

    in reply to: Still, Still, Still arr. Normal Luboff #208053

    Hi David,

    4/4 time, key of F Major. No up-beat. Numbers represent scale steps since I cannot yet attach a music example: this new improved desktop is very new with different habits required from what my previous one did. First note is C above middle C. Dashes are eighth beats.Names of first 5 numbers: C,F,A,C,F.

    5-8-3-5-/1—–13/2-247-72/1—–1-/
    2-234-2-/3-345-3-/2-234-2-/3-345-3-
    5-8-3-5-/1—–13/2-247-72/1—-=–// Code: Slashes are bar lines. A number followed by a – is a quarter note. If followed by five—– it is a dotted quarter note.If followed by seven——- it is a whole note. in a group with no – in the group, they are eighth notes, All of the ” 7″ numbers, if written here are E’s under the key note F. It is the convention to place an underline under those 7s to indicate going down below the F that is your tonic, depicted here as the number 1 (first space in treble clef). I have not yet figured out how to underline a single number on a computer keyboard like 7, which we could do so easily on paper. For the E above middle C we would need no underline. With your superior harp performance and arranging skills I am certain you could construct a lovely harp part in any key, just from this simple formula. This formula also helps people, even when quite young, to capture quickly a melody they hear and like, on a scrap of paper and later write it down as notation on manuscript paper. Respectfully submitted.

    in reply to: Hello everybody! #207624

    Hello Basel,

    A man in my area who had the same good teacher that I had, married a lovely soprano singer and they made quite a few recordings together, of lighter music such as popular, melodic pieces, folk songs, carols, rather than strictly classical. The recordings sold well and now they tour yearly as well. They do very well financially because their concerts attract largely older audiences who prefer well known melodic pieces. Perhaps if you make a recording or two with someone who sings or plays a solo instrument such as violin you could share enough of the melody and not simply accompany.When they tour they each modify their speaking a bit from the stage, to include a bit about the area in which they play-the ball team there, or the weather, or recent local news, etc, with some humor as well so the audiences warm up to them and want them back next year.Just an idea in case it may help you to stay with your harp. Glad you posted again!

    in reply to: Salvi Una Harp #205575

    I have no experience with that UNA harp, however do think before buying any lever harp, considering the single-action lever harp made first for Mildred Dilling. It is now called the Douglas harp and is still being made by the same maker, who has the patent, Douglas (sometimes called Arsalaan) Fay, near Sarasota, Florida. Watch and hear him play it on You Tube. I was fortunate to acquire a used one about 25 years ago. More repertoire can be played on this model than other lever harps that need a lever for each string; the Douglas needs just 7 levers, and all strings with the same name are activated or cancelled with one of the seven levers. I have found mine to be quite useful over the years with its detachable legs and easy portability. Just be informed of this newer technology, before any lever harp purchase. Peace to you.

    in reply to: Practicing without a harp #200601

    This free interactive site could help you with music theory for harp or many otherinstruments: musictheory.net

    in reply to: Wagner: Magic Fire Music #198807

    The late Lynne Palmer, who studied with Salzedo, had a version, long ago memorized, that she demonstrated at a meeting of harpists in Seattle years ago with such speed of her feet changing pedals that we were all amazed. I am sure she passed on that technique to her students, who now pass it on to their students.

    in reply to: ideas for Canons #198489

    Allegra, above: The Tallis Canon as a simple intermediate level harp accompaniment is included as No. 19, (titled I Heard The Voice of Jesus Say) in the 21 hymns of the collection Herald Music published in 2000 entitled Familiar Hymns With a Friend. It includes a CD with all harp parts played by the noted UK harpist Danielle Perrett. This work is available from the online string catalogue of Vanderbilt Music, Inc., Distributor. It is performed with solo instrument such as violin, flute, or oboe, or string quartet; all parts are included; no text, key of e minor; 23 measures. Can also just use the harp part to accompany one voice, or a choir. No pedals or levers used throughout.

    in reply to: When a string breaks during performance #198433

    To remark about what Carl said, in his message, 7 posts from the top, about pulling a string too high at first and gradually ease down into pitch to help the string prefer to rise when tuning, instead of it tending to go flat, and therefore tending to remain better in pitch: Growing up, I was taken to quite a few Jascha Heifetz violin recitals, since then I was a violin student. When he sometimes altered the tuning on stage, he would  always tune the string too high on purpose and gradually lower it to the intended pitch. That taught me to always tune my four violin strings in the same way, so the strings had a kind of “memory” for wanting to return to a sharp situation where they once had been, slightly stretched and therefore would tend to remain on pitch rather than tending to return where previously they had been only used to an inert position in the string envelope in the store. The reasoning of a master violinist!

    in reply to: Lever harp etudes? #196479

    Respectfully, another volume of studies for non-pedal harp exists, composed by Angelo Bovio, 1824-1909, virtuoso harpist and long time Harp Professor at the Royal Conservatory of Music in Milan, Italy. His most illustrious student was Luigi M. Tedeschi, formerly a virtuoso guitar player who succeeded him in that post. Bovio’s “Twelve Studies for the Harp, Opus 26, especially composed for those not yet advanced to using pedals” was edited into modern notation and easier access by myself and is distributed by Vanderbilt Music Company Inc., in Bloomington, Indiana.

    in reply to: "Night in Vienna" music #196350

    Gretchen, I apologize for not looking up Mr. Kreisler’s dates. which are 1875 (Vienna) to 1962 (New York City). This means his compositions are still under copyright and it is too soon for them to be in public domain.The Kalmus publishing company expert I referred to in my previous post here, is Clinton F. Nieweg, another lapse of memory I had. The world of music is vast and full of beautiful sound but also too much detail for anyone to know it all!

    in reply to: "Night in Vienna" music #196305

    Wikipedia has a list of compositions by Fritz Kreisler, famous late Austrian violinist who composed many waltzes and adapted many Old Viennese Folk Songs to be published as violin solos with piano accompaniment. You could compile a list of titles from the Wikipedia list appropriate for the “Night in Vienna” event but then to adapt these Kreisler compositions for harp solo with orchestra seems like a huge amount of work for some brilliant arranger. Perhaps consult Sheet Music Plus online, Carl Fischer Publishing in NYC (they published many Kreisler works) and over time you may find some works already adapted for orchestra, and from those to draw out the main themes for a harpist to play with our eight fingers would simplify your search somewhat. Respect copyrights and get permission if it is a performance where funds are raised. Surely there would be orchestras already playing Kreisler favorites like Liebesfreud, Liebesleid, Midnight Bells and other favorites your adult audience would likely already recognize. Your conductor needs to help! Also, surely the Kalmus publishing company expert who was long the orchestra librarian of the Philadelphia Orchestra in the days of Ormandy and Stokowski, conductors, sometimes has posted here on harpcolumn.com. He would have good suggestions.

Viewing 15 posts - 1 through 15 (of 950 total)