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Have you listened the opera yet??!!
Ok, I’ll make it easy for you; it is the second number in the 2nd Act, directly after the “Entr’acte”.To what extent are your nerves? Crippling and knee buckling? Mild? Or something in between? You mentioned- “my heart picks up a bit”, I’d say that was fairly normal before a performance. I always get a few butterflies and raised heart-rate (adrenaline can be a good thing!), but I find that being a little anxious and excited helps me perform better.
If I didn’t feel anything, I might take it as a sign of apathy…In the case of budget cuts, may we also refuse the use of an electric casio keyboard as a substitute for a real second harp?
Thanks for all your suggestions everyone. Of course, playing this in orchestra I would leave out one of the notes in the pattern of 5 for comfort and safety’s sake. But as it’s for an audition I thought that perhaps I should try and do exactly the way it is on the page. I tried Feargal’s method, but the crossing of the hands got a bit too busy for me.
When I studied this at college, Ms.Bride’s edition that we used had one of the notes in the ‘5 pattern’ crossed out- Saul correctly noted that it is the note that’s doubled anyway. Plus, it’s so loud there, nobody will miss one note!
Anyway, thanks again to all who commented. It always nice to get other input.Well, I can’t vouch for the ‘grand’ harpsicle as I’ve never tried one, but I did buy a ‘sharpsicle’ last summer because I was traveling for 3 weeks and needed to keep in shape whilst being away from my concert grand. I have to admit that I was extremely disappointed. I was told that they would have the same tension as a pedal harp (which made me dubious to begin with). Perhaps I was just too strong for this little harp but it did not make a nice sound unless you played soft and light and when I tried to get more sound, the lower strings really ‘twanged’ and hit against each-other. I also was not that impressed with the overall quality of the instrument for the price…
Perhaps the ‘grandsicles’ are of better construction/sound than their smaller model, but if you’re going to buy an instrument of troubador size and are concerned about the tone quality, I’d recommend you getting a L&H or a Salvi.
Especially if you’ve been used to a concert grand previously.oops, i was wrong about that. I will try what you suggested. But if others have suggestions, I’d love to hear them.
Thanks and yes, that does make sense, but then one will always end up starting the downbeat of the measure with a different hand, no? Jumping back to start from the left hand again would be virtually impossible…
Hola Rafael,
Donde vives? La mejor opcione seria buscar un maestro o por lo menos un arpista que toca lo mismo estilo de ti para ayudarte afinar tu instrumento y mostrarte los fundamentos.
Hola Rafael,
Donde vives? La mejor opcione seria buscar un maestro o por lo menos un arpista que toca lo mismo estilo de ti para ayudarte afinar tu instrumento y mostrarte los fundamentos.
Hola Rafael,
Donde vives? La mejor opcione seria buscar un maestro o por lo menos un arpista que toca lo mismo estilo de ti para ayudarte afinar tu instrumento y mostrarte los fundamentos.
Well, for this particular program I am obligated to play most of the repertoire from a competition I won in Mexico in October. The recital is for the RioHarp Festival- part of the prize. The pieces I will include from are the Hindemith Sonata, Maqamat by Ami Maayani, Fugue in d minor by Bach (Grandjany etude #2), and Torre Bermeja by Albeniz. I am padding it out with other pieces of course (Parry Sonata, Caplet- ‘a la francaise’, Mauldin ‘Birds in Winter’, and Faure Impromptu). I thought of putting “Torre Bermeja” at the end because it is upbeat and exciting, but I was concerned that it was too short for a closing piece. I love the suggestions that people are writing, but I’m also aware that I want to play as beautifully (and comfortably) as possible as this is a high pressure situation, rather than try to learn a ‘fireworks’ piece to impress.
Whoa! How did you manage to get through that without picks? I subbed on this show on Broadway for a few years and would not have been able to get through it without picks. “Be out Guest” is basically one big gliss. Didn’t you shred up your fingers?
Thanks for your help Saul! I agree about the shaping of a program and the “11 o clock” piece, as you put it. I love Scintillation and it looks fun to play, but I am not sure if I have time to learn it.
