Forum Replies Created
-
Posts
-
I recently had the same experience with a LH 85 belonging to my orchestra.
This can sometimes occur from consistently tuning to high (unfortunately starting pitch in my orch. is 442) which puts a lot of tension on the eyelets and soundboard. The replacement parts are very inexpensive and you should be able to put them on yourself. I’ve never had a problem with my 30 which has plastic eyelets where the strings enter.
Yes, I’d say err on the side of being too cautious in rehearsals in general. Good behavior sets an example to your fellow musicians (especially if you have younger players nearby).
We harpists are no strangers to waiting around to play our parts, so I think having things to do to occupy us (books, crosswords etc) is perfectly fine if you’re waiting offstage or in the audience. Just not onstage, even in a really long tacet section.
I once played in an orchestra where one of the woodwind players had a book tacked to his stand and every time he had a rest (even if for a few measures), he was reading with his elbow resting on his knee. It became so part of his muscle memory, that even in concerts the moment the instrument left his lips, his arm automatically went down to rest on the knee in a rather jerky manner that was quite obvious from the audience. I know this the extreme… I’m just saying… establishing professional behavior and habits is very important!It seems like it makes a lot more sense (aurally and visually) with harp 1 on the “inside” so the 2nd harpist can see/hear the 1st harpist. Is there a website or some source online that backs this up? Many people just assume that the principal player should be on the outside (so as to be closer to the audience) just as it is with the violins and celli.
