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Irina, character or theatrical shoes make excellent pedal harp footwear.

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Ted,

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Ted, I have the book, and I teach gestures in accordance with Yolanda K’s photos.

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Beatrice Schroeder-Rose, “The Harp in the Orchestra.”

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Sam, our orchestra is playing three performances of Madama Butterfly this week.

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Elizabeth, brava for being able to keep playing “Sleeping Beauty” even in the dark!

I heard Erica Goodman perform the Britten Ceremony of Carols Interlude some years ago, and she played the chords in the spot

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Elizabeth, I am interested in this discussion of the chords in “Sleeping Beauty.”

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Elizabeth, you make an excellent point regarding the need for rolled chords to have rhythmic precision.

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Yikes!!!

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I always make it a point to obtain CDs of orchestral works to be performed and play along with them.

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I concur that it is better to be stationed on the conductor’s left, behind the violins, although

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Yes, I suggest that the (more advanced) students create their own variations, e. g. playing dotted rhythms instead of straight eighth notes, i. e., dotted eighth-sixteenth and then the reverse, sixteenth-dotted eighth; make triplets out of duples and vice versa;

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Hey Everybody:

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A brief comment on the repetitions of a problematic passage–many conscientious students will drill a difficult spot by reeling off a whole bunch of repetitions without pausing even a beat in between them.

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Elinor, Two orchestral works that come to mind right away are both by Tchaikovsky: “Romeo and Juliet” overture and the cadenza

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