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You can also get a Siena that has been adapted for wheelchair use with an automatic ramp. How great would that be?
She may have simply substituted terms. A graduate diploma program in music in the U.S. will be more focused on performance alone, and may not include any coursework. They exist at the Master’s and Doctoral/Professional level, ie. graduate and post-graduate or Professional Studies.
She may have simply substituted terms. A graduate diploma program in music in the U.S. will be more focused on performance alone, and may not include any coursework. They exist at the Master’s and Doctoral/Professional level, ie. graduate and post-graduate or Professional Studies.
She may have simply substituted terms. A graduate diploma program in music in the U.S. will be more focused on performance alone, and may not include any coursework. They exist at the Master’s and Doctoral/Professional level, ie. graduate and post-graduate or Professional Studies.
You will be pleased to note that the very first exercise on page 8 of the Lawrence/Salzedo Method involves the extensors in the very slow replacing of the notes.
For all the emphasis on positioning, we must not forget that it is the fingertips that must move through the strings and produce the tone, leading the rest of the finger as we close. Not keeping that in focus leads to a lot of partial motion, incomplete tones, and somewhat more tension. All the arm and upper-body work is support, and the movements are also secondary to what the fingertips do.
You will be pleased to note that the very first exercise on page 8 of the Lawrence/Salzedo Method involves the extensors in the very slow replacing of the notes.
For all the emphasis on positioning, we must not forget that it is the fingertips that must move through the strings and produce the tone, leading the rest of the finger as we close. Not keeping that in focus leads to a lot of partial motion, incomplete tones, and somewhat more tension. All the arm and upper-body work is support, and the movements are also secondary to what the fingertips do.
You will be pleased to note that the very first exercise on page 8 of the Lawrence/Salzedo Method involves the extensors in the very slow replacing of the notes.
For all the emphasis on positioning, we must not forget that it is the fingertips that must move through the strings and produce the tone, leading the rest of the finger as we close. Not keeping that in focus leads to a lot of partial motion, incomplete tones, and somewhat more tension. All the arm and upper-body work is support, and the movements are also secondary to what the fingertips do.
I would not use any commercial cleansers on a harp. Clouding of the finish is trapped moisture that has to evaporate. When preparing a soft cloth for cleaning, it must only get a few drops of water. I use, and probably shouldn’t, a drop of soap. Sweaty hands are in my experience a sign of working too hard, and not being sure of what you are doing. Try to do the same things but with
What is audible in the Erdeli school is that they never break chords, and play rather aggressively.
There is a St. Petersburg school in which the thumbs play with circular motion. It may be a preparation before placing, which I have seen, or a rotation from the string, which I have not seen.
Russian players tend to play strongly overall, it seems.
As I understand it, though, they will not insure older harps at replacement value, which renders their coverage worthless if that is the kind of harp you have.
I’ve said this before, but I’ll be happy to say it again. The neck is the weakest part of the harp and it must be supported. Having a rigid frame for it is the only way I think it is safe to move a harp in this way. Otherwise, you will be needing a new neck sooner rather than later. Why? Because all the bumps and vibrations will travel into the neck, it will twist and torque just a little, and that is not a good thing. Hopefully, you can make or have made such a frame, or get a longer van. Some people lean the harp against the wall, which would allow it to be next to the seats, I think, but it still must be against padding and firmly strapped to the wall with hooks and belts.
Some things are just not meant for multi-tasking, I think.
My understanding is that there are several Russian schools, at least two in St. Petersburg and more in Moscow. The Erdeli’s have their own school. I suspect they evolved on their own until the mid-20th century when travel became possible.
I think it is important to learn to use rhythm expressively without losing control of it. Teaching specific details, like agogic accents, tenuto, tempo variation are important. The beat has to be constant. Rubato in the usual sense is tempo rubato, slowing or speeding. A little goes a long way, and harp rhythm is heard differently from piano, it seems. We need to have much clearer control of the beat and any modification of tempo. The momentum is important, if you slow down too much over one expressive figure, you lose the momentum toward the next phrase. I think a student should only learn what is written by the composer in expression until it is memorized and well learned, and then modifications can be explored. It will help to listen to other music of the period and genre, particularly other Russian composers. There is no strict answer to this unless the Russian tradition has carried one down through time. In the period in which it was written the left hand would keep fairly strict time and the right hand might vary from that. Slight ritardandi at ends of phrases or sections may be appropriate.
