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I can only imagine the difficulty of playing a group of watery pieces like La Source and the Moldau if the imagery got a sympathetic response from one’s body.
I would suggest any of the baroque or classical-era concerti for harp and harpsichord. Also the Blano or Blanco Concerti for 2 Instruments, published by Schott.
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.
