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That store closed, sold to another owner who has the shop only in the suburbs, and I never got my stock back. They said it was never unpacked, but I don’t believe them. Whatever you had with them is probably a loss. They still have the same name. I tried to order something through them and they never followed through.
That store closed, sold to another owner who has the shop only in the suburbs, and I never got my stock back. They said it was never unpacked, but I don’t believe them. Whatever you had with them is probably a loss. They still have the same name. I tried to order something through them and they never followed through.
That store closed, sold to another owner who has the shop only in the suburbs, and I never got my stock back. They said it was never unpacked, but I don’t believe them. Whatever you had with them is probably a loss. They still have the same name. I tried to order something through them and they never followed through.
Tell her how much you charge for weddings and see how she reacts to that. That will answer your suspicions. Perhaps she intends to pay. Or tell her you can attend but you’re not sure if you can bring the harp with you.
My copy has no dedication. It was recorded by Lily Laskine and Alice Giles. It is extremely difficult. It was composed for the competition in Paris.
I’ve done it with piano, and the skill of the accompanist makes such a difference. It can be good or bad. Miss Lawrence preferred to have it done on organ or harpsichord, but I couldn’t get one for my recital. Thankfully, I did get to play it with orchestra, which is a fine experience, except for those french horn solos in the third movement.
It might have been then. I believe that Lyon & Healy originally sold them, and then it was switched over to Bow Brand, as they’ve been around a long time. I used them from about 1985 to 2005.
I need beginner piano stuff, and we no longer have a music store in which to browse. Anything online that you know of as good?
I need beginner piano stuff, and we no longer have a music store in which to browse. Anything online that you know of as good?
I need beginner piano stuff, and we no longer have a music store in which to browse. Anything online that you know of as good?
Betty Paret’s book one, Pathfinder to the Harp by Lawrence, and the Enchanted Harp by Beatrice Rose are favorites of mine. I believe Salzedo made Tiny Tales challenging so you would immediately get used to the hardest things about the harp, rather than rely on placing and other false forms of security. He gets you used to the idea of letting the strings ring, of coming off and on again. It is challenging, but a brilliant approach. He also has you playing in every key. Sometimes you need challenging as well as accomodating or whatever you would call that which is only slightly challenging.
By the way, I have to say that composing very easy pieces that are good is extremely hard to do. I have yet to do anything simple that is able to remain simple, they all turn into something more. So I take my hat off to anyone able to do it well.
Gut is much harder to tie than nylon. Two things will help you, besides experience: thread the string through the sounding-board first, then tie the knot—that way you will have enough length and not have trouble threading it; tie a second loop around the stabilizing piece and that will usually keep it from falling out.
Thank you for that rousing introduction, Tony.
Few people outside the school know that there is an oral tradition to the Salzedo method, as well as the written. Fortunately, Lyon & Healy published the revised Variations as Salzedo wanted them done, except for the notation of the harmonics. I prefer the original tempi of the Leduc edition, but the revised are more feasible for most people. You should meet with someone who studied with Miss Lawrence or Miss Chalifoux in particular, to learn how his sounds should be executed.
Some of the stylistic issues is that there is very little romantic-style expression in Salzedo’s esthetic. A little bit goes a long way, just a hint of a tempo change, nothing overt. These are classical variations in that sense. However, that changes when you get to the Prelude. There the rubato is great. Salzedo’s tenutos are very exaggerated. In Mirage, you would hold the bass note for at least the time of three sixteenths. In the Prelude, perhaps two of the sixteenths, and it usually played slowly and thoughtfully. Listen to Lucile Lawrence’s recordings of it. He is very accurate in his notation, and expected it to be followed to the note. Any more than that, you have to get in person. Hopefully that is possible, where-ever you might be.
I think you might need to change the focus of your topic, depending on the length. If you make it on Salzedo’s performance style in general, not only that piece, you will have more to say.
