Forum Replies Created
-
Posts
-
I used to use Burgundy gut strings for years, when they came from Lyon & Healy. In more recent years, they were of much less quality, not good enough to keep, much more than just visual imperfections. I went back to Bow, despite the cost. I used two sets of Classic gut and found them hard to keep in tune, not clear in pitch, and the protective coating is so thin it wore off very quickly. Pirastro strings may be the best, but soooo expensive. I use Pirastro nylon strings for 0-3 octaves, then Bow gut, and silver/copper wires, no colored strings.
That was a good program, much like harpists do here. There are many works where the harp and flute are equal partners. The pieces you chose on the first half happen not to be of that type, except the Faure and Saint-Saens. There are about 100 fine pieces for flute and harp at my last count. Perhaps you are not thinking of projecting your tone outward when playing, that makes a difference. It is
I am very saddened to hear this. I will add to what you said that Lucile Lawrence considered her to be an exceptional talent, one of the best students Salzedo ever had. When she was student at the Curtis Institute of Music, she won a school-wide award over such future figures as Jorge Bolet and Leonard Bernstein. She was one of the few teachers for whom Miss Lawrence had unrestrained regard.
I think it’s because rhythm is taught as a form of math, and not as a physical feeling. Get them up and dancing, walking, and feeling a beat. Then relate it to the fingers doing the same. It should help. I guess it’s like eurhythmics.
I think it’s because rhythm is taught as a form of math, and not as a physical feeling. Get them up and dancing, walking, and feeling a beat. Then relate it to the fingers doing the same. It should help. I guess it’s like eurhythmics.
I think it’s because rhythm is taught as a form of math, and not as a physical feeling. Get them up and dancing, walking, and feeling a beat. Then relate it to the fingers doing the same. It should help. I guess it’s like eurhythmics.
When I was at the factory last spring, I tried all the harps on the floor, perhaps 60 of them, and 90% of them were virtually identical sounding, across all models. The only difference was made by size. I felt that it really didn’t matter which one was picked. There were about 8 harps that a promising open sound that I liked. The others were more buzzy with their overtones, more intimate sounding. There was some difference between the 85 and other models due to obvious differences, but the 100 and Chicago of the same size were about the same. I just don’t remember any of the harps being particularly individual. They all sounded basically quite good.
When I was at the factory last spring, I tried all the harps on the floor, perhaps 60 of them, and 90% of them were virtually identical sounding, across all models. The only difference was made by size. I felt that it really didn’t matter which one was picked. There were about 8 harps that a promising open sound that I liked. The others were more buzzy with their overtones, more intimate sounding. There was some difference between the 85 and other models due to obvious differences, but the 100 and Chicago of the same size were about the same. I just don’t remember any of the harps being particularly individual. They all sounded basically quite good.
When I was at the factory last spring, I tried all the harps on the floor, perhaps 60 of them, and 90% of them were virtually identical sounding, across all models. The only difference was made by size. I felt that it really didn’t matter which one was picked. There were about 8 harps that a promising open sound that I liked. The others were more buzzy with their overtones, more intimate sounding. There was some difference between the 85 and other models due to obvious differences, but the 100 and Chicago of the same size were about the same. I just don’t remember any of the harps being particularly individual. They all sounded basically quite good.
Sorry, the harp can do far more than play the notes of the Handel Concerto, we don’t need lute assistance.
I think it is reasonable to expect to spend a full year learning the notes and memorizing them, and another year to bring it up to tempo, and much longer to really understand it.
Who are all the harpists performing?
A similar work is Universal Prayer by Andrzej Panufnik, which has, I think, three harps with organ and vocal soloists.
