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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.
They never stop. Don’t answer such e-mails. If the language is too formal, if they are foreign, it is spam.
They never stop. Don’t answer such e-mails. If the language is too formal, if they are foreign, it is spam.
They never stop. Don’t answer such e-mails. If the language is too formal, if they are foreign, it is spam.
Sometimes I feel extinguished. As I said, there is nothing better to do. As in, nothing could be better than playing the harp. Everything is worse, lesser, coarser, cruder, lower, less interesting, less beautiful, etc.
The sound is what inspired me, the purity of it, the harmonics, the range of color, the organic act of finger flesh on string, the audibility of overtones. To me it is the music of the spheres, of God’s presence. The pure delight of Harpo in his harp.
You can string your harp any way that you want to, as long as it is the right tension for your model. Do not believe factory talk that it has to be strung the way they say. They are wrong in saying that. You can certainly use good quality nylon strings in place of gut. I don’t know what strings a Shamrock or other model use, but an Ogden uses standard strings, the same as a pedal harp.
