Forum Replies Created
-
Posts
-
Perhaps you can write to the contest and ask how you can acommodate the timing, perhaps you are allowed to keep the other pieces.
I didn’t enter because they require a recording, I believe, and I don’t like not being chosen. Why they need a recording if they have the music to read through, I don’t know.
Salzedo’s Spanish genre music includes La Desirade and Chanson dans la nuit from Preludes for Beginners in the Method for the Harp, Scintillation, Pentacle, Concerto for Harp and Seven Winds last movement, Second Concerto’s last movement,
The bulk of the Salzedo syllabus compiled by one of his students in perhaps the 1930s basically consisted of his published music and transcriptions, and those by Marie Miller and Salzedo’s other pupils. Before the publication of Lawrence’s Method, they used the Universal Method of Bochsa/Oberthuer. That means the repertoire was basically baroque, classical, Mendelssohn, Debussy, and modern. If you look on the back page of single pieces, the other titles in the series are often listed.
Here’s your answer: http://old78s.blogspot.com/2009_05_01_archive.html
It sounds like Finale is much more usable. The professionals I know recommend Score, particularly for publication, but you have to know how to run a dos software, which I don’t, and I don’t know what support is around.
As for Salzedo notation, I use it, and believe in it, because it is the one consistent and pretty comprehensive system of notation that we have. There are many composers who have used Salzedo notation for standard works, so it is still necessary to learn what it means to play those pieces properly, pieces like the Ginastera Concerto, the Persichetti Serenade and Parable.
There are musical effects in general that have more than one notation, tremolos, for instance, so it is not really a big deal if we have two, as long as they are marked which is which. In any case, I know some harpists whose rule of thumb is to play the harmonics where-ever they will sound the best.
It’s a work in progress. I sent Esperanza some different ones. I also have a copy of a Salzedo syllabus from around the 1940s. The main emphasis is on using music by major composers and very little by harpists.
My first choice is generally Lyon and Healy, but I haven’t heard the Apollo. Salvi’s generally have a much darker tone.
No, a syllabus is a rare thing in the harp world. Each teacher has their own routine. The Salzedo pedagogy is also different.
I don’t know if you’d feel like it, or what kind of write-off it would be, but you could donate it to a school or organization. The write-off might be higher than what you could sell it for these days.
I would start with Parry, then Bach, then Caplet, then Hindemith. On the second half I would do Mauldin, Maayani, Albeniz, Faure.
I would never end with a Bach piece if I had the Variations on the same program. Ending with Une Chatelaine en sa Tour would be a real let-down of energy. It’s a great piece for the middle somewhere, or even the beginning if you dare. But it does depend on the individual and how they come across, too.
I have such a list, especially for upper levels. I do not recommend the ABRSM syllabus. It has too little serious music on it, and it doesn’t progress very evenly from level to level, it seems to me.
