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To be specific, the difference I hear is in the brilliance of the overtones, most pronounced when the string is new. That makes the rest of the harp sing more actively, too. One possibility for playing in different lighting situations is to carry a footlight with you, or a clip-on light to illuminate the strings. I’ve only had a problem seeing strings when there was a color match to the background, like a copper-colored rug or wall, but there are lots of situations I haven’t played in. I found the tarnish-resistant strings to get quite dull after a year of use, so I don’t think you really save money with them.
Well, isn’t that a good question. I don’t think anyone can afford sterling-silver strings. If I play mine long enough, they wear down and change color, so I guess they must be silver-dipped copper.
It should be simple enough to turn down the amplification of the electric instruments. Unless you have an electric harp, I would just play normally. I would not let them put a microphone inside your harp. They can put a mic above it and in front and that will pick up some sound. I can’t stand for music to get louder, so I would say it should get softer, but not many people seem to think that way. Why don’t you show these posts to the conductor?
P.S., I have also spent quite a lot of time on the music of Rameau and Couperin, so if you would care for my views on French Baroque music on the harp, you may e-mail me.
Did you establish source material before you began writing? I would guess your thesis might be the first one on the subject. What degree is it for?
Here
I guess one can always lower one’s standard of what “perfect” is!
For me, it would be performing a piece without noticable mistakes, a complete flow of idea, without hiccups. I find it is now possible in some pieces in a concert, but the better one piece goes, or one moment, some unexpected wonderfulness, the harder it is to recover from it. It’s harder to recover from something unexpectedly beautiful than a note error. That should be of some comfort to students.
I guess one can always lower one’s standard of what “perfect” is!
For me, it would be performing a piece without noticable mistakes, a complete flow of idea, without hiccups. I find it is now possible in some pieces in a concert, but the better one piece goes, or one moment, some unexpected wonderfulness, the harder it is to recover from it. It’s harder to recover from something unexpectedly beautiful than a note error. That should be of some comfort to students.
I guess one can always lower one’s standard of what “perfect” is!
For me, it would be performing a piece without noticable mistakes, a complete flow of idea, without hiccups. I find it is now possible in some pieces in a concert, but the better one piece goes, or one moment, some unexpected wonderfulness, the harder it is to recover from it. It’s harder to recover from something unexpectedly beautiful than a note error. That should be of some comfort to students.
I don’t know of any string that is wire over gut for standard harps. Pedal harp wire strings are wire over silk over wire.
I didn’t know there was an Italian company. I only saw wire strings on their site. I wonder if they manufacture or only distribute. Given that they primarily do guitar strings, I might think that they are distributing D’Addario strings. Do you happen to know any details about them?
I have always found a definite difference. They lack the brilliance and overtones of silver and copper strings. Less so, the copper, but very much so, the silver. I also found that they got even more dull with time, and by a year’s passing, even though not tarnished, they needed replacing. I don’t think they really save any money. I also don’t think we need rely on their being colored to find our way around, except in bad lighting situations. I really don’t recommend tarnish-resistant strings. Our tone quality should be our first priority, I think, not convenience.
