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I opened one recital with the Alojz Srebotnjak Preludes. I liked that. The first one is excellent for that and they progress in an interesting way. There are several modern pieces that are good to start with, I think. But I do like starting in the baroque period or earlier. I think the audience’s ears need to be warmed up as well as our fingers.
The ABC of Harp Playing by Lucile Lawrence is based on learning to read and play at the same time by literally instructing that, having the student say the note as they read and play it. It is completely basic, a good first book to use. I use it along with Betty Paret’s first book which has cute tunes that I
The ABC of Harp Playing by Lucile Lawrence is based on learning to read and play at the same time by literally instructing that, having the student say the note as they read and play it. It is completely basic, a good first book to use. I use it along with Betty Paret’s first book which has cute tunes that I
The ABC of Harp Playing by Lucile Lawrence is based on learning to read and play at the same time by literally instructing that, having the student say the note as they read and play it. It is completely basic, a good first book to use. I use it along with Betty Paret’s first book which has cute tunes that I
Dewey Owens’s collection of Purcell might provide the right kind of music, and a lot of it is just single lines for each hand, or the melody with a fairly simple accompaniment.
Dewey Owens’s collection of Purcell might provide the right kind of music, and a lot of it is just single lines for each hand, or the melody with a fairly simple accompaniment.
Dewey Owens’s collection of Purcell might provide the right kind of music, and a lot of it is just single lines for each hand, or the melody with a fairly simple accompaniment.
Orchestral players are getting louder and louder. The young string players I hear are playing as loud as they can, so once again, the harp is getting drowned out. I have always held that harps reached perfection in the 20th century, so I am at least skeptical if not dubious of recent and new changes.
The veneer protects the precious sounding board from injury, things falling on it, etc. It also adds another layer of resonating material as well as a better appearance.
This poses some questions: do we need a louder harp? Do all harps need to be louder? How does this affect playing? What do other musicians think of it? I know one orchestral player who doesn’t like loud harp playing (of course, she’s not in the audience).
Harp manufacturers have been experimenting with incorporating Kevlar or like material in the neck and sounding board, as I understand, and the extensive research required was in finding glues that would resonate properly as well as hold the layers together. This increases the structural strength of the harp. I don’t know what the resonating qualities are of this material. It is synthetic, not wood.
