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I didn’t notice that, but always thought it could be done, and should be, as we have literature that calls for an A, and I want to be able to write for it. Adding another string to the harp would definitely renew interest in it. A 7th Octave B would also be very useful and is also needed for some pieces.
I am definitely more comfortable playing a harpsichord than a piano, it has the same spacing as the harp.
You can find a few works at Imslp.org, but not a lot of great value, except for orchestra parts. The only other site I use is WernerIcking.
I didn’t answer because I didn’t feel the wording was an accurate reflection of the technique. A is the closest.
As Miss Lawrence used to say, “Monkey see, monkey do.” Imitation is one of the most powerful learning/teaching tools.
As Miss Lawrence used to say, “Monkey see, monkey do.” Imitation is one of the most powerful learning/teaching tools.
As Miss Lawrence used to say, “Monkey see, monkey do.” Imitation is one of the most powerful learning/teaching tools.
I would think it sensible to have a smaller harp, such as a 15, 19, or the Concertino. It is possible to play a full-size harp, though I’ve not known anyone quite as small, but the stretching you would have to do might in time cause problems. If a smaller model makes that easier, plus its being lighter, I think it would be better. With an extended sound-board, it will have nearly as much sound. The older Lyon & Healys in smaller models can have quite a big and rich sound, even with straight sounding boards. They have one on the CPO site that is quite gorgeous. You might also consider having a custom harp made that has closer string spacing.
It seems to me the question is how much weight is in the arm if it is “resting” against the sounding-board and I would add, how that affects its movement or inhibits or relieves it. It’s not so simple. In the Salzedo method one might accidentally touch it while doing something, but one never rests against it. The distinction in the Method is, whether your elbows are in an upward position, such as when playing chords, melody, and in the downward position when playing a series of octaves, harmonics and trilling. In that position, it may touch or brush against the soundingboard, but it does not press or rest, or restrict movement.
What I have observed in some other techniques is that there is little or no movement in the arm, and the hand/fingers do everything, most particularly in the right hand. Salzedo Method has more free and constant movement, as I would describe it, but all integrated for specific purpose, not free as in whatever one feels like doing.
It is interesting that if I play an 18th- or 19th-century piece without applying myself, I will often “revert” to playing with my right arm resting on the board and lower on the strings. It seems to come, either out of the music, or out of how previous harpists have played it. New music is absent of that, no precedent when no one else has played it before. All performers are to some degree conscious of those who have performed before them, I think. Actors have to deliberately make choices in roles to avoid doing what predecessors have done. Call it telepathy if you like, I think I would.
I used to receive handsome certificates every time I did the Music Education evaluations. I have wondered how important these are, or how often the student should receive such a thing. Once a year? Every semester?
I used to receive handsome certificates every time I did the Music Education evaluations. I have wondered how important these are, or how often the student should receive such a thing. Once a year? Every semester?
