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The more of your body you are using, the more sound you will get. If you lean into the string using weight from your upper body through your arm, through your palm, coiling around through your fingers, then you will be able to get a full, round tone with your fingers completely relaxed. That said, you probably need to practice it longer and work on it in greater detail and explanation with your teacher and not online. It isn’t really respectful to him or her to go outside for advice.
The more of your body you are using, the more sound you will get. If you lean into the string using weight from your upper body through your arm, through your palm, coiling around through your fingers, then you will be able to get a full, round tone with your fingers completely relaxed. That said, you probably need to practice it longer and work on it in greater detail and explanation with your teacher and not online. It isn’t really respectful to him or her to go outside for advice.
The more of your body you are using, the more sound you will get. If you lean into the string using weight from your upper body through your arm, through your palm, coiling around through your fingers, then you will be able to get a full, round tone with your fingers completely relaxed. That said, you probably need to practice it longer and work on it in greater detail and explanation with your teacher and not online. It isn’t really respectful to him or her to go outside for advice.
I wouldn’t really worry about it. It’s really just a way people have of making conversation about something they know very little about. The harp is what you make of it, and I hope you’ll make something great.
My favorite for quintuplets is Car-los-Sal-ze-do, naturally. For septuplets, I like pa-ra-leg-al-ass-is-tant. My sister learned ta-ki-ta for triplets and ta-ka-dee-me for quadruplets. Miss Lawrence used not-diff-i-cult for two against three. Miss Chalifoux used something like puddle-uddle-uddle for spelling out a chord.
My favorite for quintuplets is Car-los-Sal-ze-do, naturally. For septuplets, I like pa-ra-leg-al-ass-is-tant. My sister learned ta-ki-ta for triplets and ta-ka-dee-me for quadruplets. Miss Lawrence used not-diff-i-cult for two against three. Miss Chalifoux used something like puddle-uddle-uddle for spelling out a chord.
My favorite for quintuplets is Car-los-Sal-ze-do, naturally. For septuplets, I like pa-ra-leg-al-ass-is-tant. My sister learned ta-ki-ta for triplets and ta-ka-dee-me for quadruplets. Miss Lawrence used not-diff-i-cult for two against three. Miss Chalifoux used something like puddle-uddle-uddle for spelling out a chord.
When you are opening the hand to place, it makes sense to extend the pinky, but it most certainly comes in to assist the fourth finger when playing. It is possible to extend it without tension. The lessons in the Salzedo Method are a starting point, a part in a progression of learning that should ideally be completed to be completely understood.
When you are opening the hand to place, it makes sense to extend the pinky, but it most certainly comes in to assist the fourth finger when playing. It is possible to extend it without tension. The lessons in the Salzedo Method are a starting point, a part in a progression of learning that should ideally be completed to be completely understood.
When you are opening the hand to place, it makes sense to extend the pinky, but it most certainly comes in to assist the fourth finger when playing. It is possible to extend it without tension. The lessons in the Salzedo Method are a starting point, a part in a progression of learning that should ideally be completed to be completely understood.
Yes, Walter liked a rubber-plastic combination pedal wrapping. I can only guess that the wing nut is for attaching a lamp, holding the neck together, or hanging something.
I never heard of any, but who knows? Probably in some contemporary works. I have heard many European orchestras and harpists, that is what I base my opinion on. I’ve not heard as many English harpists, mostly Osian Ellis. I do not equate capability, talent, musicality etc., with strong playing.
I think singing is almost necessary for a harpist, but what is more helpful than music is dancing, ballet and/or ballroom.
That’s why, your harp has a polyurethane finish, not lacquer. Nevertheless, applying anything chemical to it will have an effect, if invisible. So, I would not use tape. Perhaps string tied around the pedals would hold them. I know how difficult it is. Somebody should invent a tool that will wrap around the pedals and hold them in place, then be removable as you put the base back on. How about a very thin metal framework, Carl? They make pie slicers you push into the pie and pull out, if you cut one in half, it would be something like what we’d need, a semi-circle with arms to hold each pedal, then you pull it out backwardsly as you have the base positioned. Who’s gonnna make it?
