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Core muscle exercise is the most important thing, it will support and stabilize your lower back. Do not sit on anything that will swivel while playing. Drum stools don’t look good, but they can do the trick. When I am visiting home, I use a bathing bench.
It was in New York on the Musica Sacra series, so I don’t know if he borrowed the instrument from someone like Cheryl Fulton or brought it over from England. It was a reconstruction of a don’t-remember-if it was a triple harp or a Spanish-type. It was very unpleasant.
Do not get hooked into Sibelius. It is not that harp friendly, and does not have a lot of our notation needs in mind. You have very little control over how it looks. I regret having gone that route, though it is an easier one to learn (only took several months). Score is a highly reputable program for publishing music. If you are sketching doodads, a free or cheap program may be all you need. You could also do it by hand. It works.
Kammen music has long published large collections, and Tara music has them also. But which part of the bar mitzvah are you playing for? That makes a difference. If there is a Jewish musician in your area you can consult with, it will help you. Many of the most famous songs, such as Erev Ba, are recent and not in public domain.
Ah, yes, I forgot about Salome!
Several of the parts you mention, Clint, are available for purchase from Lyra, or were when I needed them. We would have been in real trouble without them!
Opera parts can be particularly demanding.
I have compiled some data from the auditions I have participated in or monitored, all in the U.S., including at least one for a foreign orchestra, and this is the most frequently called-for repertoire in order of appearance:
12 times: Berlioz Symphony Fantastique THE CHAMPION!!!
9 times:
Rimsky-Korsakov: Capriccio Espagnole
Carolyn Mills performed it and may have a recording of it. It was required for Israel in ’85 or thereabouts, so some contestants must have recorded it.
For the harp, you may want to read the ABC of Harp Playing, the second part of which is on arranging, and Beatrice Rose’s book on orchestra parts.
The best education comes from playing (and comparing) the best quality editions with others, and with the originals.
If you’re asking about harp arranging.
For the harp, you may want to read the ABC of Harp Playing, the second part of which is on arranging, and Beatrice Rose’s book on orchestra parts.
The best education comes from playing (and comparing) the best quality editions with others, and with the originals.
If you’re asking about harp arranging.
For the harp, you may want to read the ABC of Harp Playing, the second part of which is on arranging, and Beatrice Rose’s book on orchestra parts.
The best education comes from playing (and comparing) the best quality editions with others, and with the originals.
If you’re asking about harp arranging.
Yes, I’m aware that you invented that repair, and it actually was your Chicago shop that did that repair.
What is spotify? The link doesn’t seem to bypass anymore.
Do they really pay for rights? It doesn’t sound like it.
They can be defective. If there isn’t a problem with the knot you tied, and you didn’t get grease into them or ink or another foreign substance, then they may be from a bad batch of strings. If you are having trouble getting them to stay up to pitch, then that is definitely the case. Be mindful, though, that in the fourth octave, nylon strings have a different quality, not like gut and not like they do higher up, so it may simply be that. Are they a little dull, or really dull?
I consider the Rota to be moderately difficult, technically speaking, but rather more musically challenging. One needs sensitivity, but also good taste, and sense of classicism to do it well, I think. There are subtleties that easily escape notice, and passages that might lead one in the wrong direction (like the mid-section of the Sarabande–it is not suddenly a romantic rhapsody in my thinking, he is just using the rippling figures as a way to build intensity). The ending is very hard to pull off effectively.
It was surprising to me, but when I did auditions at Juilliard for orchestras or summer programs and such, we actually played on Mr. Grandjany’s harp, which had a peculiar vibration on one or two notes, which were so distinctive in his playing, and there it was when I played the same notes! (I’m thinking of the 6th octave A possibly, and 3d octave f.)
I also had the distinct pleasure of practicint on Mr. Salzedo’s harp one summer, at the Curtis Istitute, and it was quite wonderful and informing. Now it is at Lyon & Healy, but sadly, not kept in concert tuning.
