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In my experience and exploration of them, none are easy to use, and it will consume many hours to learn how they work. None are set up to do harp music without customizing. You’re better off writing by hand and giving it to a professional to copy. Unless you have a lot of free time, and enjoy being on a computer all the time. If you can do a neat copy by hand, then you can photocopy it, take it to a printer. You can more easily learn notation by hand than on computer. You don’t have your workflow interrupted then by updates to the software and continuing expenses. My regret is that when I could have taken a class in copying, I did not. I’m sure there’s someone in Boston who can still teach it. As much as the software can do, there’s so much it can’t and the frustration level is very high.
If you are located in an area where regulation will not be possible, or rare, then you should probably look at Salvi harps. I’m not sure if the 85 series are sturdier than other Lyon & Healy harps, though they look it. You’re still going to have to change pedal felts every few years or so, and all the strings. I can’t speak to Camac harps, except that one friend of mine has had serious trouble with hers, and I don’t like how they sound.
You may want to use more nylon strings to brighten the sound, particularly in the second octave. You didn’t say which model of harp it is.
An 85E strikes as the best choice for your price range. You could go smaller for a 15 if you are willing to give up the extended soundboard. The Chicago harps are a budget line meant for students.
Well, you certainly don’t have to play the piece, Carl! It is meant to sound guitaric, hence the name, and guitar players often play at the base of their strings. Or plectric, when you use your nails, like when guitarists play with a plectrum or pick. The other reason it is at the base of the string, and not higher up, like “pres de la table,” is that it creates the greatest contrast with playing in normal position, or “au milieux.” The same with “Papery Sounds,” where you play at the top of the strings. All are explained in the Method for the Harp, the Modern Study of the Harp, and usually on the first inside page of the composition as well.
It seems odd that he chose a fairly diatonic piece to demonstrate a chromatic harp. That harp sounds very much like Erard harps on recordings. And so much muffling.
I think this is in the wrong forum, but I think the best teacher is more important than the most famous school. A great teacher will be able to teach you pedagogy. Feel free to contact me for personal advice.
If you have a Samsung Galaxy phone around, they have excellent microphones, even response throughout the range of the harp. Many other devices seem to lose the treble and exaggerate the bass.
I find Camacs to have inferior tone quality as well as appearance. I find it hard to believe you couldn’t find a suitable Lyon & Healy harp. They’re less expensive and lighter than Salvi models. Did you look at the Style 100 or 30? Or the Concert Grand 17?
It leaves me speechless. I can’t see why anyone would follow this, unless you go from grade to grade every three months.
I spoke to him, and got his autograph, but I can’t say he was nice, which was very disappointing. It was backstage at Carnegie Hall after a recital, and Susann McDonald was there with a few of her pupils. When I approached him and he asked who I studied with, I said, Lucile Lawrence, and he snubbed me, turning back to a smiling McDonald. I stood my ground and made sure he autographed my album (LP). It is smudgy, but I have his signature. His wife and daughter, I met on another occasion, and they were quite nice, very gracious. They confirmed for me that he was Jewish and that Nicanor is a very ancient name.
