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While it was heavy, the best cart ever was made by Cindy Schultz’s father in Edina, Minnesota. They have trays the harp sits on that fold up, and a friction skid on the back rails so it can slide down steps easily, and big rubber tires.
I think the ideal cart would have those features, be lightweight, well-balanced, automatically center the harp, hold it tightly, and be possible to leave it on while in a vehicle.
I think it should be a triangle, the long side along the column, two sides embracing the neck, and two sides embracing the body. Big rubber wheels at the bottom and a friction belt skid on the back. No handles, so you hold the harp, perhaps. The base should elevate, perhaps with a foot-lever, in case of snow or
I think it is important to maintain high standards for our field and for ourselves. The overall quality of harp playing suffers easily when players who are not sufficiently trained call themselves professionals or teachers. What is sufficient is in some ways an individual decision. I have taught on and off for twenty-nine years. In the last five years, I think that I really know what I am doing, and at the same time realize how much more I need to learn.
A harp teacher should have solid, if not fine, technique, good musicality, and at least a general knowledge of music theory, history, and the harp literature. A teacher must know how to demonstrate and teach proper playing in an effective manner. A teacher should have an extensive knowledge of harp literature and an extensive music collection.
I think one should study to at least the master’s level unless extremely accomplished at the undergraduate level, and with a major teacher for more than four years. There is no set time span for harp study, I think one should study until done, not by degrees.
I think it is important to maintain high standards for our field and for ourselves. The overall quality of harp playing suffers easily when players who are not sufficiently trained call themselves professionals or teachers. What is sufficient is in some ways an individual decision. I have taught on and off for twenty-nine years. In the last five years, I think that I really know what I am doing, and at the same time realize how much more I need to learn.
A harp teacher should have solid, if not fine, technique, good musicality, and at least a general knowledge of music theory, history, and the harp literature. A teacher must know how to demonstrate and teach proper playing in an effective manner. A teacher should have an extensive knowledge of harp literature and an extensive music collection.
I think one should study to at least the master’s level unless extremely accomplished at the undergraduate level, and with a major teacher for more than four years. There is no set time span for harp study, I think one should study until done, not by degrees.
The woman may be tone-deaf, or pathologically unable to enjoy music. What she said about not understanding is a clue. She may not understand it herself, and that is a way of asking.
Anyhow, as my dearly beloved ballet teacher used to say, with all dignity, “it’s all chickenshit!”
In the back of my mind, this thread has been reminding me of the movie and novel, “The Loved One”, about the funeral industry, in which the woman running a funeral parlor is named Miss Thanatogenous.
I do remember seeing a Harp Therapy program that was set up in Montana that seemed to be perhaps cogent and useful.
I am willing to teach healing and harp to someone interested, but I don’t have the energy to market a “certificate” program, but I can have one hand-calligraphed to show completion of the program.
There should be no big change in the regulation if you switch to nylon strings, which I prefer. Any regulation needs minor adjustments as the strings stretch and the felts pack down, so learning to make those yourself will take care of things. When felts are changed, the regulation usually needs to be redone after a month or so of use. It depends which nylon you have though, if you have Pirastro, there will be little difference, but a bit more if you have other nylon strings. I only use Pirastro.
Sam, I’m pretty sure there is something wrong in how you are installing your new strings. You are making the wrong kind of knot, or making the string much too tight so it pops as it goes into pitch. Or, your discs are moving way too far into the string. Have your teacher look at it. I suggest you take it to your next lesson.
Get used to it. Playing anywhere involves a certain amount of hassle. Get good at moving the harp and it becomes less of a chore.
My point was that you don’t have to only use a harp, a guitar can do nicely, too, and I do not hold with the idea of
