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One necessity is arranging for course credit or the equivalent both for study and practice time. The students in a serious track should get at least one free period a day for practicing. The most famous school program is at Cass Tech High in Detroit. You could ask Pat Terry-Ross how it works.
Congratulations! Getting harps is the biggest problem.
It is a pitfall for many harpists who think they can never change a fingering in a piece. It is one thing if it is by a very exact and particular composer such as Salzedo, and another in most others. My teacher always said, you don’t divide the music between hands like on the piano on the harp, you play with whatever is available that is most comfortable, and use your ear to create unity of sound. That works well with modern music, certainly.
I don’t think the students should be penalized, unless they simply didn’t practice, but maybe the teachers should?
Does the ABRSM also examine and license teachers?
He was a harpist and commercial arranger/composer who published several works with Salvi in the 1970s and 80s, who died young around that time. His music is attractive, as far as I can recall.
Let us be cautious, as the news story tells us no facts at all, and basically smears her for their commercial purposes. She may be an innocent party caught in a scam that used her or any number of variations on any number of scenarios. “Just the facts, Ma’am.”
“Now I’ll never get away with that international smuggling scheme I’d planned…”
as one harpist thought
The new Chicago harps reminded me of this thread, and what harps named for other cities would be like:
The Seattle: shaped like a cup of coffee with a lot of foam on top
The New York: A skyscraper harp
The Minneapolis: like a tree, very nice, nice, nice
Got some others?
Yes, I wondered about that, as the music is rather intermediatish. When younger I could not see how to advance my playing on music I could already handel, only by playing progressively more difficult pieces. Now I can, but how many students can?
I was just about to post this link:
same thing.
One wonders.
It is true that certain women might develop physical problems from compensation, but we are mostly all capable of exercise and building strength, which will produce the desired results. Miss Lawrence was no more than 5’4″, but she was very strong. When she was young she did a lot of swimming and riding, I know. I think she always ate well, too.
I disagree with Misty, as a harpist who has experienced tendinitis and learned how to cure it or adapt is more knowledgable than someone with no experience of it. They may simply have a more durable physique. Singers all have the same vocal cords, but some are like iron, and others are fragile.
Tai Chi, all those movement programs are helpful in their own way, but analysis of harp playing should be done by harpists, I think.
