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Wouldn’t it be best to make it a suggested list so as not to be restrictive?
It seems to me that you are setting the bar pretty low. I would at least have one orchestra part, like the Waltz of the Flowers after the cadenza, and some rhythmic pieces like Le Bon Petit Roi d’Yvetot and the Pavane from Solos for the Harp Player. But that’s just me.
There are some wonderful Kastner etudes for lever harp, thanks to Kathy Bundock Moore that will do you better for now than the Bochsa. You can also adapt etudes by changing their chord sequences and keeping the patterns.
There are some wonderful Kastner etudes for lever harp, thanks to Kathy Bundock Moore that will do you better for now than the Bochsa. You can also adapt etudes by changing their chord sequences and keeping the patterns.
There are some wonderful Kastner etudes for lever harp, thanks to Kathy Bundock Moore that will do you better for now than the Bochsa. You can also adapt etudes by changing their chord sequences and keeping the patterns.
I can assure you, there was no lack of technical teaching done by Alice Chalifoux or Lucile Lawrence, with and without etudes and with abundant exercises and not, and each produced an Israel prize-winner, not that winning prizes is the only or any measure of a great harpist. Winners have won, by playing the “best” that day. It doesn’t make them anything other than that. Salzedo never won a competition after leaving school, I don’t recall Grandjany or Renie or Tournier ever winning any other competitions either.
As for the vast majority of American harp teachers, there is absolutely no way for either of us to know what they do or don’t do in their teaching. Let’s keep the “record” straight and not skipping.
I can assure you, there was no lack of technical teaching done by Alice Chalifoux or Lucile Lawrence, with and without etudes and with abundant exercises and not, and each produced an Israel prize-winner, not that winning prizes is the only or any measure of a great harpist. Winners have won, by playing the “best” that day. It doesn’t make them anything other than that. Salzedo never won a competition after leaving school, I don’t recall Grandjany or Renie or Tournier ever winning any other competitions either.
As for the vast majority of American harp teachers, there is absolutely no way for either of us to know what they do or don’t do in their teaching. Let’s keep the “record” straight and not skipping.
I can assure you, there was no lack of technical teaching done by Alice Chalifoux or Lucile Lawrence, with and without etudes and with abundant exercises and not, and each produced an Israel prize-winner, not that winning prizes is the only or any measure of a great harpist. Winners have won, by playing the “best” that day. It doesn’t make them anything other than that. Salzedo never won a competition after leaving school, I don’t recall Grandjany or Renie or Tournier ever winning any other competitions either.
As for the vast majority of American harp teachers, there is absolutely no way for either of us to know what they do or don’t do in their teaching. Let’s keep the “record” straight and not skipping.
Tiny Beon was a petite harpists who toured with Tom Thumb’s circus for P.T. Barnum in the 1880s-1900s. Tiny played on a Lyon & Healy Style 12, often with an orchestra of “little people” playing the smallest instruments. The concertmaster had a particularly affecting way of playing that would make audiences sob, hence the expression “the worlds smallest violin” as one rubs one’s index finger over the thumb.
This one’s for you, Mel.
Excuse me, I was channeling someone else.
A few of the Bochsa etudes in the Universal Method are adaptable to lever harp, but less than half.
Excuse me, I was channeling someone else.
A few of the Bochsa etudes in the Universal Method are adaptable to lever harp, but less than half.
Excuse me, I was channeling someone else.
A few of the Bochsa etudes in the Universal Method are adaptable to lever harp, but less than half.
You are young enough to learn and do well, maybe become an accomplished player, but you will have to move to where there is a good teacher, sorry to say, if there is no one near to you. If you study piano carefully, you will be able to translate it to the harp, and their are good videos on the mechanics of playing the piano. The big difference is that we have to close our fingers all the way into our hands when playing the string. Take a year or two to master piano as much as you can, and reading and understanding music theory and history, then move south. Or be a self-taught folk harper if you like.
Of course, if I compose a book of etudes, I expect everyone shall thoroughly learn each and every one!!
