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Of course, if I compose a book of etudes, I expect everyone shall thoroughly learn each and every one!!
The harp is not the same as other instruments. Our physicality is completely different, however, I think other instruments have problems with too much repetition also in their etudes. The results we seek from etudes can be achieved with extensive exercises and repertoire.
The harp is not the same as other instruments. Our physicality is completely different, however, I think other instruments have problems with too much repetition also in their etudes. The results we seek from etudes can be achieved with extensive exercises and repertoire.
The harp is not the same as other instruments. Our physicality is completely different, however, I think other instruments have problems with too much repetition also in their etudes. The results we seek from etudes can be achieved with extensive exercises and repertoire.
I think, and Miss Lawrence certainly always held, that the strength of French training lay in all that solfege, etc. I don’t know how that does it, but memorizing an etude in one week would seem otherwise impossible. But that also doesn’t facilitate understanding the music well, necessarily, either, because that takes time and “Contemplation”. A lot of students who memorize quickly don’t necessarily read well, and may memorize mistakes, I have seen. Still, I would love to have that kind of facility in acquiring music, and to know just how it works. It must have to do with doing it while very young, like learning a language as a child, while the brain is developing.
I think, and Miss Lawrence certainly always held, that the strength of French training lay in all that solfege, etc. I don’t know how that does it, but memorizing an etude in one week would seem otherwise impossible. But that also doesn’t facilitate understanding the music well, necessarily, either, because that takes time and “Contemplation”. A lot of students who memorize quickly don’t necessarily read well, and may memorize mistakes, I have seen. Still, I would love to have that kind of facility in acquiring music, and to know just how it works. It must have to do with doing it while very young, like learning a language as a child, while the brain is developing.
I think, and Miss Lawrence certainly always held, that the strength of French training lay in all that solfege, etc. I don’t know how that does it, but memorizing an etude in one week would seem otherwise impossible. But that also doesn’t facilitate understanding the music well, necessarily, either, because that takes time and “Contemplation”. A lot of students who memorize quickly don’t necessarily read well, and may memorize mistakes, I have seen. Still, I would love to have that kind of facility in acquiring music, and to know just how it works. It must have to do with doing it while very young, like learning a language as a child, while the brain is developing.
The ABC of Harp Playing and the Pathfinder Studies by Lucile Lawrence, for sure, as they are for both kinds of harp and use all the keys. The Art of Modulating gives practice in chord changes and sightreading without pedal markings. The solos in it by Salzedo are in different keys but without pedal changes. It really isn’t difficult though to do pedaling. It’s more of a challenge to be playing more notes with more range and more bass in particular. There are tons of advanced beginner/intermediate solos.
By the way, are you related to Cynthia Lister?
I don’t think there’s any way for a student to be able to flatten fifths well until they have played for years. I would use a tuner with a good sounding pitch and have them match it,
It’s Judy who performs it on YouTube. Personally, I can’t stand the piece, however well she does it.
I was nearly 16. If you are thinking about starting, start as young as you can with the best teacher you can find.
Which are which? Which are in the Universal Method? It’s too confusing.
I disagree on the value of these etudes. They only prepare you for 19th century music, neglect the left hand terribly, and I think lead to stiff playing from over repetition. In principle, they have value, and should be used selectively, I think. The Universal Method is good because they are just the right length and are adaptable. The Italians seem to use etudes a lot as well. I don’t think the Dizi are harder than Bochsa’s most advanced etudes, but Posse’s are much harder than almost all of them, almost to a ridiculous degree in some of them. I’ve never seen Concone or Nadermann, too many to buy.
I do wish Salzedo had composed more, only then I’d have to learn them, and the five he wrote can be a lifetime’s work as it is. I have been trying to compose etudes and find it very difficult, much more than exercises or compositions. It’s very hard to find that balance between providing exercise and making them musically
Which are which? Which are in the Universal Method? It’s too confusing.
I disagree on the value of these etudes. They only prepare you for 19th century music, neglect the left hand terribly, and I think lead to stiff playing from over repetition. In principle, they have value, and should be used selectively, I think. The Universal Method is good because they are just the right length and are adaptable. The Italians seem to use etudes a lot as well. I don’t think the Dizi are harder than Bochsa’s most advanced etudes, but Posse’s are much harder than almost all of them, almost to a ridiculous degree in some of them. I’ve never seen Concone or Nadermann, too many to buy.
I do wish Salzedo had composed more, only then I’d have to learn them, and the five he wrote can be a lifetime’s work as it is. I have been trying to compose etudes and find it very difficult, much more than exercises or compositions. It’s very hard to find that balance between providing exercise and making them musically
Which are which? Which are in the Universal Method? It’s too confusing.
I disagree on the value of these etudes. They only prepare you for 19th century music, neglect the left hand terribly, and I think lead to stiff playing from over repetition. In principle, they have value, and should be used selectively, I think. The Universal Method is good because they are just the right length and are adaptable. The Italians seem to use etudes a lot as well. I don’t think the Dizi are harder than Bochsa’s most advanced etudes, but Posse’s are much harder than almost all of them, almost to a ridiculous degree in some of them. I’ve never seen Concone or Nadermann, too many to buy.
I do wish Salzedo had composed more, only then I’d have to learn them, and the five he wrote can be a lifetime’s work as it is. I have been trying to compose etudes and find it very difficult, much more than exercises or compositions. It’s very hard to find that balance between providing exercise and making them musically
