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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
I got the music. The problem is I don’t like the theme, it’s so gloomy. I like how he varies it, but I would never want to hear it again. I like his Images much more. And he has a lot of pieces people never play. I find most of his music lays easily in the hand, and once you learn the notes, just practicing enough would seem to bring it up to tempo fine. I guess that’s why his pieces are so often in competitions for high school students.
I don’t know the other schools, but Skidmore is certainly good, and Elizabeth Huntley is certainly an experienced teacher and has a fine background.
That’s a good point, I know of none, but there are harpists who have specialized in new music, such as Elizabeth Panzer, Alyssa Reit, whom you could consult. If you could find a piece called Fragmentations by Sylvano Bussotti, it would be interesting. I used to have it. It is all graphic notation, and no music at all.
It is tragic. It is very hard to find a store where the staff are knowledgable about searching for music.
The Harvard Dictionary gives the designations as OO for the lowest octave, from the “Great C” on the piano downward (CBA), then O for the next higher, then 1, then 2. It is the opposite of our string ordering designations, but it is a standard for all instruments.
