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I think it worth looking at the philosophies involved, because they come from a different culture, and have ramifications. Jewish people, it seems to me, come from a highly critical culture of opinion, judgement, criticism and intellectual pursuit, and I think that if you can turn that into positive attributes, you are a finer artist for it. The problem is, a
I think it is vitally important to buy 46 or 47 string harps, because you have no guarantees that you’ll have enough later on to buy a concert grand. Some people get stuck on 40 or 44 string harps that just don’t have enough to play on. I suggest you get a second-hand Style 30, 100,
If somebody wants to start a Zlatkovski Method Certification Program, I won’t charge anyone to enroll!
Maybe.
What’s also really important is to move the pedals so you don’t hear them. There are a lot of sloppy pop/jazz players, or used to be, whose pedals were very messy.
BELOW!!!!
If you want to do a diagram above, create your own design, Instead of lines, the pedal marks could be little feet.
I doubt that Salzedo did, unless the A at the Metropolitan Opera was lower than 440. 440 has been around a long, long time, despite fluctuations. If it was lower, it would have been to 435 or so, not much different.
It costs a lot to produce them. There is a ten-minute video from television of Miss Lawrence that I wish someone would put on YouTube already. I don’t have a video drive in my computer.
Well, with no harpists, there is no one to buy sheet music, I suppose. This is tragic. I would happily go there and teach if the government will support me or a school. But I think I would want to be in Thessaloniki or on an island, not too hot. Even Greek harps and lyres should be played. Magadis, Sambuca, there were many ancient harps.
Are you willing to do it for an hour a day? She might have, but I think you can with enough time, but it would be boring… I understand it is shaking the wrist back and forth, rocking between the fingers and not closing them.
I think Orff uses a lot of percussion toys and Kodaly is focused on singing, initially.
So, given this start of a Suzuki-trained child, how does this affect their psychological development, and artistic growth? To never have a critical attitude or accept it is to me a bad thing, and I believe I’ve seen the results of that on stage.
Do we know of any famous musicians who started out in Suzuki training?
The only other harpist I know of to use that scale fingering is Judy Loman. I think it may be used in Europe. I don’t care for it, myself. I like that she made it inspirational, and gave harpists something to aim for besides getting a job and playing the right notes.
Uh, no, Salzedo designed the pedal diagrams to go BELOW the staff, just as the pedal markings are, and as the pedals are at the bottom of the harp. They should never be above the staff, it isn’t referential to anything.
My student had a volume of exercises by Kastner, edited by Kathy Bundock Moore, which are perfect. Thank you, Kathy!
The other factor in my improvement (I didn’t even mention the tennis elbow), has been exercise. I started swimming, and doing a little weight lifting in the pool or out, and strengthening the arm and upper back muscles, and lower back, are key to making it easier on the wrists and hands. Movement keeps the blood circulating through the injury and helping recovery more than keeping it still. Braces are the worst thing, I think.
