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I am investigating starting a summer program.
How far would you travel?
What is the longest you would stay if possible? (I think in terms of 6-8 weeks)
How cool or warm should it be in the area?
Does it need to be on or near water?
In a vacation area, urban area, or isolated rural area?
A retreat center, boarding school, campus, or deserted summer camp?
Meals included or make your own?
Parents included or on your own?
Would you come if you were not allowed to bring electronic devices, if all you could do was practice, read books, write letters, play games, go to concerts, listen to music?
What’s the most you could pay per week for everything?
Yes, harps are not made to be trundled for distances. One or two blocks is a maximum to have in mind. A foot can come off from sliding it across smooth terrazzo floors. Think of harps as crystal goblets and you should be safe.
I believe it is Mineral Spirits, here, but I don’t know exactly which one.
I think you have all horribly over-reacted. First, she must let the finish/wood dry out thoroughly, before doing anything. Adding more moisture would compound the problem. I have a friend who can compound a perfect polishing/waxing protective/cleaning solution, but it is not cheap.
Avoid playing pieces with overly repetitive patterns too much for too long. Do conditioning exercises religiously, build your strength. It shouldn’t be a problem for a non-professional. You might have fleeting irritations, but I can’t imagine you’d be playing enough to cause something. You should do exercises on the harp for at least 15 minutes a day.
I think they were so well-trained in music theory, that double-flats and sharps didn’t bother them at all, and when you are composing, they make more sense than writing notes as played.
Most great harpists write what they can play, and leave it to us to catch up to them if we can. Salzedo’s Ballade is full of huge chords, but your hand can stretch to accomodate them with the right exercises. Or not. Then you don’t play it. I find pieces that lay too easily in my hand to be boring. I can almost sight read much of Tournier because of that.
Basel, you are just beginning to realize all the frustrations and annoyances of a harpist’s life, I suspect.
I have been thinking about the musical differences between the standard pieces by harpist and those by composers. The harpist-composers tend to be more repetitive, and composers tend to vary more or come up with new ideas. If you compare the left-hand parts of Dussek (Sonatinas) to Krumpholtz, you might see what I mean. The composers don’t settle for less, but aim higher. It is hard, I can say for myself, not to be satisfied with the first way a piece seems to work out, and to keep searching for improvements.
I just spoke with my physicist friend. Atomic theories aside, the reason the gestures affect the tones produced is because we make the tone with the concept of the gesture already formed. Because the follow-through is part of our concept of the tone, the duration of the tone is affected by how we play the tone. When a golfer conceives of the entire swing and where they want the ball to go, it affects the result more than if they simply hit it and hoped. I hope that is a clear summation.
Then I guess that Gretchen Van Housen obtained it from Robles, as she recorded it, though I don’t remember a marimba part. Another concerto that vanished into private hands is the one by Roberto Caamano, even though it was commissioned by Edna Phillips. I have a trio for flute oboe and harp called Rosa das Rosas which migh suit your competition. Yes, it is the variations I am seeking, but also his concerto, Concerto Capriccioso, I think it is, someday. When I get home I
Each harp string produces several overtones, each of which has a node. Each node is geometrically spaced on the string, the first node is at the halfway point, the second node divides the remaining string in half.
If you are conscious of where the exact center of the string is, you will always find the harmonic there. You have only to stop the string
