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But it works beautifully and is standard for many many harpists!!!!!
My version leaves all the notes intact.
But it works beautifully and is standard for many many harpists!!!!!
My version leaves all the notes intact.
But it works beautifully and is standard for many many harpists!!!!!
My version leaves all the notes intact.
I find many etudes boring and prefer to do repetitive exercises. Why? Because I don’t have to think about the notes after the first time through, so I can concentrate solely on what I am trying to improve. If you are talking about developing muscle memory in learning repertoire, repetition is the key, and to break it down into musical syllables small enough to absorb, such as half of a measure. You must repeat it at least TEN times CORRECTLY, to make it stick. If you make a mistake, you have to start over. That was Miss Lawrence’s rule, which she delighted in. I think that was play to her. She loved the process. So, if you do it seven times, you will learn, but the last three lock it in as do any extra repetitions. For an adult professional,
If you write mine out, you’ll see that the precise location of the pedal changes are often adjustable by a sixteenth or more, so there is always the possiblity of three sixteenths between changes, giving more time. However, a harpist needs to be able to pedal this fast, no matter what. It just takes some work and good shoes. There are many pieces that require much more difficult pedalling, hard as this is.
If you write mine out, you’ll see that the precise location of the pedal changes are often adjustable by a sixteenth or more, so there is always the possiblity of three sixteenths between changes, giving more time. However, a harpist needs to be able to pedal this fast, no matter what. It just takes some work and good shoes. There are many pieces that require much more difficult pedalling, hard as this is.
If you write mine out, you’ll see that the precise location of the pedal changes are often adjustable by a sixteenth or more, so there is always the possiblity of three sixteenths between changes, giving more time. However, a harpist needs to be able to pedal this fast, no matter what. It just takes some work and good shoes. There are many pieces that require much more difficult pedalling, hard as this is.
Well, that would depend on your choice of tempo and how you overall interpret Debussy’s tempo markings, which are unrealistic. To do it any differently would mean changing or omitting notes, I am certain. I will find out how workable it is as I work up the tempo. I suggest you include with your article Salzedo’s solution as well, which was independently arrived at by another composer.
Well, that would depend on your choice of tempo and how you overall interpret Debussy’s tempo markings, which are unrealistic. To do it any differently would mean changing or omitting notes, I am certain. I will find out how workable it is as I work up the tempo. I suggest you include with your article Salzedo’s solution as well, which was independently arrived at by another composer.
Well, that would depend on your choice of tempo and how you overall interpret Debussy’s tempo markings, which are unrealistic. To do it any differently would mean changing or omitting notes, I am certain. I will find out how workable it is as I work up the tempo. I suggest you include with your article Salzedo’s solution as well, which was independently arrived at by another composer.
If only there were fewer nitwits working at the publishers, one wouldn’t have to nitpick nearly as much.
