Forum Replies Created
-
Posts
-
Then I should have said it 13 times? Funny, because I doubt any of them took a lesson with me. I haven’t seen enough results to recommend more than a few teachers I currently know. I’m sure there are quite a few.
I see the issue. I would play the first three notes of each group of four in the left hand, as the fourth note is a repetition. Another way would be to play it an octave higher so it is clearer, anything below 5th octave C. It is too muddy as written, but it depends on the score, which you can download. Or you could double the right hand in the bass, as long as it is the same chord-tones. Or, play chords on the beat in the area written.
A music degree is easier if you are talented and it suits you. I tried to do a geography major and found I was not doing well, and didn’t have resources to improve, but when I switched to music, that was no longer a problem. Some things are harder to learn, like EAR TRAINING, but others flow naturally. There’s a lot to memorize and absorb, so it takes
Do you mean the Handel Concerto? I think the Viejo Zortzico is more musically interesting, but for a similar piece that is easier to learn, you could choose Spanish Dance no. 2 by Granados, for example. If you want a more modern work, the Three Improvisations by William Mathias are not terribly hard, or his Santa Fe Suite. Not knowing how old you are doesn’t help. Actually, if you want to keep it in your repertoire, you should figure out why you didn’t do the Watkins well, and fix it. And kudos for admitting you didn’t play it was well as you wanted.
If you mean parallel arpeggios, there are two or three tricks, some of which are in the ABC of Harp Playing by Lawrence and Salzedo. One is to play a chord on the beat in the left hand and single arpeggio above. One is to take the first note of the right hand in the left hand thumb, 14 3 2 1, and the next note of the left hand in the right hand 4 3 2 14, or you can do the same with three notes at a time. You can also omit one note and use that to jump an octave and play the next bit, which Bea Rose invented, and is in her book, I’m pretty sure. Another option would be to use 24 13 fingering, alternating hands.
Oh, come on, you’re just being lazy! You can change at least 12 pedals per beat, and use your pinkies to play that pesky fifth note in the chord. Or just fake it…..
I have been able to create most of the Salzedo notation and other harp notation in sibelius by combining various symbols and lines, but it takes some time. I have tried to get them to add harp notation, but it was not included in the last upgrade. I don’t know if the last upgrade improved anything relevant to the harp. I won’t buy it unless it does. Sibelius has a more elegant look, a better flow in its elements, except for slurs, but they are supposed to have been improved. The final results look very professional.
A wet paper bag would be easier as it would tear. It is a favorite condemnation used by musicians to say that so-and-so could not play their way out of a (wet) paper bag. Wet implying that it should be easy, yet they cannot do it. It’s like saying that someone cannot play even with their eyes open.
I would not get sucked in. There are free softwares like LilyPond, unless you prefer the look of Finale to others. Even though it is flexible, I don’t like the finished look. Score is the favored program for copying by publishers.
I love the last three in particular. You should definitely play all orchestral parts exactly as written.
It’s really cool to chat during rehearsals, everyone does it.
When you are on a gig you don’t have to have your music in order on your stand.
Teachers make up half the stuff they tell you, if not all.
(insert name here) was a phony.
(insert name here) can’t play their way out of a paper bag.
The audition was fixed.
All auditions are fixed.
All auditions are blind.
All auditions are fair.
It’s not very audible, it has no pitch, it can mess up your strings if you do it a lot, it can affect your tuning, stuff like that.
