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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.
There was a collection published about 20 years ago with arrangements by Eleanor Fell, Ray Pool and other well-known players published by Warner, I think. I don’t recall a particular name for it, but it had a brown cover with a photo of a hand on the strings, I think. Vanderbilt should have it.
If you learn some physics, you will find there is no malarky in raising whatsoever. But maybe you referred to something else. Ever see a pitcher throw a curve ball? Or see Rubinstein and
Raising is not mere psychology, it does actually physically influence the tone you produce, and if you do it the right way, it will completely change your tone quality. It also helps avoid that awkward moment of, “okay I just played the note, now what do I do until the next one?” scene. Raising also affects the way you begin the next note, adding to its influence.
Not to poke fun, but I can only imagine that a Russian 46-pedal harp was created for a harp collective to perform on.
Plastic materials such as carbon fiber have a bright sound. Plastic recorders are much brighter than wooden ones. They also have a shrill quality that is hard to avoid.
Ray Pool played the original on tour, and beautifully. A lot of harp, but a lot of repeated patterns.
The pedal errors are obvious, and will not be a major surprise. Note changes will. I recently reworked the whole piece with a new interpretive approach and would not be happy to have to re-learn it again.
