Forum Replies Created
-
Posts
-
I think of Inglefield as a pupil of Pierre Jamet, but that doesn’t mean she didn’t also study with Grandjany as well.
When people say things like that, it could be anything or nothing, it is not coming from reality. More than likely, they are just repeating/parrotting something they have heard said, or an attitude.
What he did was combine different strands of music by Albinoni into a coherent whole in his style very effectively. That is interesting to know about the Grandjany, that it was recognized. I bet it is an organ piece, then. I know Zingel made that claim, but it is unusual for a Handel score to be in only one library/collection in all of Europe, seems to me. By the way, I’m not making any kind of criticism. If a person can compose an effective piece in the manner of another composer or period, that is a real accomplishment.
If the difference between the natural sound of the harp and the amplified sound doesn’t matter to you, then it doesn’t matter which way you do it.
Also, Promenade by Damase and Pastorale by Grandjany.
One etude is good if you do it well and at a good tempo, and musically. They may also want to hear you play a scale.
I said it before, I’ll say it again:
Hey, dude
don’t post us spam
take a good site
and make it badder
we don’t play guitar music too much
so do the former much
and not the latter.
Investigational ultrasound by a radiologist is the best way to diagnose it as it may be bursitis, tendonitis, tendinosis or something else altogether, and if you don’t know what the condition is, you don’t know how to treat it. This is the only way I know where they can literally see all the cells and identify what is happening.
It may be playable, but the question is, is it harpistic? If it doesn’t sound natural to the harp, better to leave it alone. I suspect parts of it would work well and not others. Flothuis wrote a very nice piece, Sonata da Camera, for flute and harp that has jazzy harmonies. It is a good idea to commission a composer to write this sort of piece. Is Bolling still around? There is also one called Swing by Jacques Bondon, but I don’t remember if it is swing music or jazz or not.
Sliding up and down the strings is another excellent way to relax between notes, and it helps one be more supple.
As for saying the Salzedo method is tense and unnatural, only in the hands of those who don’t understand it, perhaps. One can have bad experiences with any teacher. There is no regulation of how much knowledge one must have to claim to teach the method. Such a statement is really pointless to make.
What effect do you think this will have? Are they saying works after 1923 we expected to become public domain will not do so in our lifetimes, or that works prior to that will return to copyright? On the one hand, it will save many music publishers, on the other hand, it could skin us independents. And yet, Canadian copyright remains far more liberal. What if we publish everything in Canada?
Round your fingers, that may help.
Tension is something young players fall into, I think, because they can feel it, and it creates a sense of security. It is not real security. One must develop clear distinction between tension and relaxation, and my guess is that the original poster has too extreme of an arm position. It should not be difficult to practice two hours or more. Raising the elbows too high will cause tension in the shoulders and neck. The method says something like parallel to the floor, but it is a generalization, not a specific unalterable position. The most important thing is freedom of movement.
You are already looking at graduate schools? It seems like last year you started at Peabody. You definitely want to audition with what you know best. Which schools are you considering?
I do use it where placing would be buzzy, but I prefer placing, in general. I also using partial placing, where you would place the first two notes and as you play the first note, pivot and place the next two.
