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A jazz waltz is always a hit if you can find some. Take Five is one example, though technically not a waltz.
I have made a comparison chart for shopping purposes, and an inventory chart, but it does not include every option. It would be quite a spreadsheet, then.
My experience with Burgundy strings of the last years I used them was that they were far more defective than merely cosmetic flaws. This did not used to be the case.
Karen Rokos, the finest harp regulator I have personally encountered, told me that it was preferable for me to use Pirastro heavy-gauge nylon strings on my aging 23, as they would regulate better, being thicker, hence the discs could be a little flatter in position but get the right pitch.
Savarez strings, on the other hand, have a noticably higher tension, as do gut strings compared to all nylon strings.
Heavy-gauge strings have been hard to find, but Salopian told me they could get them. Perhaps in gut as well as nylon.
The thicker strings have always produced a warmer, preferable tone quality, better projection, and longer wear, in my experience.
Concedos are processed differently for the color change, either more dye or less dye as well as more finish.
Bow seems to have cornered the market, unless you seek out Pirastro, so our choices are limited. D’Addario also manufactures nylon strings, but standard, or thinner gauge.
You would think that with Bow being owned by a harpist, that they would be much more responsive to our needs.
I guess the other option is to go into raw fishing line and trying to find the right material.Rotary International is a huge business organization that has lots of money. Being a nonprofit is no excuse to get a lower fee in itself.
I don’t think four years of studying harp is nearly enough to be professional of any sort. Doing a favor for a friend is another matter entirely and should be approached as such. Otherwise, one is potentially taking income from professionals who have sacrificed for many years to try to make a living, or lowering the prices paid so they can’t get paid enough. That is my reasoning. It takes a good ten years of serious study to become near professional, unless one is coming from serious keyboard training, which I would estimate might trim four years from that figure.Let me know if you find a solution. I haven’t yet. I have a lot to use up. I probably still have quite a few classic guts I could trade for Bow.
It is just a melody, and it can be downloaded or found in collections of historical music in a library. However, there are more-ancient Sumerian cuneiform scores that can be transcribed and played, I believe. Music of the ancient Hebrews exists as melodies, too, so Seikolos is only the oldest European music.
I played my troubador harp behind the perfume counter of a nearby Powers Department Store, what Xmas music I could. She was annoyed I didn’t bring my pedal harp, but I couldn’t have gotten it there.
It must depend a bit on the make. With a Lyon & Healy, there is no reason to worry about using any of the pedals.
I would not charge in your situation. If necessary, I would defer to a professional for such an engagement.
Dear Irene,
You certainly show dedication. Can your teacher not provide you with at least a substitute? You should not be without lessons for such a long period, not at all. At least you can use Skype or the equivalent, if absolutely necessary. And remember, we don’t know anyone’s background when they post here. And it is extremely important to buy cds and music, or they cannot be produced. Check Sara Ericsson’s cd, I’m pretty sure Night Breeze is on there, along with all the other Short Stories.Salzedo’s music is very specific, and is not open to all kinds of individual interpretation. He knew what he wanted and notated it very clearly. He especially did not want rubato added unless indicated. We should respect this, particularly when we are close enough to him in time to still know what he wanted. Just think how much time pianists spend figuring out what Beethoven wanted. Playing music however you feel like may be self-satisfying, but it doesn’t necessarily get you closer to the music.
There are professional recordings of Night Breeze by harpists who know this tradition, I am pretty sure. I think one was titled Night Breeze.
Relying on performances on YouTube for guidance as to how to interpret a piece, or learning how it goes is not wise. Many if not most are simply casual play-throughs, amateur or student performances and the like.
To improve, it sounds like you need much more practice with the metronome, and much more exercise practice. Exercises will help you develop even tone, consistent and simple finger action without excess movement, and when you have that, you will begin to have dynamic control. If you are not sure what the notation is calling for, then you should get a copy of the Lawrence-Salzedo Method and study it for explanations. You should also spend a good amount of time practicing pedal changes. Listening carefully to the harp is a key element.
Playing should not be a struggle. You should have consistent hand position and movements, whatever your technical approach. Your fingers should go in and out of your palm consistently and surely.
Corrected. However, whenever possible, Miss Lawrence insisted on doubling the harp part in Don Juan.
I am sure you can take Carl’s word over your teachers. There is no greater stress on the E and B pedals, and you can take back your E# and B#. The spring and pedal stud can be moved to adjust the tension.
You might give Pirastro nylon strings a try. They are a little bit thicker than the usuals, and are less harsh sounding. If you play lower on the strings, they sound more like gut. Even they are more plastic sounding, at least they do give true pitch and are responsive. I can’t stand guts above middle c because they sound false. I also can’t afford them. I am sympathetic. Bow Brand thinned their strings some time ago. You can also try to get heavy gauge Pirastro nylon, which are the best, from Salopian. There is also heavy gauge gut if you can find it.
