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Okay, I see where it is located, you are far from those places. There is a harp teacher in Durango named Debi Martin. She may be able to help. You can also check with Lyon Healy west in Salt Lake City for a teacher in eastern Utah.
There is one in the Rockies, near Breckenridge, I think it is. That’s a good program for you. John Bernard runs it.
There are many good harp teachers in the Denver/Boulder area. You will be able to work out something. Someone would come out there if they can build up a class. If it is easier to get to Montana or Utah, there would be teachers there, too.
With many scores available as free downloads, you can give them a list of scores they can study. The Faure solos are good examples of what can be done with simple means, also the Saint-Saens Fantaisie, for starters. You can also give them a list of good parts and bad parts. But, being young composers, I don’t know if orchestra needs to be the focus. I am working on this material, and it is time-consuming. I think showing how we correct things is excellent, but that is too detailed for what you are doing. Other than basics, like chords with too many notes.
The errors I am seeing most these days in younger composers is, due to computers, overlapping notes between hands, re-playing notes too soon, and impossible reaches.
I find Salzedo’s transcriptions to generally make pieces more accessible. Clair de Lune, on the other hand, is an extremely hard piece to do well, in my experience. The great thing is that you have so much to look forward to, you can spend the rest of your life working on pieces by Debussy, which is wonderful. Do your fingertraining now, get them to work well, to be able to play different patterns.
Tell them to keep to basics, what they know, or will soon know, works. Four notes per hand maximum. Maximum interval between fingers, a fourth, sixth with thumb. No overlapping. Use scales, arpeggios, glissandi. Broken chord patterns: 1423, 1243, 4231, etc., but not 1324, preferably. Show them the range in which melody sounds well, the range for chords, and where they get muddy. Demonstrate harmonics and muffling. And avoid chromatic passages.
If they see it in Rimsky-Korsakov, Tchaikovsky, Debussy and whoever else you think is safe, then it is okay to do it. Do not use Strauss, Wagner, Ravel, Bartok as examples. (Ravel has some very tricky and awkward passages.) They can consult the Berlioz-Strauss Orchestration text, and Gardner Read, but be wary of others. Unless you know of one that is quite accurate. I don’t know all of them, but don’t know any offhand that are completely trustworthy.
Yes, I found I was misled by a shady character who used to lurk in these forums as to the harp status in Greece.
Reverie is a piece that is rhythmically tricky, but otherwise quite straightforward, and very pleasurable. It is also very good for technical development. I think there are several available transcriptions.
I think Rampal and Laskine used the Reinecke. It was probably an Erato recording, which I got from Musical Heritage Society. But, I
