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Hi Helen-
I didn’t realize you were in the UK.
Look up Telynau Telfi. I think they may rent, and they make wonderful sounding lever harps.
I started harp lessons almost 3 years ago. I sometimes get very frustrated at my slow progress, but I love the instrument and learning about it.
Hope no one is forgetting that Jennifer’s request was “clarinet AND bass clarinet”.
I do know of some nice pieces for clarinet trio that work for two soprano/one bass clarinet, but can’t think of any that are even soprano and bass clarinet with keyboard, much less soprano bass and harp.
Always happy to see mention of Grainger, and also nice to see Gordon Jacob, a composer very under appreciated here in the US.
One of the most interesting things about having a copy of David Daniels’ book is looking up the lists of familiar and unfamiliar composers and how they usedd one or more harps in their work.
I bought one like Andy’s from Va Harp Center. It had some very unfortunate name like “The Extra Heavy Duty Large Butt Model”, but it’s a terrific seat.
One of the few really good habits I’ve retained from years of choral singing and instrumental work is enough upper body strength to sit comfortably on a good backless seat for long periods of time, so this is just the ticket. It also folds flat and is very easy to carry.
Several of us have spoken of the phenomenon of encouraging students to play everything as fast as possible, whether that decision is musically the best or not.
This stress on speed puts pressure on those who could play pieces a bit slower.
Another point that I have found interesting is that the composer’s choice of tempo, or even the composer’s interpretation of his or her own work, may be less acceptable to the era in which the piece is being performed than when the piece was composed.
Finally, there can be limits to the particular performer’s technical facility that prevent the playing of a piece in the composer’s stated tempo.
I bet we have all heard familiar pieces and thought “That’s too fast” or “That’s too slow”. Part of the job of the performer is to make music attractive and convincing if deviating from typical expectations concerning tempo.
Interesting subject!
I firmly disagree with the idea of confrontation, and really I think you’re too concerned in the personal dynamics of her situation vs. what you wish to gain.
As Dr. Phil always says, “How’s that workin’ for yuh?”
Whatever the reason for your teacher’s stuff is, the bottom line for YOU is “Am I learning to be a better harpist?”, right?
So if you want to initiate conversation with her, why not just ask her what you can do to make the atmosphere in your lessons more conducive to communication? If you are willing to assume some responsibility, it may help her to give more attention to her own actions.
If you’re not benefitting from your lessons anyway, I doubt that a “confrontation” is going to improve anything, least of all your interactions.
I have had dealings over time with some very tough teachers. At least one was a true genius who taught me a lot. I was able to love his gifts and overlook his tirades, even some public attacks directed at me, because I knew that we shared a mutual serious interest in our craft.
The world in general is too full of contention- if you learn at your age to finesse a situation that stinks, you’ll be a much happier and healthier person. You’re in a lousy place right now. Is there something you can think of to do so that both of you can come out better?
Hi Carol- When I started 2 1/2 years ago, I was in your boat- I could afford to have anything I wanted.
Cooler heads (not mine) prevailed, and I bought a THormahlen Serenade which served me extremely well. The Dreamweaver is, I think, also a very fine student harp. Many people here play them.
The problem with purchasing a more expensive harp earlier on is that you really don’t have a way of knowing what you yourself will need and/or want as you begin to play with more facility.
I absolutely swore that I’d never be interested in pedal harp, yet, as these things go, I’m presently waiting to get my hands on one. And you just can’t tell until you get farther along. There are very lovely harps available that will give you the satisfaction you crave but can be added to your “stable” if you decide to extend yourself in another direction. The tone on my Serenade is wonderful, and I doubt that I’d ever want to trade it or sell it, but I can’t wait to get a pedal harp.
Kay Lister may post- she played a Thormahlen Swan for several years before adding a Lyon and Healy pedal harp to her string mates.
How do harp arrangements of the Air address the sustained notes that are a primary element of the piece?
From the musical standpoint, I can see a sense of internal conflict with playing something that can’t actually be appropriately realized on the instrument- I’m thinking Flight of the Bumblebee on the tuba for instance.
That said, I suppose if I were playing tuba professionally and a bride requested that I play FOTBB on my tuba for her to process to, and I wanted to be hired by the bride, I’d do it.
I guess the “Beautyisintheeyeofthebeholder” (or ear of the listener) principle applies.
There are a number of people here who really like Grossi. After you’ve been through it the first time, it’s great to start through a second time at faster tempos.
If you haven’t seen it Maria, it might be what you want.
I paid my teacher’s lesson fee the first time I took a lesson with her, but the lesson was definitely a lesson.
The other stuff came in subsequent lessons.
I paid my teacher’s lesson fee the first time I took a lesson with her, but the lesson was definitely a lesson.
The other stuff came in subsequent lessons.
