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Maria -I found the Grossi to be very unnatural, forced, and lacking a sequential development pattern. It’s funny- every so often I’ll pull it out and try it again but within ten minutes back it goes. There just doesn’t seem to be any logic behind it. (But what do I know? My day job stops at seven-year-olds…) The others I mentioned (especially the Köhler http://www.virtualsheetmusic.com/score/StudiesKohler.html and the Russian methods) draw me to continue and strive for perfection.
Carl – I’ll give the Bochsa etudes a try! Perfect timing, too. I’ll tell the kids that’s what I want for Christmas!
I have the Grossi, and I really don’t like it very much. I usually try to do between 30 – 40 minutes of scales and arpeggios at the start of each practice (when time allows). I use the Salzedo Conditioning Exercises, LaRiviere, Russian method, Deborah Friou’s strength and agility book, and Köhler’s 12 easy etudes (Op. 157 for piano). Of all of them, the Köhler is my new favorite. They are easy to convert to four-fingers and do a great job training the switch from 1st finger to 4th finger.
My aunt suggested putting toothpaste (not gel) on a small burn right after it happens; that it takes away the pain and won’t blister– she tried it and it worked. Has anyone done or heard of this?
Has he looked at the Alden Lee website? They make beautiful wooden stands. I have the Regency model. It really is a work of art! http://www.aldenlee.com/musicstands.html
I have a 15 that was built in 1947; 46 strings, straight soundboard, original everything. It is a wonderful instrument. It was assessed before I bought it and the harpist there said the sound was so big she couldn’t believe it had a straight soundboard. The 15 has a very elegant and clean design that looks so classic in photos. The finish has aged to a beautiful golden color. The tone is very sweet; I switched to nylon strings in the 1st, 2nd, and 3rd octave to help give it more ring as I personally like the bell-like quality. It is such a great size – I use it for all outdoor gigs, and when playing for 3+ hours as the tension is so light. When regulated, the tech loved the sound and suggested that 15’s were made with a more structurally sound neck prior to 1950.(?) I don’t know if my case is unique, but for me the 15 is a delight to play.
The biggest “harp” regret I have is parting with my very first one- an original Troubadour. I loved that thing – the design, the sound, the walnut finish. I didn’t think I would ever need it after I became concertized – I’m stunned at how many functions, events, and school settings I go to where I wished I still had it.
I’m with Patricia. I love my Wittner. It sits right on the piano next to the harp and really looks like an art piece when the cover is on it.
I have had many strings break during gigs, including the huge bass strings which create this violently sickening noise exactly like a gun shot that will so shock you out of your tranquil “in the zone” playing state that you will become momentarily paralyzed, your heart rate will quadruple, and if the wire doesn’t completely sever at the pin the dangling dead digit will whack against the other strings creating this weird other-worldly sizzling sound.
Having been a dancer in my younger days, I try to always do some serious stretching before a high-stakes gig: shoulders, neck, back, legs- the works. It really helps!
I practice either in socks or barefoot but only go shoeless if I’m playing for some kind of pit situation. I mentioned in another post a while back that Wal-Mart has some super-cheap-faux-leather men’s dress shoes that are just perfect. The ultra thin paper-like quality really lets me navigate the pedals without that horrible clunky heavy boot feel, so making the switch is no problem. Plus they’re dirt cheap. And they should be.
Amen, Barbara! I had that mindset when I began playing for weddings. When I got my first concert harp, I thought this is it, the big time. Then one of my first weddings out, someone asked me, “I thought all harps were gold…” So now I have to think I can charge more when I have a gold harp? Enough is enough! The music and service you are providing is an out pouring of you – don’t undervalue yourself. Size doesn’t matter! Play like you’re packing a Louis XV!
Total change of genre, but if you like ultra-cool lounge music, the harp in Esquivel’s “More of Other Worlds, Other Sounds” is beautifully recorded.
