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Yes, it is normal. Even compared to lever harps that are said to be strung like a pedal harp, they still don’t have as much tension.
Yes, callouses and endurance will both develop over time. It’s just like running a marathon. You have to work up to it.
This is probably something that Saul would probably be most likely to know. He wrote the introduction to Pentacle, which focused on the five aspects of Salzedo’s life. I kind of always assumed it was just a natural thing with Salzedo that things seemed to go into fives with him.
I think the last time I played on a Clio it was one built in 2009, and it had a wonderful tone. One of the best I have heard on such a small harp actually. It also had remarkable projection.
Having tried out a few of both versions I would really have to say go with the extended. They really sound significantly better. As others have said, they often sound like some higher end harps, but for far less money.
Catherine is right, the difference isnt about bass and doesn’t require a different playing technique. It is a matter volume and projection.
I have to say, if you want to get the Athena or some other concert grand in a fewf years anyway you may as well get it now. If she can’t reach the low strings now it doesnt matter, she will grow into it.
But there is absolutely no benefit getting the Clio now once to switch to the Athena or other CG in a couple years. You will only end up spending more money in the long run with no practical benefit. She can just ignore the strings she can’t reach until she can.
OK, take a look at this diagram from Dusty Strings: http://www.dustystrings.com/instrumentbuilding/harps/strings/theharpersknot/tabid/711/Default.aspx
This is basically how I make my knots, but with one extra step.
If you look at the last panel at that point I take loop 1 and bend it around the right end of the spline, then pull the string end to tighten it.
This wraps the loop around the spline and tightens it. On the thinner strings you can tighten it all the way making a double knot around the spline. On thicker strings you just need to shorten the loop enough so that when you let go it doesn’t pop off the end of the spline, but rather presses against it. The tension will be enough to hold the spline in place.
I anchor through the 4th just to be safe, but not the fifth. But here is a little trick to get the anchor to stay. Take the loop that results from tying the string and bend it around the end of the anchor and
If using polish is necessary isn’t there clear polish? At least then you won’t be distracted by the color.
Interesting. Generally Saul (and your frustrating peer) are correct, but every harp is different and every harpist as well. The content of the frustrating peer’s general statement is correct, but perhaps not aplicable to your particular situation.
I think it isn’t what he said that is the problem, but from how you describe it, how he said it. Interrupting you, cutting you off, and being that insistant about something that is as much a matter of personal preference as it is practical issue is leaning towards the rude side.
How we say things is often as important as what we say. As I like to say, communication doesn’t happen just because someone said something. The person it is being said to needs to be in a place to hear it, and people typically aren’t open to hearing what someone says when they are being put on the defensive or treated offensively.
So sounds like it wasn’t even realy what this guy said to you, but rather that this guy is just a jerk in general. I have found that with people like that, even though venting on them can seem momentarily satisfying, the best aproach is to just nod, thank them, and then walk away and forget them. I don’t always necessarily do that myself, but when I don’t I typically regret it.
I wasn’t aware there was a newer model, but yes, the one I played was several years ago. I definitly noticed a weight difference.
I have an 85P and I have played on both the 85GP and Clio.
I would go with the Clio.
Tone wise the Clio is brighter. String spacing is close, but the strings on the Clio are, I think, a little tighter in the upper octaves, but also there is something about how they are arranged that actually makes playing the Clio a little more comfortable. I remember reading somewhere that the ergonomics that Camac uses for their harps is modeled after Erard harps, but who knows?
I definitely prefer the sound of the Clio with the extended soundboard. It projects much better and has a much stronger tone than the straight soundboard version.
And it is definitely the lighter of the two (I think somewhere in the area of 10lbs or so). So if it is for a child the weight would probably make the Clio a better choice for that alone.
Add to that the ease of maintenance and adjustment of the pedal cables (Camac pedal harps don’t use rods, they use cables instead) makes the Clio a good choice for that size and price range.
The down side is that when you need to get a professional regulation (which you need less often with the Camac) or repair you need to find someone who is trained on Camac harps as there are differences in how they are built that require that the tech do some things differently than on most other harps. So you will want to check first to make sure that there is someone in your area who can work on your harp if needed.
They are both great harps for the size. You won’t regret either, but if I had the money and the option I would go with the Clio.
I honestly don’t know. I am always buying new music. I would be really surprised if it wasn’t more than twice that. At least 24 if not more.
