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Also, it is important to begin studying ornamentation, so you choose the right editions or can correct the mistakes so commonly made. Usually, a trill should begin on the beat on the upper note, well through the classical period. Likewise, an appoggiatura begins on the upper note on the beat, though they are often printed as grace notes. Ornaments take their rhythmic value from the following note, regardless of where they are printed on the page. Old French music would print the first note before the beat and the main note on the beat, but following the rhythmic rule, you know to begin the first note of the ornament on the beat, even though it looks otherwise! There are various sourcebooks or music with charts of ornaments.
How is it mis-pronounced? You spelled it correctly…
I can’t stand when people spell Lucile L-u-c-i-l-l-e, especially when they knew Miss Lawrence, or use her books.
It would help if you were more specific about the damage. Was it damage to the finish, or to the wood? Were they dropped or are they scarred? The different makers use different finishes, and that makes a difference in how the harp reacts to a dropped tuning key or pencil.
I would love to have the second trio recording by Grujon, Mony and Alister. Mony is now in Victoria, B.C., last I heard. Miss Alister gave Miss Lawrence a beautiful pin she often wore for teaching. Is your grandfather still with us and playing?
It would help to know where you are studying, how long you have been playing, and your age. I have many suggestions, beginning
Just watch “Xavier de Maistre plays Moldau” on Youtube.Just my opinion,this guy has the whole thing,really great performance on Trnececk arrangement.Bravissimo Xavier!
Well said David! I have the respect really for all harp makers. I just believe that their are some duds that come out every once in awhile. I’m sure we all have atleast experienced that. Taking a combative tone over which brand is better is childsplay. However, it’s still lovely to hear everyones harp stories.
My Salvi happens to not be a dud, but I chose it over the Lyon & healy. I thought I liked the sound a bit better. Again, personal taste to suit my fancy!
( and i still have the utmost respect for L&H and all other brands! Goodwork on making us harpists happy in many ways!)Some things that are useful in the broad context of education are color coding, movement and listening before reading ( Suzuki?), placing with eyes closed to learn interval distances, using tactile representations of visual tools. If you can do a hands on project, make a staff or the great staff using string glued onto paper, and have the student touch the pattern of strings while placing buttons for the notes, as a way of learning the relative position of notes on the staff.
So much depends on the individual- it really is necessary to find out what things the student can or can’t do, then develop a tool for remediating the deficit. Hope some of these suggestions were useful.
Hey Rod,
I played a bunch of o’carolan, rodgers & hammerstein, and some bach pieces… Nothing too fancy, but enough for the event.
Hey Briggs,
I should have said a very lovely sherman tank…but yes, they are known to be somewhat on the solid side.
I mentioned Camac to say that there are plenty of alternatives out there.
And I still think its a very frustrating situation for Fairy and I hope that it works out well for her in the end.
Best wishes babe….
I could only imagine using it for teaching, to replay lessons and see what the left hand is doing, but it’s no different from simply recording. If you were playing in an ensemble, this would be a distraction perhaps as much as a help. I think we are best off not relying on technology and sharpening our systems. No doubt, though, somebody will come up with a clever way to use it. There are harpists who have to play offstage and need to see the conductor and vice versa.
Yep, all the Salvi harps that I’ve played have been built like sherman tanks… technicians tend to like them because there is so little movement in the parts (neck, board, base board) so regulating them tends to be less fiddly…
The really old ones used to be incredibly over built, heavy monsters that were rock solid! Whether you consider that a good or bad thing…..well, I dunno..The Electra I used to play in the orchestra must be over 35 years now and the neck has not moved a millimeter, and the board only slightly. That harp has been toured all over the world, and is in much better condition for its age than I am!!
Anyway, I just got on the new Camac website and they have new models…and ooowww..we all like looking at new harps don’t we? It’s actually a much more user friendly site now. They have a new model I like the look of – the Vendome in Mahogany.
http://www.camac-harps.com/camac-harps-eng/vendome.html
I also finally got a look at the Go Go cart, it is fascinating. But I can’t tell if it would work if you had your transport cover on. Anyone know?? Do you put the cart on first or the cover on first, and slip the hook thingee through the hole in the cover?? (to deliberately pull everyone off topic onto something less controversial….).
Cheers.
You can’t generalize about all the harps of a certain model from just one. A harp should be even in tone from bottom to top, but what you describe may be a result of the type or quality of strings, newness, and how you play it. A harp cannot be too loud unless you will only play in a small room. It can be too soft, too not resonant, though. 85s are generally well considered. The Prelude I heard had a full tone. Your strings may be too thin and too old, that will cause tinnier sound. So do hard callouses or dry skin, or not enough flesh. You need a lot of experience to make sensible judgements about harps, and then they will go and prove you wrong, still.
