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Yes, I remember that debate on Yahoo… I thought it somewhat snooty and…rigid. Hooking into all the elitism and snobbery that goes on in the arts.
When talking to students about what they will wear for performance, I try to encourage them to wear things they like, that express themselves, they feel they look good in to make them feel confident, and that they can play in and does not restrict them.
But
Yes, I agree with that, they all vary – especially in projection. I have had two students with little Daphnes and they were both nice sounding little harps but one was a little tight and contained. Although, it did get better with age.
I’m sure a 46 would be more than adequate. When I used to play in school ensembles and community orchestras (more years ago than I care to admit to) it was on an old Grecian Erard! And it had no projection at all (neither did I for that matter!!). And a modern Daphne 40 is so much of a step up from that! It’s also a good size for young people still growing. So, it would not be a bad choice – but a larger one, chosen
Well thanks everybody for the explanations. It really keep me thinking about what John Strand write about problems of composing… I will try to keep that in mind all the time.
As for Vince Pierce you are problably more expierenced composer than me so if you like you can contact me on my e-mail. About the music scores you talk about, yes you can send that to me on my mail and also if you have some mp3 of
That makes since. I too like to check my pedals once in a while in that outward pattern, especially at rehearsal signs in orchestra music where I’ve noted the correct pedal order. It’s so easy to lose track in that stuff. Oh well
Hmm.. pedal assistant.. Perhaps Camac should restart their project
I personally think, whatever a student wears to a lesson is their personal choice and an expression of who they are. I have one student that is a grungey punk, and has has safety pins everywhere, but is quite amicable to removing them for the lesson if they are in positions that may damage the harp.
Umm, my knees touch the harp. Actually, one knee, to keep the harp at its balance point. I try to keep it off my shoulder at all costs. I have shiney patches on the back of my harp to prove it!
And denim will mark/scuff the harp, eventually over alot of years….any coarse fabric will, but colour is more of the issue.
You shouldn’t force students to wear what you want. It is much more classy and respectable to dress nice, but for a lesson who cares?
I apologize to folks for not being prompt in answering the question of how to get to the Virtual Harp Circle. I have been layed flat with a horrible stomach flu and only checking in with my pocket pc which can’t post to this forum. Go to yahoogroups.com and search “virtual harp circle” and it should take you right to where you need to be if you would like to join.
Ken, my lapharp is from OZ as well. Its an Andrew Thom Adaryn 23. I LOVE it! I wish shipping and import wasn’t such a chunk of change…I would have had a floor harp from him as well. Maybe one day when I hit the lottery. grin.
Hope you will change your mind and come join us. The list has been a bit quiet, but think that’s due to the season with everyone running around and wearing their fingers to nubbins practicing Christmas carols!
Cyndee in SC
I’ve used the Daphne 46 for orchestral playing and I rarely had a problem getting enough sound… but I think the tone form the Daphne I had was unusally big. For its size it is a nice harp.
Yes, I’d have to agree that the L&H little harps generally project better than the Daphne 40’s.
For a school band, I’d say I’d want the 44 or 46 string models – for the range but also the volume in both brands.
Brook was mentioning the L&H
Hi Ken,
Thanks for your kind post! I’ll be very interested to hear about your Denwar harp, having not played one myself.
I’ll drop you a line and feel free to email me privately if you like. Or ask as many questions as you like online so we can all “play” together. As I’m sure that many of your questions would be
