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Hi Susie, I buy mine on sale, and I don’t buy a pair very often. Hmm, I don’t know how many gigs it would take, but it would be a kind of investment for your feet. I don’t wear them very much and they last a very looooong time. I have a difficult foot to fit, and these are a good fit solution for my feet for more formal occassions. I am a fan of Capezio’s black ballet slipper.
Oh, and I have been stuck to chairs…I used to have this outfit of red silk that had loads of gold embroidery and
Yes, I’ve had hair caught in discs, but usually just one or two strands and nothing a gentle tug has not remedied. I’ve also had bits of furry woollen fingerless mittens caught in the underside of the action. For out door gigs, or practising on cold nights, I use fingerless mittens that are made out of mohair.
Hi Tacye,
Yes, I know what you mean. I was taught right knee only for postural reasons, but it can have the opposite effect, and encourage a twist in the lower back if you are not careful, as you have pressure on one side of the body and not the other. Especially if the harp slips off the balancing point, and you end up taking too much weight on one knee. So, it is something you have to watch.
I have experimented with both knees, and also tilting back (which I was taught was a “no no”). The reason I was told not both knees, was for posture, you can twist around with your upper body if your
Hi Leigh,
Thanks for the translation of Ayuh…the people I stayed with in Camden were lovely people that grown up on an island off of Maine with only a handful of families – now overtaken by the rich and famous….Their Ayuh was definitely the real thing!
The North sounds wonderful. I like the term people “from away”. We have a similar term here for those not from Tassie “mainlanders” – as Tasmania is an Island of the southern coast of Australia. I’m a mainlander, you really have to be 2 or 3 generations Tasmanian
Thanks for that advice about Camac. I’m not familiar as yet about their range of harps, so am unsure what to advice about them. The biggest thing that makes me hesitant is that they have not been around for very long, so who knows what problems they may have down the track somewhere along the line – a sort of conservative attitude of the “devil you know is better than the devil you don’t”. I learnt this to my detriment with another brand of harp that was a bit of an unknown to me, and it has been a complete and unmitigated disaster from the day the “thing” from the black lagoon arrived…so I suppose I’m biased and a feeling a bit burnt about lesser known/brand instruments….
But I am quite intrigued by Camac, especially their actions, and the ones I have seen and played
Thanks everyone for this feedback. I’m glad to hear that I’m not just a fanatic and that other teachers are teaching the importance of this also. It’s great to do a reality check sometimes. And I appreciate everyone’s thoughts.
I never thought of checking the lighting, that is a great tip. I must do more “home visits” I think…
Carl you are right,we need to stop playing when we feel tired and have a rest for
a few minutes or we will get injuried, thats my teacher in Saint Petersburg taught
me, but for me i prefere to start with a student who knows nothing about the harp
to build him up the right positions of body,hands fingers, then technic, but if i need
to change someone bad technic habit , i will do, but it needs patience from me and
him or her to get the right result
