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This is interesting. I’m glad that you posted this David, as my first “french” teacher was a Welshman and his technique was dramatically different from the second teacher “french” teacher that I went to. And I look at other harpists and have found elements of what he taught me – some or the raising is similar to Russian harpists as well as the thumb action, and the flat fingers like Grandjany students, etc etc. But I have neve seen anyone play that plays the same way as I was taught. So, I have wondered what method it really was!
As to the tuning and raising thing….yep I do that. But not 2 or 3 feet in the air above the neck of the harp – they must have “go go gadget arms” coz mine aren’t that long…..
It is mostly a habit, but you do try and strike the string quite quickly and firmly when tuning – get a clean and pure sound. If you strike each string differently, with different volume and at a different rate, yes, that will affect how the tuner picks up
The Orphic memouries sounds like a fascinating piece. And it sounded like a wonderful concert. And there is something truly wonderful about seeing an ensemble so connected, it is so very moving and I often do feel it is a mysterious bond! Of both the ensemble members but the audience too!
I feel ignorant as I have never heard of Heidi
Thanks for that eloquent post Laura – could not agree more! It’s the music that matters. It sounded like such a beautiful concert – and I’m exceedingly jealous!
What was the program by the way, if you don’t mind me asking? Just curious, as I have a chamber orchestra that asks me to play with them quite frequently.
I don’t think students should use electronic tuners. They will never
make the effort to learn to tune by ear.I believe learning to tune the harp by ear is a huge benefit as a musician.
Use the force Carlston!.
Just found this terrific link to a video of Alan Stivell playing a really beautiful plexi glass harp – Kathleen posted it on the Coffee break thread and I’ve copied it here.
Alan Stivell plays Tri martolod
And you know what, he raises. I think he learnt from Lily Laskine – and he has the most beautiful hands, and raises in a very similar way that I did when I learnt “french” playing originally. (a upward motion towards the player, when sustaining the bass notes).
And he really “cooks” – I’m sure the force is with him!
Enjoy the clip, and if anyone wants to chat about it, Kathleen was asking on the coffee break thread for feedback about what technique he may be. Tony has already given some insightful and interesting comments, but you may like to too.
Thanks to Kathleen, hope she does not mind me pinching her clip.
Cheers,
Rosemary – of the way of the Jedi.
Carl,
Interesting theory. So, the natural force away from the strings is “absorbed” by the wrist. I do not have shock absorbers in my wrist, that may be why I raise.
I’ve always raised, even as a french student. I did it quite naturally, and I was lucky that my first french teacher advocated raising and not hampering what is the natural bio mechanics of the body. He worked with the force, not to stop it or absorb it, but to harness it. Sort of like solar energy!
My second teacher, (also “french”) didn’t
With flutes there are two main points of argument. French keys vs
Plateau keys, and in-line vs offset G keys. While this may be about the
instruments themselves the debates cover some of the same types of
arguments.
Nah… I think the biggest is… flutist or flautist?For some reason that site is not coming up when you click on it. so if anyone is interested, go to the ganyar harps site
Thankyou Julieanne for saving me from getting even sillier…..I was about to follow up with several new and even more bizarre taunts…..
There is a couple of great clips of Alice Giles playing on her website:
http://www.metronomeinc.com/AG/alicehome.htmu
Check it out guys, the playing is phenomenal. The technical facility she has, and the level of focus and commitment to the music, well, its
My understanding of the raising gesture is that it is dependent on context. Tempo, rhythm, and character contribute to the gesture. Fast passages have more minute movements. The principle is similar to any ‘follow through’ motion found in golfing, basketball, baseball, etc. The point of impact is not the end of the gesture, but the center. If a person does not understand the principle behind it and uses the gesture as an extraneous ornament, then i agree it doesn’t appear useful. It would be similar to a baseball player making fancy little twirls with his bat after a hit. Still though, the issue of follow through is fundamental to creating tone and releasing tension. 🙂
