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….and one last thought, do you know what your hissy girlfriends have for their brekky?? Maybe eat what they eat for a few weeks, and then all will become clear and the mysteries of Salzedo playing be revealed to you…….
Naughty, naughty play nice with the Salzedo children Carlston…….
Back to your question, about why I think your mystery famous harpists were offended.
Okay, Okay, I concede – the harp scene is not the only one with a dark side…..
And maybe it’s not so much about a dark side, I suppose it comes from being passionate about what one does, and spending so much time perfecting what you do. In then makes you rather particular and opinionated about what you have worked so hard at!
I was re reading some of this thread, and Carl’s question about going up to top Salzedo players and telling them that he doesn’t think what they do is any different to classic french technique…and couldn’t work out their not so enthusiastic response. Well, in answer to Carl, I’d say its the above. They are passionate about what they do, have worked long and hard on their particular method, and don’t like to feel all that hard work undermined or undervalued. It’s not so much that they dislike “french”method – but probably more a commitment to what they do themselves.
“…harp is only for rich kids, or, middle aged chick-less- nested mums with more disposable income to be able to afford to buy a harp and more time on their hands to learn to play it.”
OK, so I do know some harpists who resemble that remark.
But
Crack up! I have always had this feeling that I had an evil twin somewhere in the world, maybe I better check out the flute site……
As to porridge, or course I use the real thing…what sort of gal do you think I am! One vital question though, do you use salt or sugar? I tend towards the
Ahhhhh, so other instrumentalists do get their undies in a twist… I didn’t think they did! I knew that they would often debate different styles, but did not think it as bad as harp – but then, I only play harp! So, maybe I have never seen the inner dark side of the flute world!!!
By the way, I’ve been eating porridge (oatmeal) for my brekky, and it hasn’t helped my jazz….
Yes, this is tricky. I have found this particuarly difficult with string players, as one side of the body seems to be much tenser than the other, and the musculature very uneven on each side of the body.
And overly developed muscles will not relax – the best thing you can suggest is that they go on a long holiday and NOT PLAY to allow the overbuilt up muscles to weaken and relax. And then you can start again.
I actually think that a good policy for massive changes of harp technique too – as different styles can use different muscles that block the development of the new muscles – they can work against each other (sorry if I’m not explaining this too well).
Yes, I’ve been thinking about this as an issue too. Last night after my last post – the line between dogma, and just being particular about making sure that the student gets the correct instruction in technique.
There are certain aspects of technique that I am dogmatic about – I have a pathological hatred of “tension” and will not allow a student to keep playing if they are riddled with tension. I do alot of work with them to ease them off. I also am pedantic about posture….
Most of this is to avoid injuries in the long term – and I do always explain why I focus so much on these elements, and am never cross or punitive about how I get this information across.
But I have found that some students do not understand the import of this – especially if they have come from other
I agree totally. Thank you for your articulate and concise response – you got over in one sentence what I struggled with for a whole thread! (But then I got side tracked by people’s right to raise if they want to, above the issue of whether it worked or not!)
An additional layer of complexity is the fact that any technique must be adapted to fit the natural functioning of an individual’s hand and body. That is one of the primary challenges to teaching effectively. The length of fingers, flexibility of joints, and many more subtle factors all play a role in both the way the path is set to train them, and what the eventual ideal goal will look like in that student’s hands. In the study of any technique it is so important to focus on the underlying principles of what is being achieved, rather than a dogmatic reiteration of details. Ultimately any technique is attempting to achieve the best tone using the healthiest means. When that principle is solid, then making modifications should be at least somewhat more graceful. It is important to be able to explain to any student precisely ‘why’ a particular physical movement aids in achieving the best sound through the healthiest means.
Saul Davis wrote: Other instrumentalists, not to mention singers, certainly do use
gestures. Watch Artur Rubinstein at the piano. Pianists who use the
space above the keyboard definitely get more sound…Response: That is exactly right. My first training was on piano and the release from the keys is central to obtaining a good tone. It’s what defines articulation and phrasing. The function and movement of the entire body is always an issue when playing any instrument.
Hi June,
Thanks for that – I found it at Harp.com shop! Yay! It looks terrific and yes, the photo on the cover is so glam.
My daughter is 10 1/2, and has been playing for 2 1/2 years. She is home schooled, so she has time for harp, academics, basketball and other interests. She practices 2 1/2 to 3 hours a day 6 days a week. She plays for pleasure in between her practice sessions and looks forward to every opportunity to play for others. It remains to be seen how far she will go in harp studies, but her dad and I are committed to helping her go as far as she’d like.
