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In my own experience, the biggest technical change I experienced what going from one “french” technique to another “french” technique. I have to say, that there is a huge variety of methods and styles that seem to sometimes surprisingly fall under the same banner as “french”. And some of them are as different from each other as say “Salzedo” is from “Grandjany”.
My first
It sounds like you found a technique (and/or a teacher) that was right for you, and I’m sure you are very relieved.
Apart from the cat I have mentioned in this thred above.. I have another kitten which I named Nicolo (for Paganini cause he’s black head to toe) and when I’m playing the harp at home he’s always around.
owwww, that’s a good one…liquid tones….
No, I haven’t heard the Angelaires CD yet….where do you get it from? Is it a recent rerelease? They were drop dead glamourous. I’d love to get some of the old photos of them framed for the music room. And…more importantly….hear their CD.
I have just totally contradicted myself in the above post – sorry gang! Thought I better get in before Carl bounces me…..
Yes,
If it works for you…do it! I was only talking about really extreme examples – really over the top. And I was being my usual cheeky self. Trying to diffuse what has been an otherwise rather intense thread!
This Viennese harpist was a very extreme case, but at the same time, it worked for him! I was just concerned he would over balance
I would ask was what my head doing so low on the harp as for the hair to catch the string in the first place….
And by the way Tony, what did you have for breakfast???….I think I’ll eat what you eat from now on…….
Thanks for that Tony, that’s excellent advice. We do have the Levine book, and my husband keeps waving it at me and telling me to have a go at it….I have done a fair bit of classical theory, but have not found it as useful as one may think! And so many years of classical playing has made me probably a bit too fond of the written note (like a security blanket!). I used to play sessions and shows with jazz players and always felt my lack of jazz theory a bit of a disadvantage – but was too busy with either my studies or
Tony,
Have you ever come across the Art of Modulating by Salzedo? What do you think of it? My husband was a jazz trumpet player and he really thinks it terrific, keeps pestering me to do all the exercises in it. He thinks it will help me learn to improvise, which I’m a bit hesitant about trying…..And I think I recall some of your postings on jazz playing? (forgive me if I’m mistaken). Anyway, I’d love to hear your comments if you know it.
I’m going to give it a shot – when I get a harp. Between instruments at the moment which is why I have too much time to write on the column! (Sorry for those that are sick of me already!) I had borrowed a
I actually used to have this terrific article by Salzedo from 1952 etude magazine, that a friend found in a library and sent to me. I think it has got lost in my many moves around the country which is a shame. In it he discusses the aesthetics of playing and the use of gestures. And what comes across is that he was not particularly pedantic about it.
I’ve just been listening to the Debussy Danses again – Yolanda Kondonassis, Scintillation CD – and you know, its the best darn Debussy Danses I’ve ever heard in my life! Those chords at the opening, absolutely fantastic
I agree with you Tony. Actually, I think that Douglas Rioth used to go to Camden? I’m pretty sure it was him.
