Forum Replies Created
-
Posts
-
Hi Laura,
I’m sorry if I came across as disrespecful, it was not my intent. I just meant that you would do anything your teacher said, regardless of whether you understood it or it or not, to achieve what you could. It was not meant to disrespect anyone. I was just getting a bit exasperated, and finding it hard to be understood. So, used an extreme example of standing on ones head! But it was not meant to offend.
You only raise where it is musically appropriate to do so, and no this does not cause “unevenness” – it simply means that you have one more colour in your palette, and one more technical device, to choose from.
Raising is just one aspect of Salzedo technique,
Yes, I agree. I focused more on the biomechanics of playing and how this affects articulation and how you approach the string itself – and thought that this a more concrete aspect of raising that the detractors may be able to grasp. But, I agree that there is also an aspects of physics at work here. I have noticed in the last few years that when I used a particular type of raising that the overtones, vibrations, seem to alter. I assumed it was the way I attacked the string in the first place, and/or a natural aspect of the decay of the note – but I think not. As if I do not use that sort of raise, (once at the top of the raise, if that makes sense), it does not decay and vibrate the same way. It is a subtle difference, but it is there.
I spoke to a couple of friends, brass players, about your post and they immediately agreed – they said “of course”. Sound is sound waves – and anything that moves in front of the waves will
Hi Laura,
Thanks your post and your description of the raise and gestures. Yes, this was the way I was taught raise also, and I find it a useful and important in my playing.
As to those that that do not raise and do not use it as part of their method, that is fine, to each their own.
Hi Kathleen,
Yes, the “landmark” issue is hard one – I just avoided that and listed a spread of repertoire that I recommend for students and friends of mine. I chose the Spanish repertoire for Zabaleta, as I thought it balanced the other choices we both listed
Well, I’d certainly love to hear what you consider definitive recordings of specific pieces! And if people strongly disagree, then they can list the ones that they think are definitive and then John would have oodles to choose from!
Hi Kathleen,
Thanks for much for your lovely post – I really appreciate hearing about the feelings of adult learners and what their experiences are, it is so helpful!
Those books sound perfect for alot of the adult students that are down here in Tasmania (yes, the other end of the world!). There are alot of alternative lifestyle type people, and alot of those that take up harp are definitely of the “New Age” variety.
Hi John,
Hmmm, I’m not sure if I’m clever enough to list “landmark” recordings – but I can list recordings for you that friends and students often borrow from me, and that show a range of playing at a high level and a good sample of the repertoire. (and sorry, most are favourites!).
Of Yolanda Kondannassis’ recordings – “Scintillation” is a great one, as it has a range of chamber and solo works and impeccible playing. Also by Yolanda, her “Sky Music” for
