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  • in reply to: music for adult beginners. #87925
    unknown-user
    Participant

    Thankyou all for your terrific advice. It’s very helpful and I will explore all the works you all mentioned, as for different pupils different texts are often suitable.

    Much appreciated,

    Rosemary.

    in reply to: Lesson fee structure #87918
    unknown-user
    Participant

    I teach piano. Most of my students pay by the month, though I don’t insist on that. I use a Microsoft

    in reply to: music for adult beginners. #87922
    unknown-user
    Participant

    As for exercises, you might enjoy:

    Conditioning Exercises for Beginners and Advanced Harpists, by Carlos Salzedo.

    I’m working though this booklet with my teacher, and I am quite enjoying it. The exercises give your fingers a good workout and they really help form a solid foundation to build on.

    in reply to: music for adult beginners. #87921
    unknown-user
    Participant

    I’m an adult

    in reply to: Antiques Road Show #155639
    unknown-user
    Participant

    I think she wasn’t shocked because she already knew it isn’t worth anything close to that…unfortunately…

    Paul Knoke has more information about this harp and its owner. Paul?

    in reply to: Whatever happened to Mildred Dilling’s harps? #71918
    unknown-user
    Participant

    Hello…I’m sorry to weigh in so late on this thread, but I wanted to report that six of Mildred’s harps are indeed at Indiana University–a Welsh triple, four early pedal harps, and an Egan Royal Portable. As a graduate student at Indiana specializing in historical harps, I kept hearing rumors that we had “some really old harps somewhere.” Eleanor Fell of Vanderbilt Music was instrumental (no pun intended) in tracking them down and exhibited them at HarpMania in Bloomington in 2001, just before I left IU. When I was back there for a concert last summer, I asked Eleanor whatever had happened to the harps…and she was off, tracking them down and finding them stored in a coat closet! She and I catalogued the harps, and over the last few months, Paul Knoke and I (both of the Historical Harp Society) have been working in close conjunction with Eleanor (who was once a student of Mildred’s) to get the harps cleaned, cosmetically restrung, and out of the coat closet on permanent exhibit at the university. Susann McDonald has also taken an interest in the project, and hopefully we will exhibit the Dilling collection at the USA International Harp Competition in Bloomington this July. Plans are also being made to exhibit them at the Bloomington Early Music Festival this May, in conjunction with a lecture on the history of the European harp.

    Looking forward to Carl’s bio of Mildred (read your blog posts and loved them!),

    All best–

    Paula Fagerberg

    in reply to: Harp Dog #162301
    unknown-user
    Participant

    I did actually have a cat that got into my string box once and destroyed alot of strings – chewing on them. And I have a student

    in reply to: Harp Dog #162300
    unknown-user
    Participant

    You have your dog well trained Evangeline, mine has me well trained!

    She has never gone after the harp strings, but when she was a puppy she did go for the rubber coated tuning key – which made a nice chew toy…..

    in reply to: Harp Dog #162298
    unknown-user
    Participant

    What a funny thread…I always have said that I do not trust anyone that is not a dog lover, so it seems that most harpists are extremely trust worthy!

    My dog was never a harp dog, more of a doggy dog – chase rabbits in the yard, and attempt the “herd” the neighbours cows in an improvisatory and unsolicited way…..But that was until we had a visiting harp maker stay with us, and then suddenly she was very keen to get into the music room, and would lay at my feet when I praticised staring up in an expectant way.

    in reply to: Gestures, Salzedo style #86469
    unknown-user
    Participant

    Hi Rosalind,

    My copy is a second edition and I’m not sure how greatly it differs from the first (if that is what you are using).

    Chapter twenty-four is titled “Raising Practice” and on page 61 there are two figures: 24.1) Left hand returns to string while right hand is raised outward. 24.2) Right hand returns to string while left hand is raised outward.

    In these pictures the hands that are returning to the strings are showed open just as they are about to replace (in the manner you described), while the raised hand remains closed. I take this to confirm the abovementioned methods including what I’ve been taught.

    Although I should mention that I’d not presume to post here with the intention of giving “teaching advice.” I only thought it might be helpful to mention the book, purely for reference purposes for whoever might be interested.

    Have a good day!

    in reply to: J. Molnar’s book of exercises #87909
    unknown-user
    Participant

    I will check out this site.

    in reply to: confused.. #166917
    unknown-user
    Participant

    Suzanne, I don’t agree with your

    in reply to: J. Molnar’s book of exercises #87908
    unknown-user
    Participant

    Well, I looked at the usual spots for music with no luck.

    in reply to: J. Molnar’s book of exercises #87907
    unknown-user
    Participant

    Hi Rebecca,

    I have an old copy of this work: “Practical Method for Grand Harp and Irish Harp” by Josef Molnar, Volume 1. So, assume there is a volume 2 as well.

    I haven’t seen this

    in reply to: Gestures, Salzedo style #86467
    unknown-user
    Participant

    Yes, I was taught to raise this way as well. The whole idea is not to get too far away from a useful playing position, so no flare ups/outs etc.

Viewing 15 posts - 3,196 through 3,210 (of 5,570 total)