Forum Replies Created
-
Posts
-
Last summer I did a masterclass with Sarah Bullen. We were focusing on phrase endings in Grandjany’s Fantaisie, and we played the 1st variation together. Not only did that sound incredibly impressive, but it helped a lot. Its a lot easier to repeat something when you are “forced” to do it. So I suppose she WAS playing for me, but by playing together I was able to get instant feedback about which parts of the music she wanted me to work on, down to the note. It was quite the experience.
~Sam
Deb, didn’t you return the Egan due to it being too big and not portable enough, and the room you have to keep it in because of the wood heater
Hi Leonard,
I found this thread discussing instructional video/DVD’s. Not sure if its of any use or not.
http://www.harpcolumn.com/forum/message-view?message_id=1451167
Good luck!
Leonard,
I’ll make a piano analogy for you. When crossing the thumb under in piano, the thumb reaches as far as it can (ideally all the way to the key its going to strike next) so that there is no gap of sound. When crossing under with the fourth finger it’s
That’s all right Kate, that happens to me all the time! In fact I think you touched on a couple things that I didn’t – especially that some people slide on the strings or that adjustments are always needed. It is always in a player’s best interest to not tense up! I was just trying to describe a clear and cut way to accomplish what Leonard asked with leaving anything ambiguous or up for interpretation. What I described SHOULD work perfectly at the mid range and should work reasonably well at low and high ranges with the small adjustments that I suggested. Of course, one should certainly know about the possible ways to refine his technique! But, Leonard, I would say focus on what I told you and then layer on what Kate told you. (while taking everyone else’s comments into consideration, of course!) Kate’s suggestions are more complex and should only be attempted once you have the basics down – and even at that the more complex techniques should be applied conservatively as they require more effort and work, which may or may not be worth it, depending on the situation.
I also forgot to mention that you should always play in the middle of the strings, unless there’s a reason not to – but thats a different story that you don’t need to here to resolve your issue.
~Sam
Dear Lenoard,
I think that this is a great question for beginner and I also don’t understand why your question was avoided. There are many posters in this forum who simply ignore the questions posed and patronize the askers. (Not that
I agree with Laura. I too started working professionally at a young age, under the guidance of my teacher. She was one of the top players in the country and it was under her recommendation that I start work.
I was always a member of the union, I always charged union rates or a bit above. I tended to get paid less than other top, or more experiened, players around town. I never hid that I was a student of a high profile teacher. In fact, it was mostly on her recommendation that I got the gigs in the first place!
I personally think age has nothing to do with it –
Hi Ceren,
Yes, with most harps the sound does improve with time and playing. but the sound does not totally change!
Also, Brook is right that Camac and L&H
Thanks a lot Kate and Deb!
It’s great if their sound gets better and more mellow with time. I actually played pedal harp for a few years, but because lever harps are cheaper, I wanted to play celtic harp.
OK, I’m going to talk another harpist first and then I’ll make a decision. Thanks again.Here is what I think of YouTube:
The value in watching a youtube video probably does not lie in learning technique (except, perhaps, when learning an extended technique) and so instead lies in learning how to be a developed musicians. In that sense, any musical performance should help just as equally. I believe that the danger lies in learning to be too flexible with the music. We’ve all done it – played a piece
