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That happened to me in one of my posts. I think the ‘ turns into ???
when it is originally typed into Word, and then cut and pasted here.
That’s what seemed to happen with me, but I’m not really sure about it.I would not want to spend the student’s time on etudes unless they are performable pieces. I remember feeling insulted by having to study pieces that were useless except as technique builders. I think it would be better to give them varied exercises to play musically, and to give them technique-building repertoire. I appreciate many of Bochsa’s etudes, but they usually fail to develop the left hand sufficiently, and most of the others I have seen are musical wallpaper. Then there’s the problem of ones that harp on one figure for too long. So which ones are really worthwhile? I have a book of Dizi, with one etude Zabaleta recorded which is sort of catchy, but none of the others look appealling. Plus, like a lot of Bochsa, the writing style is so pianistic, not harpistic. Is Godefroid any better? Concone? Grossi or Pozzoli? Posse? Schuecker? I have not enjoyed them on recordings. I will not bother mentioning the five I love.
If it were only possible to make it clear from the start or sometime, that the teacher is in charge of all music-related matters. You are the expert, and that’s why you’re the teacher. If this is the mother’s idea of being supportive, perhaps some alternative psychologies could help, like saying, well if you go ahead with this course, you run the risk of this and this happening, which I will not take responsibility for. You might want to express your supportiveness in these other ways. Or, say, this is how we do it in classical music/harp world, there are these steps to follow, and this classy way of doing things, not a show-biz concept. Slow and steady, thorough and sure work is what works! But then, what if the kid does well? Maybe let it happen once, and then if damage is done say, what did I tell you? Now let it be up to me.
I think teachers should be able to establish rules with their students and parents, but when and how? You have to get them in first and keep them coming. How do you take charge? Another way is to have formal student recitals which you produce and sell tickets for, and that way you have complete control as producer.
Hope it helps.Even a new Salvi I heard recently. It had a wonderful sound, much like a Lyon and Healy harp, until the harpists tried to play louder than a mezzo-forte. It just didn’t go with them. It stopped resonating beyond that point so the fortes had their sound choked off. In contrast, a Lyon and Healy 85 on the same program had a nasal, French quality, but resonated freely at all volumes, and filled the room easily, especially at forte. The tone of the Salvi was nicer, but only good for playing at home as a result. I would think it was because they are heavier, with thicker columns and necks, and that’s what impedes their resonance. That’s what I’ve always been told. The contrast was surprising, but so clear.
Hey there Aardvark,
That is a good idea to get backing from other harp professionals. There
may be some good articles printed in the Harp Column that refer to
these issues. Also, Carl writes many articles, so perhaps he will have
suggestions. Giving her a packet in print could help. Although people
do like to feel that their child is special and what the “average”
student needs simply does not apply to them. It sounds like the mother
is pushing for validation that her daughter’s ability on harp is
special and unique. To me she almost sounds as though she’s afraid it
isn’t, but would never admit it. Can you find ways to satisfy this highly charged
need for validation using your informed approach to curriculum and
teaching? Of course one of the best things we can teach students is to
accept themselves for who they honestly are, and not pressure them into
feeling that filling the number 1 slot, or becoming an imaginary superstar, is the only way to become an
adequate human being.Hi,
I still did not learn tu use a scanner, need to ask my husband to teach me. So long I can scann a scores myself, will try to mail it on You. What was You email address?
i studied Grandjany, and will teach it, Olja is right the Grandjany is very useful for tecnich especially the Cadenza, but i have it also with piano accompaniment, but dont know who did it , need to look.
HELLO , OLJA IS QUIET RIGHT, I PHONED ONE WEEK AGO IN THE FACTORY OF LUNACHARSKOGO, BUT THEY ANSWERED ME THAT
Actually ORIGINAL was written for the trippel harp, does somebody play this sort of instrumentit? If not let us play and teach
