Forum Replies Created
-
Posts
-
i am 15 and have been playing for approx a year and a half, i was also asked to play at a wedding. my teacher told me that i should play relativly easy music so i can play it with out my nerves getting in the way.
i was told to play firmiliar and recconisable tunes such as cannon in D and so on
hope this helps
RosieI was so excited when I saw your response Mark, but unfortunatley they do not carry the model anymore. One of the stores I called was just tuning a guitar with the Chromatina, and he said he would’nt trade it for anything.It’s the only one he’s got. I was like thanks alot……thanks for nothing.:) Still searching in vain…
I’m a director at a community theatre. My husband plays in some of the orchestras. The best thing to do is scan the newspaper for articles about auditions for musicals. The article will always list the director’s name and usually an email address or a phone number. Contact the director and let him/her know that you are interested in playing for the show. The director will give your name to the music director when they are ready to start putting together an orchestra. Be advised that most musicians picked for orchestras have a lot of musical experience and can sight read just about anything. They only get together for 2 or 3 rehearsals by themselves before they start playing the show for the cast. Then, they only do that maybe 3-4 times before the show opens – so there’s not a lot of time to “learn” the music.
I always forget about the Passacaglia, because I didn’t learn it young, I learned the Theme and Variations instead. Which edition did you learn, and did you play it with repeats?
I am an excellent teacher and have a studio conveniently located near Rittenhouse Square and all transportation in Center City Philadelphia. Feel free to contact me for more information.
I’m studying that really tricky section of Renie’s “Contemplation” with Carl as a right hand excersise. Getting around the harp in a precise manner for that particular section of music is really very difficult, so that’s probably why he chose to isolate it. I’ve heard it once before, it’s such a great peice! I can’t wait until I’m technically far along enough to learn it. But as for now, getting an even tone from that big arpeggio section is my focus. Another one of my technical issues Carl has been working on is my constantly collapsing remote knuckles. I find it’s so much more comfortable playing with all the knuckles rounded. When I played with them collaped, at the end of a practice session I found that the ends of my fingers got sore near the last joint. Now that I play with knuckles rounded, that pain is gone, so… I guess that was the problem! Contemplation is a good excersise for that also. Not to mention the entire first movement of the first Naderman Sonatina drills that into the player’s head, which is also a great excersise-type-deal.
It’s amazing how much easier playing is, and how much more comfortable I am playing after studying the French method for only two months.
But, to keep in the spirit of repertoirical (I LOVE making up words…) etudes, I think Contemplation and the Naderman are great.
In my experience, both direct and observed, the technique learned and mastered from repertoire does translate to other repertoire. Supplemental exercises aid the process. I forgot to mention that orchestra parts were a big part of this process and provide many etude-like passages, along with chamber music and concerti. It was done on solo pieces alone.
I don’t know how you can call Bochsa etudes a complete survey of technique, except perhaps the limited technique of that time. It is clear that he neglects the left hand consistently instead of having it work equally to the right hand. He gives, in most etudes, the left hand standard accompanying figures that develop strength but not facility or melodic playing. It also doesn’t help the balance between hands. And I “grew up” on the Universal Method. Some of his Celebrated Etudes are lovely sounding pieces, but again, not balanced between hands. If you aspire to play nothing written later than 1885 or so, they’ll prepare you pretty well. They are also very pianistic in their approach to the harp, imitating Bach and Schubert and other masters. They may have been advanced in that time and frame of mind, pre-Parish Alvars, one might say, but they are certainly inadequate now, except for working up to a certain level and in a certain way.
I advanced very quickly on Miss Lawrence’s regimen, so it certainly was effective given my limited period for intense study. I advanced from the Debussy Arabesque and Pescetti Sonata to Hindemith, Caplet, Scintillation, CPE Bach Sonata, Introduction and Allegro, Mozart Concerto in three years.
Breaking down pieces for practice is not done by everyone to the full degree of one or two beats at a time, and not everyone will create exercises on them, beyond plain repetition. It can be very helpful to do so, as I have explained elsewhere, but creating good exercises requires some ability and knowledge not all may possess. Thankfully, people who have the ability publish them often enough.
The Chopin Etudes may be on a higher artistic scale than most harp etudes, but I have known many pianists who, nevertheless, studied them as etudes precisely to develop their technique. I know of no comparable etudes for harp but Salzedo’s (Five Poetical Studies). I recall etudes by Posse and Schuecker, but they are not that interesting, musically and still favor the right hand. They have charm but are not great music like Chopin. I like Damase’s Etudes, but it seems to me that technically they would mostly prepare one to play his music better.
I’m glad to hear of Steven’s progress, and rounding the fingers is just what I would do to cure collapsing knuckles. I think he’ll find his facility will increase in time as a result.
As others have pointed out in other discussions, it is important when practicing etudes to break them up so one does not overdo one type of motion by practicing it for too long. I further suggest using the left hand to play the right hand’s part an octave lower wherever possible for development.
Hi Sandy, it should be said that you sound like a student any teacher would be happy and proud to work with. Best wishes in your search. It sounds as though you are in a location that is ripe with possibilities. 🙂
Sandy, please read the thread in this same Teaching forum called “Getting the right teacher”. Another adult student asked a similar question and there are some important responses for adult learners to read. Teaching adult beginners is a different ball game. I spent the last three years in a rural environment and about half of my students were adult beginners. My two retired students consistently practiced 2-4 hours daily. Others did not. The issues are more complex for adult beginners because they have more responsibilities. They are also used to being highly proficient in their work. It is important to work to dispel anxiety and self criticism in adult students. Once these are out of the way, they can more easily learn.
While it is ideal for a student to work hard to get the most out of their lessons, there is a second, equally important thing to accomplish. This is to instill a love for music and for the harp. I have been willing to work with adult students who have amateur goals and limited practice time because we are working together to instill a deeper appreciation for the harp. This is an important job because we need to train both concert harpists and those who will attend their concerts. The amateur student is the audience for the gifted performer. They can also contribute to their friends and community in a meaningful way. I see each student as a different kind of flower: some are orchids, some are daisies, but each can be perfect in what they are.
To be clear, it is important to add that Carl is absolutely correct to emphasize technique. It helps adult students if they can understand that correct technique is the shortest path to their goal. Technique is not about playing a certain way, it is about playing in the most efficient, healthy manner that produces the best sound. Who wouldn’t want that?
For students with limited practice time, the issue is to find repertoire that is satisfying, but technically appropriate. I have devoted the last five years to developing such materials. These have helped students progress with self confidence and personal satisfaction.
Well, I for one have always enjoyed teaching adults. The biggest frustration may be simply when they don’t stick with it. I know the lists of teachers available from the Harp Connection, Lyon & Healy, Virginia Harp Center, and the American Harp Society. I would think you will be able to find a compatible teacher, not knowing where you are.
