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Well, I had ordered the L&H Prelude in mid January with a 3 mos. expected wait. One delay (lever supply) lead to another and *finally* after a little more than 4.5 months I finally received the shipping notice. According to the shipper it should be delivered tomorrow (Wednesday) between 9-5 (EST).
Thanks for all of the tips; wish me luck please!
Hi Mellisa,
I was trained from the start with Stephanie’s Student Harpist series with my first teacher, and then about a year later I switched teachers to Stephanie herself. She is one of the most amazing teachers I have ever seen or heard of in my life and her Student Harpist series was the best foundation I can imagine. I haven’t actually worked with her Primer set but I don’t doubt that it is equally as commendable. I wouldn’t think that usually an “alternate notation” would be detremental at all – it just may be a way for younger children to be able to read music without having to learn the relatively complicated standard notation. For learning the standard notation – I imagine that Stephanie made her books in a way that “real” music could be easily learned, so it may just be a matter of introducing new notation (like learning a new technique + notation like pdlt or such) and phasing out old notation. For example – how often do you find fingerings placed in “real” non beginner music? Almost never unless using a certain finger has benefits of some manner. Also, in Stephanie’s Student Harpist series, she used a pair of glasses to denote “look!” which meant that there was something unexpected under it; for example: in her piece solace there is a measure with a single G root-5-8
Hi Lydia –
I brought the thread up again to make it easier for you (and some of my friends) to find… in the coffee break forum section – it should be “close” to the top now..
Enjoy!
Kind regards
William
Hi everyone –
Had a few friends that wanted to see this thread and had trouble finding it – so I’m just “bringing it up” again for them… Also for Lydia Michel!
Kind regards to all
William
I was googling my grandfather and saw this forum come up, I can see that a while back my sister commented that Lucien Grujon was our grandfather. Sadly no, he’s not still here, he died in 1988.
I first of all, want to say thank you to all that have answered this posts so far. It has been greatly helpful. Perhaps I should give some additional information. I am a harp teacher that had a student come down with a severe case of tendinitis. She had to stop playing all together because of pain. We have consulted with an excellent doctor and have found that posture, position and some other things were part of the factor. It was suggested however, by another (female) harpist that woman often have to compensate for the muscles of a man, and that the Grandjanny Technique might be more conducive to women, and that Salzedo is more of a man’s technique.
I prefer a combination, certainly don’t like the rigid 5th finger, but allow it to follow. I have been taught in a combination of Renie, Grandjanny, and Salzedo. Also it seems that by now what is a pure technique. Each teacher mixes a bit of their own experience in.
Perhaps finger tips was not the best wording to use, but I personally don’t like that style, but then it is not my intention to start a battle of Gradjanny vs. Salzedo. I simple was wondering if anyone had come across something like this or if there is any fact to one being more conducive to tendinitis. Thanks, and I will continue to listen.
Thank you Tony for such an excellent answer. I was trained to play classical, now I know why I tune in E flat. I am sure this helped others as well. Thank you every one else who answered my question. It all helps.
I have never heard of anything so complicated. I just don’t understand it. What is the reason for all those complicatons. Surely there is an easier way to understand all this. Thanks though for your
