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Chrom Harp 6/6

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ChromHarp 6/6

This method is specially designed to increase your skills with the Chromatic Harp 6/6 through Mixed techniques of classic , modern and harmony

Lesson 1 The Whole-Tone Scale

The chromatic harp 6/6 is based on alternated structures for semitones of whole-tone scale.

The first exercises that will be proposed will fill different needs:
– The knowledge of the two tailpiece and recognition of strings by name

The requirements for those who begin to study or for those passing by diatonic harps (pedal harp or levers) that typically use only the classic thumb-up position, or switches from chromatic harp 5/7 to the 6/6.
In this lesson you will be offered various topics:

  • a review of the classical approach to fingering combinations thumb up we talk about the 10% of the wealth of technical expertise and fingerings of a  chromatic harpist  6/6. The position of the thumb-up:position thumb up

 

  • The first techniques of independence between the fingers

Remind you that will be the only time the two hands have the same fingerings on the same notes.
Therefore we propose exercises on a single melodic line with a fingering that you can use with either the right or left hand and / or use on both the tailpiece to all their extent.

These exercises will be written in whole-tone scale of C you‘ll be transferring the same exercises in C #, you can rewrite the same exercises in the other shades but I think it will not be necessary.
Ex1:
recognize the notes on the entire tailpiece
think of a note as you like to touch it as quickly as possible, alternating both hands to find the same note but in different octaves

ex 1

ex 2

ex 3

ex 4

ex 5

ex 6

ex 7

ex 8

ex 9

ex 10

Summary lesson:

mix the techniques like as a flexible scale, alternating the hands, the scale Wt of C and C#.

ex 11

Good Study!!!

By the blog ChromHarp66

 

Chromatic Harp Posture

Sitting at the Chromatic Harp 6/6:
Harp Posture to Let You Play in an Easy, Relaxed Manner and Avoid Injury
postura arpa cromatica

Why start with harp posture? Playing the Chromatic harp, like playing any instrument, is an athletic activity that requires good posture. Because the harp is asymmetrical (it rests on one shoulder), it is crucial that you pay attention to the alignment of your body as you play. Doing otherwise means that you could end up with strained muscles and other issues that could easily be avoided.
Regardless of which harp you play, you should be able to sit up straight and reach the middle of the strings without twisting or hunching your shoulders (or anything else). next days will show a picture of good harp posture at a taller floor harp tilted to rest on the right shoulder.

let’s talk about the nuts and bolts of your Chromatic harp posture. Notice that:

~ The harp comes to at least chin-to-ear height (this harp is taller than average)
~ The center of strings (X) are roughly perpendicular to the floor, and
~ When my model’s arms aren’t outstretched, her hands fall naturally near the middle of the strings.

The way to achieve this posture is to sit on your bench with your feet flat on the floor and your spine straight (imagine lengthening the back of your neck slightly to relax it, and the rest of your spine will naturally straighten and relax in that position).

For anything but a very small floor harp, put the harp at a distance and angle where you can reach it with your knees, and tilting it back onto your right shoulder will make the strings roughly perpendicular to the floor.

Keep your body aligned and move the harp until you can tilt it back without changing your upright posture. Remember, the harp must be adjusted to you, not the other way around!

What if my harp is smaller?

If you have a small floor harp or a lap harp, your harp posture is even more crucial. Some smaller harps can be played without tilting them back, and this may make it easier to sit up straight at the instrument.

Either way, if your floor harp is too short for you, and you find yourself crouching lower, try putting the harp on a small wooden box (I used to use a desk drawer, turned upside-down). If you have to play in public, you can always drape the box with a pretty piece of fabric.
It is far better to raise the harp than to shorten your self to the point that your legs are cramped. It is crucial to have the harp high enough that good posture is possible.

A lap harp can have a shoulder strap or “knee bones” to help support it (I highly recommend the latter, though they do not fit all lap harps). If you use the strap, you need to make sure that the front of it crosses the base of the harp in a way that it supports weight, leaving your shoulder free of as much load as possible. The strap length will vary between sitting and standing. If you can’t use knee-bones on your harp, try to find a stool or table that can help support the harp while you’re sitting, so that the weight is off your shoulder entirely.

Below is a checklist to analyze your own harp posture. But remember, it is much easier for you to find the ideal relationship between you and your harp–one that will make playing both efficient and pain-free–with the help of a harp teacher.

Harp Posture Checklist

1. Your bench or stool is adjusted, and/or your harp is on a box, kneebones or a strap, so that you can reach all the strings easily.
2. Your harp is the right distance away so that when it leans on your shoulder the center of strings (X) are roughly perpendicular to the floor and your knees are taking the weight of the harp. (Or your small harp remains upright and you move it comfortably close to you).
3. You back is straight; your neck and shoulders are relaxed (no hunching).
4. With your arms don’t outstretched, your hands comfortably reach the middle of strings.
5. Neither arm has to cross the midline of your body to reach the harp, because the harp is somewhat diagonal to you (not perpendicular).

Not sure? If you can find a mirror, sometimes it helps to look at yourself and analyze your harp posture from the outside. Or have a friend take your picture with a digital camera. The results may be revealing!

 

Finally, remember to move. No position is comfortable if it’s inflexible. Holding tension anywhere is what creates issues in our bodies, so remember to keep breathing and think about being fluid as you play. If your position feels at all precarious or cramped, you will not be able to move freely, so this is the final test of a good working posture.

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