Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1893-11-12

Happild, the harp reptoire Of to-day
will avoid this result. This repertoire
may not be large but IL is good; and 1t
is just possible that hsrpists profit by
this, and learn something well. while,
where a too large repertoire exists, a
pupil often does 3 great deal, yet
nothinS, from having this library at
command.
Messrs. Erard expressly made me one
Of my present Erard harps which l may
here say has been the companion OF the
best part Of my career; and for twenty
years / played upon it all over Europe,
severely trying it's qualities TO the Ut
most; and during the time 10 wlthstood
every trial aud was untouched by any
n but myself.
1t is safe to say that n hard working
solo harpist will wear q harp more In
in twelve months than In amateur
would In twenty years.
The deterioration would mainly be ia
the mechanism from the action OF the
pedals.
Now il my harp stood this wear and
tear. / am quite sure that 8 good new
hard should last a lifetime to an ANA
teur. or fifteen to twenty years to q
professional player. II not, then the
instrument is not what il should be.
For general use l would suggest the
medium or second-siZed harp, espe-
cially for ladies, as being sufficiently
large ia size and tone. but OF course for
the public cocert room the first and
largest size is desirable. The price OF
q new harp is from five hundred TO two
thousand dollars,
Nothing is more beneficial to a harp
than regularity of daily practice II ever
so little. BY this means it keeps In
tone and IN every sense repays the at
tention. The strings should be OF the
finest quality: Psdua for the first top
octave and half, best German OF Roman
for the remainder Of the second n
third octave, and Roman or English Tor
the fourth and fifth octave. | find the
best German strings very good, Though
the Padua is the best for the thin up
per notes.
Several days prior to using the harp,
abe strings should be oVerstrung a hall
note above the ordinary pitch, TO guar.
antee their staying powers and avoid
excess of tuning. Pianos are so treated,
why O hsrps? Would the reader ex-
pect a piano newly stung to keep In
tune? Are they not often kept TUNED
weeks IL not months before the public
hears them?
So to speak, all the tuning must b
taken out OF the string before 1t will
keep in tune, and harpists should give
more attention to the minor details.o or
Turning to enable them to tune correct
ly.
The harp can, by my system OF tun.
ing, be tuned and proved to DO tuned
perfe city by scientific means. The ear
alone is not sufficient TO prove this; II
may be imperfect or unframed. The
principle and proof OF perfect tuning
must be decided by scientific conclusions
alone.
Lessons on the harp from a good
teacher costs five dollars each, so one
who studdie II must have assurance that
he is qualified to learn.
A harpest should have a good ear and
nerve; fair musical temperament, intel
liggnce and patience. It's the slow,
careful and regular practice that tells
and makes the player.
Young aspirants are too fond OF play
ing instead Of studying for the necess-
airy advancement. My experience tells
that much injury is often donu by an
iniudicious choice Of music, would
say-master the expressive and broad
style before trying the snowy.
The sky-rocket Is very pretty, but,
alas! it's ignoble and soon forgotten In
it's fall. Learn to touch tn heart by
thoughtful, honest study and others
will think and feel from the result OF
your efforts.
A two years progress should result
in an advanced harpist, thought Eek
cellence" asks a very high fee 10 many
years OF constant work. AS Culver
Lytton says: 1.-The student often has
more real pleasure In the pursuit OF her
studies than IN after life when they are
realized"
This should give courage, It's work
that tells!
When seated at the harp the pillar
should be exactly opposite the right
shoulder, the player sitting perfectly
upright, avoiding STOPPING, aud feet
pointing slightly towards the right
and left side OF the instrument,
which should be held In a state Of
equilibrium (nearly balancing Itself
The tone Of the harp should be pro-
duced by pressing, not pulling or jerk
ing, the string; the fingers held YER
tically or ben half way 10 the palm OF
the hand, the thumb quite erect and
the wrist firm and steady, acting as a
ton regulator, for according TO the
amount OF tone desired the wrist should
be held tightly or loosely.
The hands should always be held as
steadily as possible without any super
fluous action, while the movement OF
the arms should never in any way
change the position Of the hands.
To better sketch the proper way OF
holding the hands upon the strings "a
matter OF tina highest importance) let
the harpist extend the full length OF
the right arm and hand, then bend the
tips OF the fingers half way to the palm
OF the baud, afterward turn the hand
over 10 the right, placing the right I'm
gers upon the strings OF the harp, while
slightly raising the right elbow and al
ways keeping the thumb erect.
The right elbow being raised serves to
keep the strength OF the hand and fn-
gers near the strings; while II the elbow
is allowed TO drop too much this Is nat
urally drawn away from the strings. On
the contrary, the left elbow should be
held 10 with the fingers similarly bent
and the thumb erect.
In conclusion / advise all TO get a o r
rect fundamental knowledge OF the
harp, then devote himself to patient
study, and give most attention 10 pro
gressive" pieces which will afford him
greater encouragement.
Tlr- Ouucuruu