{"id":413,"date":"2015-04-04T16:16:14","date_gmt":"2015-04-04T16:16:14","guid":{"rendered":"http:\/\/www.harpblog.info\/?p=413"},"modified":"2017-07-02T14:49:17","modified_gmt":"2017-07-02T14:49:17","slug":"composingforharp-com-now-live","status":"publish","type":"post","link":"https:\/\/www.camac-harps.com\/blog\/en\/news\/composingforharp-com-now-live\/","title":{"rendered":"Composingforharp.com now live!"},"content":{"rendered":"
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\"Composing\"I once had a fight with a well-known German publishing house, who wanted me to add pedal changes to a score I was editing for them. I explained this wasn’t helpful, because every harpist likes to write pedals in differently, and it also depends on your harp and all the rest of it. They weren’t happy about this so in the end, to show them I wasn’t just trying to get out of doing the work, I marked up the changes and told them not to print them. This was a mistake, because they printed them anyway: I suppose they decided it would look more wise or something.<\/p>\n

Most harpists have felt their hearts sink when a composer tells them he’s written in all the pedal changes. They will be wrong, and it takes longer to iron out someone else’s pedal mistakes than it does to just mark them as it suits you. There also exist a large number of scores that can only be played by very long-armed harpists, or masters of ten fingers instead of eight: the list goes on. You can get information about what is possible on a harp from an orchestration book. But you cannot really learn understanding from a book, because you cannot hear the harp, or see the harpist playing it.<\/p>\n

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