🙂 Want to get a REAL (meaning “mistake-free”) version of “Bleak Midwinter” up on Vimeo, and also a version of that little C minor etude thing up as well. Also glad that my fingers weren’t too sore from a week and a half away, even my fourth.
Am working on rolling downwards currently, just to get a rough feel for it. It’s nontrivial; the thumb feels VERY awkward when rolling down since I have to have the fourth finger on its string at the same time. Much easier to roll up so that the thumb isn’t plucking when the hand is pinned in place by the fourth finger. That allows the thumb to wrap nicely around the hand after plucking. With the fourth in place, the thumb has to stay somewhat stiff, which isn’t pleasant. I’ll probably want to avoid that in general, and if I can’t, then focus very strongly on maintaining a relaxed hand.
I’m still not sure what it is about the harp that’s pulled me in. It seems to be the perfect combination of scope and fussiness. The piano is at a 30,000-foot level, really. You have such enormous scope on it, mostly because the mechanism of creating the sound is so removed from you that you can fly at a very high altitude. For a composer, it’s the perfect instrument.
The harp has a goodly amount of scope but gives up a little relative to the piano to gain some closeness to the sound production, which gives the player that nice sense of immediacy in plucking each string individually. It’s a nice compromise. You can accompany yourself and play the whole piece, and yet you’re still directly creating the sound, responsible for the tuning, able to get funky effects, can lift and move it without paying large, muscled people to do so, etc.