Thank You Amelia and Nadia for expressing in words the challenge of describing HOW to do it when it’s an emotional flow coming together. Both of you have such beautiful colours to your music that can be visualized and draws out emotions and mental images. Truly enjoyed this discussion.
Thank you for this wonderful possibility of exchange, dear Victoria and Amelia. And thank you Angela for making things possible in the « Talking Harps » team! 🥰
It honestly is such a treat to be on the Talking Harps team! But it's our wonderful guests and audience that make this channel possible. Thank you for your friendship with and support for Talking Harps and beautiful contributions to the harping world, Nadia. - Angela
Amelia you see music in colours as I do. When you’re composing a piece would you keep the colours in their warm or cool shades (like a palette of paint) then add hot or cold to change dynamics. Nadia What would a piece sound like composed from a paint palette in your woods how would you add a release of white doves. Just thoughts…
It is actually like writing a soundtrack to a movie. So I would ask myself: what is the story behind the flying doves, and what is the story or the overall feeling happening in the woods at that time. And then I would write a score that underlines this story or atmosphere.
We are so glad you enjoyed it Connie. I must admit this is one of those interviews I'm going to watch and rewatch just to take in all the nuggets and ideas. I'm so grateful to Amelia and Nadia for sharing and glad we can provide it here on our channel for everyone to benefit. - Angela
30:38 - I'm a lazy beginner, but I've noticed the mentioned muddiness in the lower range of my 26 string Harpsicle. For this reason, my beginner self tends to stay in the mid-upper range of my Harpsicle; however, if you listen to Ms. Birkenstock's recent Alameda recording you hear IMO very rich, delightful bass that is not characteristic of what I'm used to hearing on harp. Of course the rendering of this exceptional bass is unfortunately hostage to the listener's audio platform. I've found that what sounds great on one person's audio system will not always sound good on another person's system. In Birkenstock's case, however, the bass of Alameda is a joy to hear on multiple platforms. I know she has a production team, but Birkenstock seems to be her own "audio engineer" in that her audio recordings often seem to be the most bold and resonating recordings I have ever heard. I do not mean to insult Birkenstock in any way, but when I listen to her, I feel a sense of Vollenweider quality without all of the new age "baggage". Also, while I greatly admire Vollenweider, he often tends to play in a rather dramatic context of other instruments while on the other hand Birkenstock's harp and enchanting voice are able to stand majestically alone.
What do you do when you have created two ideal sections that work both equal in beauty but you can only use one - like perhaps one has more action in the harmony attached to the melody in the right hand but you want to bring up the bass or visa versa how do you decide what to keep and would you create another new composition to use the alternative piece
I love interpretations of music. The composer has an image but much like the bible people will read or hear it and have different interpretations. So often love pieces can turn spiritual to different people.
Yes, totally. 😀Either on a piece of paper or singing into the phone/voice recorder. Especially if it is for a tricky spot that I would have been working on for a few days.
So interesting to hear other composers and harpists about the process of creating. Thanks so much for your work, Talking Harps. 🫶🏻🫶🏻
Thank You Amelia and Nadia for expressing in words the challenge of describing HOW to do it when it’s an emotional flow coming together. Both of you have such beautiful colours to your music that can be visualized and draws out emotions and mental images. Truly enjoyed this discussion.
Thank you for this wonderful possibility of exchange, dear Victoria and Amelia. And thank you Angela for making things possible in the « Talking Harps » team! 🥰
It honestly is such a treat to be on the Talking Harps team! But it's our wonderful guests and audience that make this channel possible. Thank you for your friendship with and support for Talking Harps and beautiful contributions to the harping world, Nadia. - Angela
@@TalkingHarps Sending hugs, dear Angela!
Amelia you see music in colours as I do. When you’re composing a piece would you keep the colours in their warm or cool shades (like a palette of paint) then add hot or cold to change dynamics. Nadia What would a piece sound like composed from a paint palette in your woods how would you add a release of white doves. Just thoughts…
It is actually like writing a soundtrack to a movie.
So I would ask myself: what is the story behind the flying doves, and what is the story or the overall feeling happening in the woods at that time.
And then I would write a score that underlines this story or atmosphere.
Thank you Victoria and Angela for a very interesting, helpful interview.
We are so glad you enjoyed it Connie. I must admit this is one of those interviews I'm going to watch and rewatch just to take in all the nuggets and ideas. I'm so grateful to Amelia and Nadia for sharing and glad we can provide it here on our channel for everyone to benefit. - Angela
30:38 - I'm a lazy beginner, but I've noticed the mentioned muddiness in the lower range of my 26 string Harpsicle. For this reason, my beginner self tends to stay in the mid-upper range of my Harpsicle; however, if you listen to Ms. Birkenstock's recent Alameda recording you hear IMO very rich, delightful bass that is not characteristic of what I'm used to hearing on harp. Of course the rendering of this exceptional bass is unfortunately hostage to the listener's audio platform. I've found that what sounds great on one person's audio system will not always sound good on another person's system. In Birkenstock's case, however, the bass of Alameda is a joy to hear on multiple platforms. I know she has a production team, but Birkenstock seems to be her own "audio engineer" in that her audio recordings often seem to be the most bold and resonating recordings I have ever heard. I do not mean to insult Birkenstock in any way, but when I listen to her, I feel a sense of Vollenweider quality without all of the new age "baggage". Also, while I greatly admire Vollenweider, he often tends to play in a rather dramatic context of other instruments while on the other hand Birkenstock's harp and enchanting voice are able to stand majestically alone.
1:03:24 - Okay, that was embarrassing. I had no idea Alameda was written specifically for this video cast (LOL).
What do you do when you have created two ideal sections that work both equal in beauty but you can only use one - like perhaps one has more action in the harmony attached to the melody in the right hand but you want to bring up the bass or visa versa how do you decide what to keep and would you create another new composition to use the alternative piece
I love interpretations of music. The composer has an image but much like the bible people will read or hear it and have different interpretations. So often love pieces can turn spiritual to different people.
Also after creating and your happy with a piece when you sleep at night will you get great ideas and get up to notate them
Yes, totally. 😀Either on a piece of paper or singing into the phone/voice recorder. Especially if it is for a tricky spot that I would have been working on for a few days.