BigDamnArtist wrote:How much does fretting the strings from underneath mess with your ability to play compared to a guitar? It seems like you wouldn't be able to change notes nearly as fast on the tagelharpa because you have to take your finger off the string, go underneath and then back up through the strings to get to the one nearest your thumb. Or is that just part of the instrument and you write music around it?
That's a very interesting notion, actually. Yes, as you correctly guessed, there's some extra effort required to switch between strings. But the tagelharpa is a drone-like instrument, so its primary nature is to articulate notes on a single string, while the others play a continuous, unchanging note (much like the bagpipe).
It's not by any means forbidden to play another string, however, as you can see me doing (quite painfully) at 1:04. But one characteristic of my tagelharpa is that the strings are quite closer to one another (1cm each). This is something I hadn't thought about while designing it, and I'd definitely add more space if I could go back.
I've also seen people do a neat trick which is possible when you play on the middle string: you articulate on it normally, and play notes on the upper string with the back of your finger. That's a whole other level of mastery.
Regs: the second I put a piezo on it, you can bet I'll distort the hell out of that motherfucker.
drew: haha. I think it's the first time I've managed to come up with a motif that sounds unique and actually like a real proper melody with an identity. I'm expecting any minute to find out it already exists and I unconsciously copied it. Is that what all musicians feel like?
Last edited by Saniss (2020-05-07 18:36:06)
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