It was great to see how the new teaching points helped boost the students along their journey as well. It seemed that we as teachers gained just as much or even more than the students did from our observation of her instruction. Her ability to gain the students’ trust, unobtrusively “coming through the back door” to correct and improve their musical and technical abilities at the harp, was a delight to observe. ShruDeLi Ownbey, from Utah, was our experienced master class teacher. In addition, Karen shared her years of experience as a harpist with the San Francisco Symphony and as a freelancer, giving teachers and young professionals advice and tools for successfully navigating the business side of playing the harp.
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Participants learned how to remove, replace, wrap and glue felts, and left with happy, well-serviced harps! Karen also gave a hands-on workshop on practical harp maintenance, demonstrating disc changing, detecting and troubleshooting buzzes on the instrument, oiling springs, and base removal and refelting. What a wonderful thing it is that the Suzuki method is attractive to students when they see their friends and siblings playing, and is equally so with educators who experience our camaraderie in music, friendships, sharing of teaching skills, involvement of parents and families, and inspiring musicianship. We as teachers were excited to explain and share the Suzuki philosophy and show it in action. Not having been familiar with the Suzuki method in the past, she was amazed and inspired by the high level of instruction and ability of the students. Guest clinician Karen Gottlieb, from San Francisco, encouraged students with helpful instructions in regard to listening for tone, hand relaxation, posture and practical practicing ideas.
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The Suzuki harp teachers in the Americas, though one of the smallest groups represented at the conference, were nonetheless encouraged and engaged in the several harp sessions and master classes given by the presenters. Teacher Pam Weest-Carrasco, master class participant Marjorie Gast and guest clinician Karen Gottlieb
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The extended soundboard and 46 strings give a big, bold sound with the ability to play any repertoire. Hand-painted soundboard artwork of gold and pale pink and blue that is signed by the artist. Original gold leaf column with exquisite angel ornamentation.
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This harp has a very special huge resonant, warm sound that is amazing for its size. Built in 1914, and restored by Howard Bryan in 2006 with a new soundboard and neck. Own a piece of Lyon and Healy's design history with this gorgeous semi-grand Special Gothic style (similar to current Style 26 column design) pedal harp originally built in the early 20th century now restored to excellent playing condition. Pre-owned semi-grand concert pedal harp.