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In this week’s episode, Berklee’s Associate Professor Tim Huling takes us on the journey of composing for harp. With help from harp student Klara, he shows the pitfalls of pedaling and repedaling, and highlights the challenges these bring to writing for harp. Moreover, Tim and Klara explore the various articulations a harp can play, including some that are truly rare and unique.
Virtual Orchestration is a collaboration between Berklee College of Music (Boston, USA) and Orchestral Tools (Berlin, Germany).
A big warm thanks to Klara Poznachowska and her harp 𓏢 for supporting us on this episode.
Klara is also a pianist and a composer. Head over to soundcloud to listen to more of her work : / mira-paxon
You can also follow her on instagram: @mira.paxon
Music 🎶:
The music examples for harp 🎼 were composed by Timothy Huling
In addition to Tim's examples, Klara also plays these pieces in this video:
1) In the opening : "7:54", a piece by Klara Poznachowska herself
2) “Nardis” by Miles Davis
Assets used in the video:
SFX 🔊 :
The following sounds provided by: mixkit.co/
Air Whoosh
Video creation credits:
Video idea and Script 📜 : Timothy Huling
Script Consultation 🔍 and Director 📣 : Eduard Flemmer
Camera 🎥 and Editing ✂️ : Fabián Barba Hallal
Lighting 💡 and 2nd Camera 🎥 : David Kudell
Motion graphics 🎨 : Michael Logar