Auxiliary Instruments - Harp

THE HARP (Fr. harpe; It. arpa; Ger. Harfe)

The improved nineteenth-century chromatic harp was a major advancement over the earlier diatonic instrument of the Classic period. (For the latter see Mozart's Concerto for Flute, Harp and Orchestra, Beethoven's ballet Prometheus, and Berlioz' Symphonie fantastique.) However, this harp has been supplanted by a more recent diatonic, double-action instrument which now has become standard. It permits reasonably quick chromatic changes which were impractical with the two older instruments. The double-action harp is tuned in the key of Cfc) major and has the following compass:

Pitch changes are made by seven foot pedals which operate a ratchet mechanism. These pedal positions carry through pitch changes from the normally tuned flat (b) starting point to semitone positions of natural (lq) and sharp (#) positions, thereby completing the chromatic cycle throughout the full compass of the instrument.

Pedal changes can be made quite rapidly without serious interruption of the rhythmic flow of the part. A harpist does have the problem of marking pedal changes for each new piece in advance of rehearsals. Some orchestrators include major pedal changes in the part, but most harpists prefer to do their own editing.

Orchestral harp parts were, for two centuries, rather stereotvped. rarely deviating from simple arpeggios and chords. Example H-l illustrates these playing styles as taken from the score of Les Preludes by Liszt. The doubling of the harp with wood-winds on a secondary theme was something of an innovation but is now a common practice (Example H-lb).

Totally new styles of harp technique were introduced in the works of the French Impressionists Debussy and Ravel and their contemporaries. They included enharmonics, glissandos, blocked chords, trills, tremolos, and occasional solo passages. Most of these innovations are well represented in Debussy's Danse sacree et danse profane and in Ravel's Introduction et allegro for harp, flute, clarinet, and string quartet.

Twentieth-century composers have extended the scope of orchestral harp parts largely through the extraordinary experiments made by the eminent harpist-composer, Carlos Salzedo. His unprecedented new playing techniques are fully recorded in the Salzedo-Lawrence, Method for Harp. The future will, no doubt, see these idiomatic devices included in orchestral harp parts.

Notation for the harp is essentially the same as that for the piano, with a few exceptions. These differences are the result of idiomatic harp techniques, most of which are not playable on the piano. They are summarized as follows:

1. The harpist does not use the fifth finger of either hand. Unbroken chords for each hand should therefore not exceed an octave. Chords are rolled or broken slightly in conventional playing and rolled upwards unless indicated otherwise. A bracket ([) is placed before all chords which are to be played together non-arpeggiato. Chords may be rolled in opposite directions by adding arrows to the regular wavy lines. Chords, rolled through with both hands, may start with either the top or bottom notes. These playing styles are listed in Fig. H-3.

2. Enharmonics are idiomatic for repeated notes playable by both hands (Figs. H-4 and H-5).

The use of enharmonic s increases resonance and they can be written in many ways which are idiomatically desirable to facilitate fingerings.

3. The harp, because of its tuning to Cb major, is more adaptable to flat keys than those in sharps. Enharmonic notes and keys are therefore preferable when practicable. For example. C - major is preferable to B major.

4. Pentatonic scales (five notes), formed with enharmonics, the most resonance for glissandos, intervals, and/or chords (example: F-G-A#-Bb-C-D-E#). Glissandos may be for single notes, intervals, or chords. Their two stvles of notation are given in Fig. H-6.

Glissandos extending over many beats have varying notations, depending upon the tempo in which they occur. Their sweeping strokes are indicated approximately rather than accurately.

The up-stroke glissando (crescendo) according to Walter Piston is "one of the worst platitudes of music." The down-stroke style (diminuendo) occurs much less frequently.

5. Harmonics are a coloristic device with weak carrying strength. They are played by plucking the upper half of the string after it has been stopped at one-half of its length. Since this is a technique done by one hand, it is unwise to write successive harmonics too rapidly. Notation for harmonics requires a circle ( o ) placed directly over the pitch to be stopped. The resulting sound will be one octave higher than the written note. Harpists differ in their preference for the notation of harmonics; some like the actual pitch to be indicated. A directive in the part explaining the style used will avoid all possible confusion.

Harmonics for single notes and small intervals in the middle register have the best resonance and are playable by one or both hands. They may be played by both hands or divided, as in Fig. H-8. Harmonics are especially attractive with wood-winds and only slightly less so with strings.

6. Harp trills and tremolos are of less value than those for the piano. They are slowed down somewhat in playing and are comparatively infrequent in orchestral scores.

Although trills can be played with either hand, they are more satisfactory when notated for both hands.

Tremolos {bisbigliando — "whispering") employ both hands to keep the strings constantly in motion. Soft dynamics for three or four notes, within an octave, are playable. Some composers have written tremolos at louder levels, as given in Fig. H-10b.

Harp resonance is not entirely conducive to long, sustained melodic lines unless confined to the middle register. These notes are satisfactory whether alone or doubling other instruments. The lowest bass tones have good resonance with considerable tonal strength. The harp sounds well with the strings but is clearer, by contrast, when scored with wind instruments.

7. Pres de la table: Played near the soundboard for a muted effect.