Harp Spectrum

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Composing For The Harp by Joyce Rice This article gives you some basic knowledge about the harp and how to write for it. It does not claim to be a complete encyclopedia on the topic, but hopes to be helpful and correct in what it does present. We will gladly consider suggestions of additions or alterations. WELCOME, ASPIRING COMPOSER FOR THE HARP! Are you full of doubts about your project? Do you feel that you don’t know enough about the harp? Well, you’re not alone, as you can see by these quotes from several prominent musicians: “The harp is, in my opinion, the least understood instrument. Even the greatest geniuses in music have not understood this instrument.” Leopold Stokowski, in a radio interview by Arnold Michaelis, 1961* What [inexperienced] composers do not seem to realize is that the piano keyboard is a treacherous trial ground for the testing of either the playability or the sound of their harp parts.” Sylvia Meyer, Principal Harp, National Symphony Orchestra, 1933-66* “It is not the harpist’s fault when writing is inconsistent with human anatomy.” Susan Dederich-Pejovich, Principal Harp, Dallas Symphony, 1977-present* *From “The Harp in the Orchestra” (p. xii) by Beatrice Schroeder Rose, with her permission. But take heart. These words of the late harpist, teacher and composer, Marcel Tournier, offer you a simple objective: Your goal is “to make the instrument sound well and make the most of its resources…The secrets of the harp are far simpler than certain people imagine, and its possibilities are never- ending for those who have faith.” Tournier, “The Harp” p. 93 And contemporary Boston composer Kevin Kaska says: “I thought of the harp as this instrument with all these limitations, and that all it could do were some big glissandi and a little bit of simple ‘piano playing’ (all diatonic, of course). I didn’t know, and until I sat down with harpists, the mystery had never been unraveled. Then I Harp Spectrum http://www.harpspectrum.org/harpworks/composing_for_harp/compos... 1 di 12 08/02/2015 12:55

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Transcript of Harp Spectrum

  • Composing For The Harp

    by Joyce Rice

    This article gives you some basic knowledge about the harp and how to write for it. It doesnot claim to be a complete encyclopedia on the topic, but hopes to be helpful and correct inwhat it does present. We will gladly consider suggestions of additions or alterations.

    WELCOME, ASPIRING COMPOSER FOR THE HARP! Are you full of doubts about yourproject? Do you feel that you dont know enough about the harp? Well, youre not alone, asyou can see by these quotes from several prominent musicians:

    The harp is, in my opinion, the least understood instrument. Even the greatest geniuses inmusic have not understood this instrument. Leopold Stokowski, in a radio interview by ArnoldMichaelis, 1961*

    What [inexperienced] composers do not seem to realize is that the piano keyboard is atreacherous trial ground for the testing of either the playability or the sound of their harpparts. Sylvia Meyer, Principal Harp, National Symphony Orchestra, 1933-66*

    It is not the harpists fault when writing is inconsistent with human anatomy. SusanDederich-Pejovich, Principal Harp, Dallas Symphony, 1977-present*

    *From The Harp in the Orchestra (p. xii) by Beatrice Schroeder Rose, with her permission.

    But take heart. These words of the late harpist, teacher and composer, Marcel Tournier, offeryou a simple objective:

    Your goal is to make the instrument sound well and make the most of its resourcesThesecrets of the harp are far simpler than certain people imagine, and its possibilities are never-ending for those who have faith. Tournier, The Harp p. 93

    And contemporary Boston composer Kevin Kaska says:

    I thought of the harp as this instrument with all these limitations, and that all it could do weresome big glissandi and a little bit of simple piano playing (all diatonic, of course). I didntknow, and until I sat down with harpists, the mystery had never been unraveled. Then I

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  • watched Deborah Henson-Conant and how she played her jazzy music with all the pedalchanges, and Ann Hobson-Pilot playing a Salzedo piece while I followed the sheet music. Idhad no idea you could jump around on those pedals so fast and play big chords. Finally, I satdown at a harp and actually played for 30 minutes, and I learned more about the instrumentthan any book could teach me.

    Help is on the way! Below you will find some basics about the harp family, some musical dosand donts, and examples of whats easy on the harp and what isnt.

    What is a harp?The harp, goes the old joke, is a nude piano. Well, no, its not. They do both have lots ofstrings, and the harp and the grand piano have similar shapes, and both use music written ona grand staff, but please dont allow these superficial similarities to fool you.

    Music dictionaries tend to define the harp as one of the most complicated instruments, mostdifficult to play, or limited in what can be played upon it. True, a concert pedal harp is acomplicated instrument with 2000 or so parts, but with thousands of people playing itworldwide, it cant be that tough. And true, the pedal harp requires coordination of hands andfeet in different tasks. (So what? So does a pipe organ.) But is the harp limited? In someways, but not at all in others. Ascending or descending chromatic scales or chords are moredifficult on a harp than on a piano, but playing in keys of 6 sharps or flats is sure a lot easier,and pianos cant begin to touch the beauty of a harps glissandos or harmonics. So why notdismiss these arguments and find out how you can produce music that harpists will findapproachable and ready to be played.

    Lets start with a quick review of the basics. All harps are triangular in shape, but they come inmany varieties and sizes

    Basic Harp for Beginners

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  • The five harps illustrated above are some of the most common types. They are:

    1. Irish low-headed lap harp.2. Gothic lap harp.3. Medium-size folk harp (also called Irish, Scottish or Neo-Celtic).4. Irish high-headed harp (usually with metal strings).5. Pedal harp. (Also see about Paraguayan harps.)

    In this article we will focus on the two most common types of harps: the large orchestral harpwith pedals, and the smaller folk-type harp with levers.

    Most harps have one set of strings in the order of the pianos white keys: C-D-E-F-G-A-B-C.The C strings are red, and the F strings are dark blue. The rest are white.

    Concert grand PEDAL HARPS have 47 strings, or six-and-one-half octaves, almost the fullrange of the piano. The bottom string is C, three notes above the pianos lowest A. The topstring is G, four notes below the pianos highest C.

    The large concert harps that you see in the orchestra have seven pedals (below), one for eachnote in the scale, that are attached mechanically to discs (below) at the top of the strings andare used to change all octaves of each note by two half-tones, flat (in the highest position) tonatural (middle position) to sharp (lowest position). Note that the lowest D and C strings andthe top G string do not have any mechanism and are not connected to the pedals, but can bere-tuned beforehand if necessary.

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  • The largest LEVER HARPS usually have 36 strings (a few go up to 38). Most lever harpsrange between 29 and 36 strings, or four to five octaves.

    Lever harps have a manually controlled device (flip-up lever, cam lever, or blade) at the top ofeach string that can change each string by one half-tone: flat to natural or natural to sharp. The left hand usually changes levers.

    Pedal harps have pedals that simultaneously change all octaves of any given note, so onepedal change will result, for example, in all F naturals becoming F#, or all B naturals becomingBb. Lever harps, on the other hand, can be set however the composer wishes, with one F#and two Bbs, for example, and all the other Fs and Bs natural.

    Tuning the lever harpWhen a lever or cam is engaged, the string pitch is a half-step higher, and when disengagedit's a half-step lower. We're using the word "engaged" because while most levers are movedup to raise the pitch and down to lower it, some are the reverse, and some are sideways-moving blades.

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  • Lever harp players commonly use the terms tuning in C or tuning in Eb. Those tuning in C(with all levers disengaged) can play in the key of C and the keys with sharps: G (F#), D (F#,C#) etc. Those tuning in Eb (tune in C with the B, E, and A levers engaged, which can bedisengaged to flat the string) can play in C, in the three flat keys of F, Bb, and Eb, and the foursharp keys of G, D, A, and E.

    Here are the notes that are readily available in each tuning:

    C tuning: C C# D D# E E# F F# G G# A A# B B#

    Eb tuning: C C# D D# Eb E F F# G G# Ab A Bb B

    (For more on tuning, click here.)

    Below, see an example by Ray Pool of the use of levers in the chromatic scale harmonized forlever harp tuned in Eb. (The diamond notes represent levers that must be raised or lowered tomake the accidentals, and are not played.)

    From Clever Levers

    Writing well for the harpAs we have noted, probably the biggest mistake made by composers is writing for harp as if itwere a piano. An apparently easy passage for the piano may be quite formidable or evenimpossible on the harp. A few fundamental things to remember are:

    The harp is a plucked instrument; it physically takes longer to pull a string than todepress a piano key.

    1.

    The harpist sits at the upper end of the instruments range with the right arm wrappedaround the instrument, compared to the pianist who sits in the center of the instrumentsrange and can move both hands freely in either direction. This means that the harpistsright hand cannot reach the lower strings.

    2.

    The harpist relies heavily on visual cues to locate specific notes (hence the coloredstrings), unlike the pianist who can feel his location on the keyboard by the arrangementof black and white keys. (This issue is further complicated by the harps orientation todepth, unlike the pianos orientation to width; the pianist has full use of peripheral visionto find notes, but the harpist does not have this ability.) Wild leaps and skips infast-moving passages should be avoided, especially in orchestral parts when the harpistmust watch the conductor, the score and the strings, which are all in different directions.

    3.

    Now lets look at some specifics.

    1. Notation

    Write on a piano grand staff, generally with right hand (RH) in the upper staff, lefthand (LH) in the lower.

    Occasionally all notes are in the same staff, and then its helpful to indicate thoseplayed by the LH with stems down, and by the RH with stems up, as in thefollowing example:

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  • (Henriette Reni)

    Only four fingers are used on each hand: no pinky! Therefore the maximum reachin each hand is the interval of a 10th. Please leave fingering suggestions to theharpist, unless you allow a harpist to look over the music prior to publication.

    Since harpists use only four fingers, please avoid figures like that in the following:

    What makes this figure difficult to play quickly? The second group that appears tobe four 16th notes actually needs five fingers to reach from the D at the bottom ofthe group to the G on the first beat of the next measure.

    2. Range of hands: in general, because the harpists right arm is wrapped around theinstrument, the RH shouldnt be asked to reach below the first metal string [the G oneand one-half octaves below middle C]. The LH can play the entire range, if necessary. Harp strings are closer together than piano keys, however, and harpists areaccustomed to reaching a tenth.

    3. Best keys for the best sound: the ones that have the fewest levers/pedals engaged,because unengaged strings vibrate at their longest length and result in the richest tone.On the pedal harp that would be the key of Cb. (See Benjamin Brittens Interlude fromthe Ceremony of Carols.)

    4. The sustain of the harp: Once strings are plucked, they set their own duration ofsound without any other means pedal, bow, breath to keep them going. Therefore,there may be several harmonies lasting over some seconds as the sounds areproduced and decay. The upper notes have very little sustain, so writing long, tiednotes in the treble is useless. The bass notes, however, have an extremely long sustain,and often need muffling before proceeding to the next chord. (Country and pop harpistLouise Trotter likes to say that you can play a bass octave and go down to the corner toget groceries. When you get back it will still be vibrating!)

    5. Harmonies and voicing: the sustain makes thick chords in the lower stringssometimes sound muddy rather than lush. It is better to under-harmonize thanover-harmonize in a harp composition.

    6. Staccato, legato, sostenuto: the natural sound of the harp is a sostenuto, with theplucking action creating a tone that rings until it decays completely or the string isplucked again. The only way to achieve a staccato-like effect is to muffle the stringswith the finger or hand immediately after playing, so do not write staccato notes onfast-moving passages, or with large leaps between the notes or chords. Whateverlegato the harpist produces is achieved by phrasing and careful placing.

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  • 7. About rests: Rests signify the cessation of sound, and for most players that meansa separation from the instrument. Wind players stop blowing, string players lift theirbows. Harpists, however, replace their hands upon the strings to stop sound. Whenyou write quarter note, rest, quarter note, rest, do you want the harpist to stop the soundon the rest, or could two half notes produce as desirable a sound?

    8. Repeated notes: One cannot repeatedly play the same string in rapid succession asyou can on a piano. The best way to accomplish this is by using an enharmonicequivalent, for example setting D# and Eb pedals or levers and alternately playing thosestrings, so that two fingers can create the effect of a repeated note. It is played fastestbetween two alternating hands. [Harpists who play with their nails long (on someParaguayan and wire harps) play repeated notes very well with their nails, keepingfingers stiff and moving back and forth across the string.]

    9. Arpeggios can be played very fast when using both hands and alternating them (thinkof the Nutcracker cadenza as it is commonly played, with arpeggios in the samedirection). If you write the arpeggio in one hand and something else in the other, thearpeggio will be much slower.

    10. Glissandos for the pedal harp can be in any arrangement you want diatonic,pentatonic, whole note, diminished, etc. but glissandos for lever harps are limited tothe notes available depending on how the instrument is tuned (in C or Eb). In bothcases, remember that every note of the scale must be accounted for (unless you stopsome notes, as Ray Pool has experimented with). See A Harpists Survival Guide toGlisses, by Kathy Bundock Moore.

    11. Harmonics are produced by "stopping" the string at its midpoint and plucking thestring just above that point, producing a note an octave higher than normal, with a clear,bell-like tone. Notate harmonics on the string where they are played, not where theysound. Harmonics sound best on open strings, that is, as a flat on the pedal harp, orwith the lever disengaged on the lever harp.

    You can see and hear examples of various pedal harp techniques on this video, Discover

    the Harp, provided by harpist Gail Barber . You will need the Real Player(and a fast internet connection!) to view this. If you move the viewing slider to about 10minutes into the video, you will see and hear examples of arpeggios, glissandos,harmonics, and other techniques. The Philharmonia Orchestra web site also has somevideos in their Orchestra section that demonstrate various harp techniques.

    More about pedals 1. Pedal harpists can easily play in keys with six or seven sharps or flats theyjust set the pedals and go.

    2. If you write in an unusual sonority, say with A flats and D flats, but B naturalsand E naturals, indicate this in the key signature with the B and E naturals inparentheses, then the A and D flats.

    3. Pedals are in this order:

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  • Two pedals can be changed simultaneously and quickly if theyre not on the sameside.

    Pedals are depressed to make the sound higher, and raised to make the soundlower. You can push the pedals down (flat to natural to sharp) faster than you canraise them (sharp to natural to flat). Still, both these moves can be done veryquickly.

    4. Pedal changes can create unwanted sounds in some circumstances. If a string is stillsounding and the harpists hands are too busy to muffle it, a pedal change on that string maybe noisy. Sometimes this can be avoided by using enharmonic notes.

    5. The harp can play any note enharmonically except for D natural, G natural and A natural. This is helpful to know when working with pedals. Careful writing can sometimes distributefast pedal changes more equally between the two feet such as changing D# and F# (left andright feet) rather than Eb and F# (both right foot).

    6. It is usually preferable to leave pedal markings to the harpists, who often have personalpreferences. If you do feel the need, however, write only F# rather than the unnecessarychange F natural to F#, and make that notation directly under the note or chord where the F#occurs. You might, however, write a small pedal diagram periodically throughout the pieceespecially in sections where there are rapid modulations, and always at each rehearsalnumber or letter in orchestral parts:

    [Note names FYI only] (D, C, Bb, Eb, F, G, Ab)

    (D#, C#, B, E, F#, G#, A)

    7. Every accidental, key change or glissando requires pedal movement allowtime for it.

    Special notationMany symbols have been developed in harp notation. Here as an introduction are some fromMarilyn Marzukis The Sacred Harpist, publ. 1980:

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  • (Note: More up-to-date notation usually places the harmonic note where it will be played, andit will sound an octave higher.)

    What's easy to playHarp Spectrum special projects person John Carrington, harpist with the Pacific NorthwestBallet and Seattle Symphony, suggests the following:

    1. Glissandos, preferably with the first octave notated to make perfectly clear whatnotes are wanted.2. Arpeggios a few up or down, not an on-going chromatic series.3. A few rolled chords spread over four octaves in voicing.4. A melody over a simple harmonization in half notes.5. A perpetual motor in one hand with a repeated sequence of running 16th or 8thnotes.6. A single harmonic that is doubling for extra color the entry of another instrument,

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  • i.e. a French horn, piccolo or trumpet long tone.

    What's difficult to play1. Abundant rapid chromaticism (think Chopin).2. Five-fingered piano-derivative material.3. Lots of quickly changing notes and chordal harmonies.4. Rapidly repeated attack on the same chords.

    And finally, work with a harpistEven after youve learned the theory of how harps work and the basic rules for writing forthem, it still makes sense to see if it all fits on a real harp played by a harpist. As you read inthe introduction, Kevin Kaska learned from Deborah Henson-Conant and Ann Hobson Pilotthat theres more to harp music than glissandi and diatonic playing.

    Another composer, Mary Elizabeth, says: I suddenly needed a harp part in a chamber/choralChristmas setting, so although I had never even seen a piece of harp music, I included a fairlystraightforward part. To make up for my inexperience and lack of knowledge, I took the pieceto Heidi Soons, the first chair harpist with the Vermont Symphony Orchestra, to check it. Sinceshe graciously gave me the opportunity, I composed a piece for harp and mezzo with a kind ofKlezmer feel to show her as well. I didn't know anything of the specialized vocabulary ornotation for harp, but I was intrigued by the sound, and Heidi saw through my inexpert notationand choices, and she enjoyed the second piece so much that she said she'd perform with me(and we did several concerts the next year). So she played my pieces and I learned from herabout the harp's capabilities, limitations, and notational requirements. As soon as I saw her doa technique, I would include it (as appropriate) in my music. I began to learn about pedaling,fingering, tapping on the soundboard, and enharmonics. I would write something and watchand listen as she tried it and commented on it. Then I revised, as necessary. She still checksany new harp piece I write.

    If you dont know any harpists, write to Harp Spectrum and well try to hook you up with a harpplayer in your area. Well be watching for your new works!

    More informationNow its time for you to get a book. Fortunately there are several available. Much of thecontents of this article was borrowed, with permission of the author, from The Pocket Guide toHarp Composing by Darhon Rees-Rohrbacher. My sincere gratitude, Darhon, for yourgenerosity. You can see her many Dragonflower Music publications at www.dragonflower.com,and they are available at most retailers, as well.

    I am also very grateful to Beatrice Schroeder Rose for allowing me to use several quotes fromher recently published and invaluable book The Harp in the Orchestra.

    Here are some very helpful publications. They may be found at Lyon & Healy (L&H)www.lyonhealy.com, Sylvia Woods Harp Center (HC) www.harpcenter.com, or VanderbiltMusic (V) www.vanderbiltmusic.com.

    Master Glossary of Symbols and Special Effects for Harp, by Faith Carman (L&H, V)

    Harp Scoring, by Stanley Chaloupka (HC, L&H, V)

    Writing for the Modern Harp (Q&A for a college composition class), by Lucile H. Jennings. 740-594-5520

    The ABC of Harp Playing including The Use of the Harp in the Orchestra by Lucile Lawrence (HC, L&H)

    A Harpists Survival Guide to Glisses, by Kathy Bundock Moore (L&H, V)

    Tuning Your Harp in Eb Major, by Ray Pool (L&H, V)

    The Harp in the Orchestra, by Beatrice Schroeder Rose (HC)

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  • Modern Study of the Harp, by Carlos Salzedo (HC)

    A Quick Reference Glissando Chart, by Sylvia Woods (HC)

    Writing for the Pedal Harp, 2nd edition, by Ruth Inglefield and Lou Anne Neill(www.us.harp.com).

    British composer F L Dunkin Wedd (www.myspace.com/dunkinweddcomposer) has devised asimple method for keeping track of pedal positions. He calls it The Virtual Harp.

    Also: Sibelius Notational Software. Composer Mary Elizabeth says, the plug-in that addsharp pedal diagrams, by Neil Sands, was for me an educational tool as well as a notationalone.

    Permissions and Sources:Drawing of five harps is from Mel Bay Publications Basic Harp for Beginners, by Laurie Riley, MB#95109. 1994 by Mel Bay Publications, Inc. Pacific, MO 63069. All Rights Reserved. International Copyright Secured.

    Photo of gold pedal harp courtesy of the Swanson Harp Company, with permission of Carl Swanson.

    Pedal harp discs photo from www.BlackandGoldHarp.com, with thanks to harpist/photographer Kari Gardner.

    Photo of Triplett Catalina lever harp with permission of Debbie Triplett.

    Photo of lever harp with labeled parts is by Wm. Rees, Traditional Harps, used with permission.

    The Chromatic Scale, Harmonized is from Clever Levers, Harmonic Exercises for Advanced Lever Harpists, byRay Pool, by Ray Pool, email [email protected], website www.raypool.com.

    The Reni excerpt is from p. 51 of The Harp by Marcel Tournier, Henry LeMoine & Cie, editeurs, 1959.

    The Notation Guide is from The Sacred Harpist by Marilyn Marzuki, Hinshaw Music, 1980.

    Harp video was linked to by permission of Gail Barber.

    Postscript:

    One composer took our advice to heart and wrote Harp Spectrum for the names of harpists inNew York who might help him. Here's what he had to say afterward:

    This past spring, I composed a piece for orchestra. I rarely get a chance to write for such alarge ensemble, and my knowledge of the harp was very limited. I turned to the Harp Spectrumfor help. I found the articles to be excellent and thorough. I took the advice to contact JoyceRice about finding a harpist in my area to review the part I was composing. Meeting withprofessional harpists Ray Pool and Cynthia Otis was absolutely crucial. I can't stress enoughhow dramatically this improved both my understanding of harp technique and my ability tomaximize the instrument's potential in an orchestral setting. The Harp Spectrum and itscommunity are valuable resources for any composer, and I am very grateful for their existence!

    -Joachim HorsleyComposer & Producer, New York CityJune 2005

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