The instrument
The concert pedal harp has 47 strings and a range from Cb1 to G#7. The strings are tuned diatonically (basically in Cb major); 7 pedals, one for each note name, raise all the strings with that name by one semitone or two. Each pedal has three positions: flat (up), natural (middle), sharp (down). The C strings are red and the F strings black or blue, for orientation.
Pedal layout
- Left foot: D, C, B
- Right foot: E, F, G, A
The pedal diagram is written like this: D C B | E F G A, with the positions indicated. Example for C major: all natural. For Eb major: Bb, Eb, Ab, the others natural.
Consequences for the writer
- Limited chromaticism: each pedal change takes time; fast chromatic passages are difficult or impossible.
- Enharmonics as a resource: two strings can sound the same note (e.g., B# and C); this allows repeated chords and “rigged” glissandi.
- Maximum 4 fingers per hand (the pinky isn't used): chords of 4 notes per hand, hand span of about a tenth.
Glissandi
The glissando sounds all the strings in the zone, so the result depends on the pedals:
- with all pedals natural: C major scale;
- C pentatonic (C D E G A): set F to Fb (= E) and B to B# (= C);
- diminished seventh chord on C (C Eb F# A): D#, Eb, F#, Gb, A, B#, C. Every note of the glissando is a note of the chord.
Glissandi are typical effects of magic, dream, and transitions (widely used in Disney films and dream scenes).
Harmonics
The octave harmonic is obtained by lightly touching the string at its midpoint with the palm; a delicate, bell-like sound. It is usually written at the string's pitch with a small circle, and sounds an octave higher (conventions vary: indicate it in the score). It works best in the middle register (C3–C5).
Other techniques
- Près de la table: near the soundboard, a metallic, guitar-like sound.
- Xylophonic / sons étouffés: damped strings, a dry sound.
- Bisbigliando: a very fast, light tremolo between two strings tuned to the same note.
- Arpeggios in all registers: the most natural writing; the harp is above all an instrument of broken chords.
Register and character
- Low (Cb1–C3): resonant, deep, but poorly defined; useful for isolated bass notes.
- Middle (C3–C5): the heart of the instrument, warm and singing.
- High (C5–G#7): brilliant, short, bell-like; it dies away quickly.
The harp in the orchestra and in pop
- In the orchestra it doubles the celesta or the pizzicatos, accompanies solo woodwinds with arpeggios, and colors endings.
- In pop: ballads (Björk — Vespertine, 2001, with harp by Zeena Parkins), dream pop, film scores; in R&B and hip hop as a sample (many Kanye West beats and trap producers' beats use sampled harps).
- In virtual libraries the pedal problem doesn't exist, but to get a credible harp it's good to write as if it did: no fast chromaticism, glissandi consistent with a pedal setting.
Practical exercise
Write an 8-bar harp accompaniment in Eb major (Eb–Cm–Ab–Bb) in arpeggios over 2 octaves, left hand in the C2–C3 register. Write the pedal diagram. Add a pentatonic glissando leading into the next section and indicate the necessary pedals.
Related topics
Orchestration: Families, Ranges, and Blends, Keyboards in the Orchestra, Orchestral Doublings and Blends, Piano Accompaniment Patterns.