Playing technique of the harp
This article gives an overview of the playing techniques on the concert or double pedal harp .
With the invention of the double pedal mechanism by Sébastien Érard in 1811, the playing technique of the harp changed fundamentally and was only able to meet the demands of Romantic music . In 1921 the harpist, composer and music teacher Carlos Salzedo published the book "Modern Study Of The Harp", in which he described many playing techniques - some of them his own creations. This publication was the basis for today's playing technique, even if many techniques and notations are no longer in use.
Body and hand posture
The concert harp is played while seated. The seat height is adjusted to the body size so that the tuning pegs at the lowest point of the neck of the instrument are approximately at eye level. The harp is tilted slightly towards the player and supported with the right shoulder and knee. The feet stand on the pedals, with or without the heel touching the ground. The right hand usually plays in the higher registers and rests on the sound box, while the left hand plucks the bass strings and floats freely in front of the strings .
The harp is only played with the first four fingers of each hand, and the little finger is generally not used (with the exception of the 5-part glissando). The strings are plucked with the fingertips, not with the nails as with the guitar . When inserting the fingers on the strings, the thumb points up and the remaining fingers point down. The back of the hand and forearm form a line. When playing, the fingers fall into the hand and form a fist, the thumb falls on the third link of the index finger.
Playing technique
Basics
You write down the harp part as it should sound, i.e. not transposing it. It uses two staves and connects them with a Accolade . As with the piano , each system generally applies to one hand, the lower one (usually in the bass clef ) for the left, the upper one (usually in the treble clef ) for the right.
According to the diatonic tuning, seven strings are provided for each octave. The range extends from the contra- C or -D to the g '' ''. The names of the strings correspond to the white keys of the piano , but in the basic position all strings are tuned a semitone lower, i.e. in C flat major. Each pedal can be used to tune all strings of the same name one or two semitones higher at the same time.
Some strings are color-coded: all C strings are red, all F strings are blue.
The strings are made of different materials. Most of them are made of intestine, which is coated with a plastic layer; the bass strings from the G string down are made of steel. Some harpists use nylon strings for the highest notes because they are less likely to break.
Pedals
The basic tuning of the harp is C flat major , although it is not transposed . With the help of the pedal mechanism, each tone can be increased twice. All keys from C flat major ( A flat minor ) to C sharp major ( natural A sharp minor ) can be played ( see also the article Circle of Fifths ). The arrangement of the pedals from left to right is DCH - EFGA. The three pedals on the left are operated with the left foot, the four on the right with the right, but in exceptional cases the E-pedal can be operated with the left or the H-pedal with the right. There may be two pedals maximum entered at once, switching from the ♭ position directly to the ♯ 's position is no problem, but conversely, it is somewhat more difficult. The two lowest strings of the harp (Contra-C and -D) cannot be raised using the pedal mechanism. However, it is possible to retune the strings using the tuning pegs before each piece. The pitch of the highest string (g '' '') can only be changed with the pedals on models from some manufacturers (e.g. Lyon & Healy or Venus).
The change in pedals is usually noted between the two systems. Any change in the pedal position must be noted in the notes. The target position of the pedal is noted, e.g. B. F ♯ , H ♭ or G ♮ , at the point where the pedal is actually pressed. If a pedal is stepped on and returned to its original position a short time later, this can be made clear with a line between the pedal instructions (for example: F ♯ - ♮ ). This has the advantage that the player can keep his foot on the pedal and the pedal does not have to be written out a second time. This notation is also used when a pedal is to be stepped from a ♭ position directly to a ♯ position, or vice versa.
If two pedals are to be pressed at the same time, this is only possible if each foot can press one pedal. The pedals are noted one above the other, the pedal that is stepped with the right foot is at the top (i.e. closer to the system of the right hand). For the sake of clarity, pedals that are stepped on with the same foot are not noted one above the other, but one after the other.
In some countries, but especially in France , the tone syllables are used to mark pedals. Instead of E ♭ , Mi ♭ is noted. In English-language literature, "B" is logically written instead of "H" for the pedal designation (so also B ♭ instead of H ♭ ).
In addition to these markings, so-called Salzedo symbols are also used. Salzedo symbols are schematic representations of the current pedal position and are used in various situations:
- At the beginning of a piece
- After a long break, for example in an orchestral work
- At any point for orientation of the player while practicing
- At the beginning of a new section
- At a prominent point in a piece, for example in an orchestral work, where rehearsals often begin
- For setting the tones of a glissando
There are several ways to represent Salzedo characters. All versions have the basic structure in common: from left to right, first the pedals on the left side are noted on a line, then a vertical line follows to separate them, then the pedals on the right side are noted. The neutral position ( ♮ ) is noted either with a vertical line (|), a horizontal line (-) or a circle (o). The ♭ and ♯ positions are noted either with a vertical line offset up or down or with a triangle (v, ^) that is open up or down. The version with vertical bars is usually found in music notation programs .
Many music notation programs automatically use pedal labels and Salzedo symbols. However, they rarely follow the standard rules mentioned above and do not always choose the cheapest option. Especially simplifications through enharmonic mix-ups cannot be implemented by these programs.
Fingerings
The fingerings are based on the intervals , i.e. the size of the handles. The second , third and fourth are fingered with the thumb (marked 1 in the fingering) and index finger (2), the fifth and sixth with the thumb and middle finger (3) and all larger fingerings with the thumb and ring finger (4). In contrast to the piano, the higher note is also played with the thumb in the right hand. In the case of chords with more than two notes, it ultimately decides how comfortable the fingering is. In the case of the cg-e 'chord, for example, one chooses the index finger for the g, although there is a sixth between the 1st and 2nd note from the top. The maximum size at which a grip is still playable depends heavily on the size of the hand. But it should not be larger than a duodecime .
Individual notes are played with the index finger. This allows maximum control over power and sound.
Scales and arpeggios are played with consecutive fingers regardless of the intervals, for example the pitch sequence CDEF is played with the fingering 4-3-2-1. With fewer than four notes, the thumb is almost always included (3-2-1).
"Cross grips" are grips where fingers are used but not yet played back directly. Not all fingers that remain on the strings or that are played are next to each other (they are crossed ). With four fingers inserted there are many options: 4/3 are played first, then 2/1; 4/2 first, then 3/1, but also 3 first, then 4/2/1 etc. There are also possibilities when three fingers are used, but these grips are usually not referred to as cross grips, as they do not represent a high level of difficulty .
If two strings lying next to one another are played one after the other with the same finger, one speaks of "grinding". The finger does not fall into the hand, but on the next higher or lower string. Grinding is possible with any finger, but this technique is most often used with the thumb, for example when five notes are played downwards in succession (i.e. CHAGF with fingering 1-1-2-3-4).
Just like on the piano, the harp offers the option of putting under and over. The 4th, 3rd or 2nd finger is placed underneath, always under the thumb (in contrast to the piano). So if you play an upward scale that contains more than four notes, you have to step down (for example: CDEFGAHCD with the fingering 4-3-2-1-4-3-2-1). The 2nd, 3rd or 4th finger is used to transfer, but not only with the thumb, but in rare cases also with the 2nd finger. So if you play a downward scale that contains more than four notes, you have to translate (for example: DCHAGFEDC with the fingering 1-2-3-4-1-2-3-4). These rules also apply to arpeggios, but not at every tempo: Excessive speed and, above all, lower speed often lead to uncleanliness and background noises.
On the harp, too, you can “overlap”, which means that either the left hand plays higher notes than the right, or the right hand plays lower than the left. This option is often preferred to stepping up and down, cross handles and sanding, or when handles are too large.
For reasons of sound, the thumb is occasionally not used. The most common cases are: A second is played with 3-2 instead of 2-1, a fifth or sixth with 4-2 instead of 3-1 or three notes of a scale are played with 4-3-2 instead of 3-2-1 .
However, some playing techniques deviate from these standard rules.
Sound effects
arpeggio
The arpeggio is very characteristic of the harp. Hence its name comes from the Italian word arpa (= harp). The notes of a chord are not plucked together, but played one after the other in rapid succession. Thus, the sound of the chord is expanded. Many pieces end with a chord played this way. This makes the final chord sound softer. When the arpeggio is used in one piece, it is mostly used as an ornament. It brings variety to the smoothly played chords. The arpeggio is noted by a vertical wavy line in front of the chord (see also the note example below under "Enharmonic confusion").
Flageolet
On the harp it is possible to produce harmonics on many strings . Theoretically, the string can be shortened indefinitely, but in practice only octave flageolets and very seldom in modern literature fifth and third flageolets are used. To do this, the string is pressed in the middle (for an octave flageolet) either with the ball of the thumb, the edge of the hand or the second link of the index finger and plucked with the thumb. The part of the hand with which the string is pressed also leaves the string during playback. If you press the strings with the edge of your hand, it is also possible to play several strings as a flageolet. The strings should not be more than a fifth apart. You can also play one or more strings as a flageolet and another normal, for example Cc ° or Ca ° -c °. The string that is also plucked, as it is almost always an octave flageolet, is usually noted with a small circle above the note. For other notations, an explanation should be added (Salzedo, for example, notes all flageolet tones sounding). Flageolet tones are only sound effects on the harp and cannot be compared with those of the string instruments. This means that they require a certain amount of preparation time and that not all strings are suitable for harmonics: they should only be used in the pitch space from F to c '' '.
Enharmonic mix-up
With the harp there is basically the possibility of playing notes with enharmonic confusion . This can be necessary when tones follow one another quickly and require many pedal changes. For example, if a C major and a C ♯ major chord are to be played one after the other , you would have to change three pedals - namely C to C ♯ , E to E ♯ and G to G ♯ . If you play a D ♭ major instead of a C ur major , you can press a D ♭ and an A ♭ beforehand and no longer need to change a pedal while playing.
Some composers use the option of playing the same note on two strings at the same time (for example C and B ♯ ). The minimal pitch difference creates a floating, but at the same time fuller sound. This effect can also be used to make notes louder or emphasize in a chord.
Enharmonic mix-ups allow tone repetitions to be played on most tones. This technique is very difficult or even impossible in fast tempos without enharmonic confusion. Even with confusion, this figure - just like a trill - cannot be played very quickly and cannot be compared with trills and tone repetitions on other instruments (for example the piano). Trills and repetitions can be played alternately with one or two hands.
All notes that can be doubled by simply raising or lowering them can be confused enharmonically on the harp. These do not include G, A and D, including C / H ♯ , C ♯ / D ♭ , D ♯ / E ♭ , E / F ♭ , E ♯ / F, F ♯ / G ♭ , G ♯ / A ♭ , A ♯ / H ♭ and H / C ♭ .
Près de la table
If the strings are not plucked in the middle, as is ideal, but at the bottom of the resonance body, the sound becomes duller and quieter. It is more reminiscent of a lute. In the notes one usually finds the terms près de la table (pdlt) or bas dans les cordes. In order to be able to play as deeply as possible in the strings, it is better not to use your thumb when fingering, if possible.
Xylo
With the xylo, the string is pressed down on the soundboard and then plucked in the middle of the string with the other hand - usually the right one. The sound is very dull and short, it reminds - as the name suggests - of a xylophone . With this playing technique the little finger can also be used to push the string, the thumb should only be used carefully, as it changes the pitch too much. In the notes, for example, cue notes determine which strings are pressed.
Pincé
With pincé, a string is taken between thumb and forefinger and then plucked. A sharp, bright sound is created. This technique is only possible with individual tones. The French harpist and composer Bernard Andrès claims the invention of the pincé .
Fingernails
You can pluck a string not only with your fingertips but also with your fingernail . Here, too, there is a sharp sound. This effect is shown with a fingernail symbol (half moon symbol) in the notes.
Beat
There are numerous ways to tap the harp. You can tap with your fingers, fingertips, fingernails, knuckles or palm, and the harp sounds very different in different places. Usually one knocks on the soundboard. It is best for composers to make a note of exactly how to tap. Notes are noted with an x instead of a notehead.
Pedal glissando
In a pedal glissando or pedal slide, a string is plucked and the tone is raised or lowered immediately afterwards by pressing the corresponding pedal. This playing technique is mainly used in jazz and creates a kind of blue note . The notation here is inconsistent.
Other sound effects
There are numerous other playing techniques. Modern composers particularly like to use percussive elements. Strings and instruments can be damaged by mallets that are too hard, and rubbing sharp objects on the strings can quickly wear them off.
Glissandi
With the glissando , many notes are played one after the other with the same finger, you “stroke” the strings, so to speak. In the upward glissando, the index, middle or ring fingers can be used, in the downward glissando the thumb is almost always used.
Key glissandi
In contrast to the piano, a glissando can be played in any key on the harp. To do this, you either write down the notes of the scale (as 32nd or 16th notes), write the desired key or chord type next to the glissando or use a harp diagram which visually shows the pedal position required for the glissando.
Key glissandi with enharmonic mix-up
In order to clarify the key, tones can be "removed" from the sound by enharmonic confusion. The most disturbing notes in a harmony are the fourth and the seventh (the leading tone ). These tones are then raised or lowered. For example, if you want to play a glissando in F major , the pedal position is DC- H ♯ - E ♯ -FGA. The seventh E becomes a sounding F, the fourth B becomes a sounding C. In some keys it is also possible to mix up the not so dissonant second (or ninth ) or the sixth. In A flat major the pedal position is then D ♯ -C- H ♯ --E ♭ -F- G ♯ -A ♭ . However, this option is not used very often. If there is an instruction to play a glissando in a key in the notes, then the notes of the scale are meant.
Chord glissandi
In chord glissando, so many notes are confused enharmonically that only notes of a certain harmony remain. Many dominant seventh and ninth chords can be played, but especially diminished seventh chords. The pedal position for a diminished seventh chord above G is then D ♭ -C ♯ -H ♭ --EF ♭ -GA ♯ . There are different ways of noting these glissandi:
- All notes on the scale are noted with the corresponding accidentals (i.e. g-a sharp-b- ...)
- You write down all the tones that sound ( i.e. gb-cis- ...)
- You note the sounding notes and write the notes twice that are actually played twice ( i.e. gbb-cis-cis- ...)
- You only write the glissando and which harmony should sound ( i.e. glissando in g-diminished )
- Just note the glissando and indicate the pedal position with the help of Salzedo signs ( i.e. glissando with ^ v ^ | - ^ - v)
Other glissandi
There are many other scales that can be played as a glissando, such as whole-tone scales and pentatonic scales. It is important that the scales only have single signs, i.e. no 
or 
.
Each glissando can also be played with the fingernails. To do this, you “wipe” the strings with one or more fingernails. A fingernail symbol is noted above the glissando.
A glissando cannot be played with just one finger. If more tones are given, the so-called "scissor handle" is used. The index and middle fingers then form a V and stroke the strings in parallel. With only two tones, it is better to use the index fingers of each hand.
Steaming
Since every note sounds long ( theoretically even infinitely long), it is necessary to mute the strings from time to time. To do this, you press the flat of your hand on the sounding strings. Especially at the end of a piece, both hands are used to steam. The notation is different here, mostly a simple coda symbol is used if only one hand is supposed to mute (usually the left hand the bass strings), two coda symbols stand for complete mute with both hands. There are also other steaming techniques:
Étouffer
In the étouffer (French for strangle, suffocate), also known as “with an open hand” in German, the flat hand (only possible on the left) rests on the strings. The strings are plucked with the thumb or with the thumb and 4th finger (usually octave fingerings). The hand also leaves the strings when plucking. If several tones are played one after the other in this way, the old tone is automatically attenuated when it is used again. This technique corresponds to the tenuto of other instruments and is therefore notated that way. In jazz , Étouffer is often used for a walking bass .
Staccato
If you want to play notes staccato on the harp , you can only do so if you mute them immediately after playing. To do this, you either put the same finger with which you played the note back into the string, or you mute with another finger, possibly with a finger on the other hand. It is also possible to use an adjacent string and dampen the still vibrating string with another part of the finger. For example, a staccato scale upwards can be played with the second finger so that the last string played is muted with the second finger.
Attenuates individual tones
If pedals have to be stepped on or if the harmony changes, it can make sense to only dampen individual tones. To do this, one or more fingers are placed on individual strings that are still vibrating. Especially when bass strings vibrate and are then retuned using the pedals, an unpleasant hissing noise is created . The attenuation of individual tones is also noted with the help of the coda symbol, the associated tone is marked.
Others
The playing technique on a harp cannot be compared to that on a piano ; many tone sequences that can be played on the piano are difficult or impossible to play on the harp. Fast chord progressions and overly pronounced chromatics are not possible on the harp. The sound effects are often too quiet in combination with other instruments and are therefore mostly only used in solo literature. Especially at solo concerts , the harp can easily get lost in the sound of the orchestra.
The positions of the harp are very different from one another: on the bass strings, fast tone sequences such as trills or scales are difficult to play; In high positions, very wide handles and flageolet tones are hardly possible. The biggest difference between the playing technique and other instruments is the limited ability to articulate . In principle, the harp always plays legato , other articulations require special mute (see above). For this reason, some composers do not write any articulation in the harp part, although the articulation can also be made clear through musical expression.
literature
- Volker Kempf: Vienna Harp School. From the Viennese folk song to the classical to the modern. Playing method and pieces of music for all common types of harps. Hollitzer Verlag, Vienna 2019, ISBN 978-3-99012-581-6 .
- Albert Zabel: A word to the composers about the practical use of the harp in an orchestra. Zimmermann Musikverlag 1981, ISBN 978-3-921729-05-2 .
- Hans Joachim Zingel: Lexicon of the harp. Laaber-Verlag, Laaber 1977, ISBN 978-3-921518-05-2
- Carlos Salzedo: Modern Study of the Harp. Schirmer Verlag 1921, ISBN 978-0-7935-5567-3 .
Web links
Individual evidence
- ↑ a b In individual cases, opinions may differ from these standard rules.
- ↑ see: Benjamin Britten : Suite for harp op.83
- ↑ see: Anton Bruckner : 8th Symphony WAB 108, 3rd movement
- ↑ In some pieces, duo and even tredecimen fingerings appear, but they are often only possible as arpeggios and require a short preparation time for the player
- ↑ see: Gabriel Fauré : Une châtelaine en sa tour ... op.110
- ↑ see: Carlos Salzedo : Cinq Préludes: IV. Whirlwind (Tourbillon)
- ↑ see: Benjamin Britten: Suite for Harp op.83: III. nocturne
- ↑ see: John Thomas : The minstrel's adieu to his native land, Variation 2
- ↑ see: Heinz Holliger : Sequences about Johannes I, 32
- ↑ see: Marcel Grandjany : Fantasy on a Theme by Haydn, Variation 4
- ↑ see: Richard Strauss : Salome : Salomes Tanz
- ↑ see: Elias Parish-Alvars : Il mandolino, op. 84
- ↑ see: Benjamin Britten: Suite for harp op.83: I. Overture
- ↑ see: Bernard Andrès: Élegie pour la mort d'un Berger
- ↑ Personal conversation with the composer
- ↑ see: Bernard Andrès: Duke
- ↑ see: André Caplet : Divertissement a l'Espagnole
- ↑ see: Igor Stravinsky : The Firebird
- ↑ see: Maurice Ravel : Piano Concerto in G major, 1st movement
- ↑ see: Maurice Ravel: Introduction and Allegro
- ↑ see: Carlos Salzedo: Chanson dans la nuit
- ↑ see: Louis Spohr : Fantasy in C minor