5 Ways to Include the Harp in Orchestration

This article could also be titled “5 Ways to Avoid Turning Your Harp Part into an Unplayable Mess!”

Over the last year, I have worked with numerous composers on editing and refining their orchestral harp parts. Composers rightly want to create interesting harp parts – nothing is worse for a harpist than having a piece with two glissandi and three other notes. However, on the other extreme, it can be tempting to use the “piano reduction” strategy and create the harp part as a condensed version of multiple instrumental voices.

Before delving into the 5 Ways, let’s first discuss the role of harp in the orchestra. It is true that the harp often cannot be heard distinctly in orchestra, unless the overall texture is very sparse (like in Debussy’s Prelude to the Afternoon of a Faun). However, you can still use the harp to add to the overall color. These 5 Ways build upon this simple rule:

Pick One Role for the Harp at a Time.

In general, the harp should double or embellish one line or idea. This does not mean that the harp can only play one note at a time, but that the harp should focus on one voice (or layer) at a time. This can mean strict doubling of a voice, or it can mean embellishing a voice through chords or arpeggios. However, in an orchestral context, unless the harp is featured in a solo section, multi-voice writing is can be needlessly complex and not as effective. More is not always better!

1. Double the Melody in the High Winds

In melodic sections, high winds generally have a more uniform, sustained tone. In contrast, the harp has a punctuated attack and immediately dies away. Pair the two together, and you get a splash of color at the beginning of each pitch.

The first example is from the opening of Dukas’s Sorcerer’s Apprentice. In the opening lines, the harp doubles the clarinet melody with harmonics. Listen to the example below and hear how the two colors blend together.

The second example is from the middle section in Debussy’s Prelude to the Afternoon of a Faun. While the opening of this piece features the harp prominently, the middle section integrates the harp into the orchestral texture. In the video below, the harp line ornaments the countermelody in the flutes.

An added benefit of this 1st Way is utilizing the brightest register of the harp. In terms of harp registers, the higher registers of the harp project better in an orchestral setting. (See a previous post about Harp Registers here.)

2. Double the Low Strings for Bass Line or Rhythm

Similarly, the harp can utilize the low register to double the lower instruments, like low brass and strings. Similar to Way 1, the harp can add more color and punctuation to the initial attack, while the other instruments provide the sustain to amplify the harp.

One of example of this is in the Mahler Symphony 6, IV. Finale. The harp punctuates the tremolo in the low strings (celli and string bass), by playing in the low register of the harp.

Another example is from Holst, The Planets, in the opening of Mars. The the ostinato is primarily carried by the strings using col legno (playing with the stick of the bow) and is accentuated by the timpani and the harps playing in the low register. While it is sub-optimal to play in the lowest register of the harp for an extended amount of time, it can be very effective within the larger orchestration.

3. Harmonics with String Pizzicato

This may be a highly specific Way, but the harp can also double string pizzicato. In most cases, the harp has less sustain than other instruments, but compared to string pizzicato, it can add length to the resonance. You can double it in unison, or use slightly rolled chords, like in Franck Symphony in D minor, II. Bonus, the slightly rolled chords can blend the strings, even when the pizzicato isn’t exactly together!

4. Double the Pitched Percussion

Technically, the orchestral harp falls into the percussion family, so pairing it with pitched percussion is often very intuitive. This strategy is used more frequently in wind band writing, but also works in orchestral settings. I really enjoy this example from Mackey’s Frozen Cathedral where the harp doubles the marimba and often the piano, as well as high winds.

5. Fill out the Harmony with Arpeggios or Large Chords

And if all else fails, you can use the harp to fill out the harmonic texture with arpeggios or large chords. This technique was the default through much of the Romantic-era orchestral literature and the examples abound, like Puccini’s La Boheme, the end of Act 1.

If you go this route, beware of two pitfalls:

1. Writing awkward or impossibly difficult arpeggios or chords. (Watch for a future blog post with voicing tips for harp writing). Strauss’s Don Juan is an unfortunate example of highly awkward arpeggios that are not distinctly audible in the orchestration.

2. On a similar note, be intentional with this strategy and ensure that the harp does add to the overall texture and isn’t completely buried by the rest of the orchestra.

These 5 Ways to Include the Harp in Orchestration can help you be intentional with our original guideline:

Pick one specific role for the harp at a time.

I would love to hear what you think! Leave a comment and answer one of these prompts:

• Which way are you most excited to try?
• Have you used any of these in your own writing?
• Can you think of any other repertoire examples to illustrate these (or other) ways?

(This post did not address the use glissandi for climaxes — stay tuned for a future post to learn how to avoid over-using glissandi!)