The Harp and Its “Essential Resonance”
One of the primary differences between the harp and its keyboard counterparts is the resonance. The default nature of the harp is to resonate, or ring. The resonance is stopped […]
Understanding Harmonics on the Harp
Harmonics are one of the distinctive techniques available to the harp. This guide provides practical information for writing harp harmonics, including optimal range, notation, and the different types of harmonics.
Behind Bars – A Harpist’s Review of Elaine Gould’s Masterful Notation Manual
I finally got my hands on Elaine Gould’s Behind Bars. This notation manual definitely lives up to the hype! While most harp writing resources are viewed as comprehensive, Gould focuses
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The Sorcerer’s Apprentice (Paul Dukas): A Harpist’s Review
Can an orchestral harp part illustrate both effective and ineffective writing? The harp part to Paul Dukas’s The Sorcerer’s Apprentice is a prime example. This wildly exciting piece requires substantial
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How to Voice Chords and Arpeggios on the Harp Like a Pro
“It’s so awkward.” If a harpist has said this to you, you’re not alone. Even the great composers have written impossibly awkward music for the harp. Writing idiomatically for the
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Should you limit the use of ties on the harp?
Ties in music are necessary for most instruments. But, are they actually helpful for the harp? In this article, Danielle outlines why you might want to limit your use of ties in harp notation.
Glissando range on the harp
What is the optimal range for a glissando? It’s probably larger than you think! In this post, Danielle discusses the two variable for determining the best length of glissando.
On the harp, divide notes by register, not by hand
To maximize playability and readability for the harp, divide notes by register, not by hand. Constant staff changes can disrupt the flow, but you have other options! Read this post for details and illustrations
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Enharmonics and the Harp
Enharmonics. You may be wondering why harpists always talk about this concept. For most instruments, ‘enharmonics’ are redundant. Yes, E# the same as F. On the piano, it is exactly
Do harpists have too many rules?
Do harpists have too many rules? If you’re a composer, these rules may feel arbitrary and frustrating. But if you learn the “why” behind these rules, you can start to think like a harpist and these guidelines will feel intuitive. Here’s an example…