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Is the harp “more difficult” than the piano? In this article, Danielle discusses the four motions of playing the harp and why you need to think of the harp differently than the piano

If you are a composer who uses any chromaticism, you’ve probably wondered this! In this article, Danielle discusses how to reframe this question for maximum chromatic flexibility.

Have you ever been told not to worry about the harp pedals? I’ve heard a lot of harpists say this to composers. Here’s why I disagree.

Watch my new YouTube video to learn the framework I use to organize all the information you need to know about writing for the harp!

When discussing idiomatic writing and playability, we all tend to focus on the actual notes. While all of these questions are vital, it’s just the beginning. This article will delve into WHY readability is so important for music notation.

Most of us are familiar with the term glissando. While other instruments can play glissandos, this technique is typically associated with the harp, since it is comparatively easier to execute

“That sounds muddy.” What do harpists mean by that? In this article, Danielle discusses how to navigate the resonance of the lower register of the harp.