When to Use Ledger Lines in Harp Writing
When should you use ledger lines on the harp? This is a common question I often discuss with composers. If you’ve ever wondered about this, make sure to bookmark this […]
The Harp Cadenza from the Ravel Piano Concerto in G Major
How difficult is the harp cadenza found in Ravel’s Piano Concerto? In this video, Danielle breaks down the techniques used in this cadenza: glissandi, harmonics, and large left hand chords.
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How to Notate a Harp Glissando
A glissando is a slide between two notes. On the harp, a glissando is executed by sliding the finger from the starting note to the ending note. Depending on the type of glissando, different notational components may be required. In this article, we will discuss each of these components and when to use (or not use) them.
Ranking the TOP 10 Harp Audition Excerpts
Are you curious about the top 10 orchestral harp audition excerpts? In this YouTube video, Danielle discusses the components of playability, orchestration, and enjoyment in several common orchestral harp excerpts.
Improve Your Harp Music Without Changing a Single Note
The similarities between the harp and the piano can pose extra challenges for composers and engravers. Should you follow the practices that are intuitive for piano? Or are the harp
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How do Pedals Work on the Harp?
The double-action pedal harp is a specific type of harp that uses pedals to change the pitch of the strings. The strings on the harp are equivalent to the white
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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