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 […]
Behind Bars – A Harpist’s Review of Elaine Gould’s Masterful Notation Manual Read More »
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
The Sorcerer’s Apprentice (Paul Dukas): A Harpist’s Review Read More »
“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
How to Voice Chords and Arpeggios on the Harp Like a Pro Read More »
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
5 Ways to Include the Harp in Orchestration Read More »
With Joseph Sowa (Wizarding School for Composers) Harp is one of the most confusing instruments to write for. My guest today is Danielle Kuntz, a contemporary harpist and harp notation coach, who
Writing for Harp? Danielle Kuntz Explains the 4 Mistakes Every Composer Should Avoid Read More »
With David Lane and the Musician Toolkit If you’re not a harpist and wanting to compose, the harp can be a mysterious instrument. It can play all of the notes of a
The Musician Toolkit Episode 28: Composing for the Harp Read More »
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.
Should you limit the use of ties on the harp? Read More »
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.
Glissando range on the harp Read More »
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
On the harp, divide notes by register, not by hand Read More »
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
Enharmonics and the Harp Read More »
