“How quickly can a harpist change pedals”?

This question usually comes from composers who don’t want to feel limited to tonal writing (i.e. staying in a strict key). And I get it! Regardless of where you fall on the tonal/atonal spectrum, you don’t want your compositional voice to be limited.

Most other instruments, besides percussion, are chromatically fluid. The harp, however, requires a chromatic framework. If you create a chromatic framework for yourself, you will have more chromatic flexibility and reduce difficult pedal changes.

Here’s what I mean:

On the pedal harp, you have seven available pitches at any given time. These seven pitches are controlled by the pedals. to determine whether they are sharp, natural, or flat. For instance, you can have D C B E F G A, or you can have D#, C, Bb, E F#, G A. (or any other combination of these pitches you want!)

(If you need a refresher on the harp pedals, check out my two reels titled All About Harp Pedals Part 1 and Part 2)

This is a little different than writing for piano, where you have twelve distinct pitches available at any given time. Twelve is a lot! So, to work around that, most people think in terms of a key signature (G major, C major, etc.) and then make adjustments from there.

On the harp, you don’t have to be locked into a key signature. You do have to work with a pedal layout.

To maximize your chromatic possibilities, pick a seven-note framework (or pedal layout). From that, you can then make adjustments here and there (aka pedal changes).

If you start with the framework, you’ll have so much more flexibility for chromatic writing!

P.S. If you found this helpful, be sure to subscribe to my email list for more harp writing tips and tricks! daniellekuntz.com/subscribe