Harp

:Harp is also a slang term for the diatonic harmonica; see blues harp. See also Jew's harp.

Harp technique

Harp playing uses all of the fingers except for the pinky, which is generally too short and weak to effectively pluck a string. In order to make notation of fingerings easier, each finger is given a number, "1" for the thumb, "2" for the index finger, "3" for the middle finger, and "4" for the ring finger. Most types of harp only require use of the hands. The exception is the pedal (concert) harp, where the harpist pushes the pedals with his or her feet.

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There are two main methods of classical harp technique: the French method (associated in the United States with the French-American harpist Marcel Grandjany) and the Salzedo method, developed by Carlos Salzedo. Neither method has a definite majority among harpists, but the issue of which is better is sometimes a source of friction and debate. The distinguishing features of the Salzedo method are the encouragement of expressive gestures, elbows remain parallel to the ground, wrists are comparatively still, and neither arm ever touches the soundboard. The French method advocates lowered elbows, fluid wrists, and the right arm resting lightly on the soundboard. In both methods, the shoulders, neck, and back are relaxed. Some harpists combine the two methods into the technique that works best for them.

Related Topics:
Marcel Grandjany - Carlos Salzedo

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In addition to those techniques, which are suitable for modern pedal harps with their high string tension, in recent years some harpists have been developing another technique - the "thumb under" technique - which is more suitable for lower string tensions, as found on most historical harps. In the absence of much evidence on historical harp techniques, harpists have taken their lead from baroque performance practices, especially lute and early keyboard techniques.

Related Topics:
Lute - Keyboard

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As in all baroque instrumental techniques, the underlying principle is that of strong and weak articulation. The player only uses three fingers of each hand, and the thumb moves under the other fingers, rather than being held very high as in modern harp technique. The thumb and third fingers are "strong" fingers and the second finger is a "weak" finger. Scales are fingered with alternating strong and weak fingers - that is, a scale fingering could be either 1 2 1 2 1 2 or 3 2 3 2 3 2. In contrast, classical harp technique uses a fingering of 4 3 2 1 4 3 2 1 going up and 1 2 3 4 1 2 3 4 going down. The "thumb under" technique produces a mellow, well articulated sound on harps with low string tension. It also avoids large movements of the wrists and arms, since on low-tension harps, much less force is required than on modern high tension harps.

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