Orchestration 1: Instrumentation & Orchestration Basics
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		'solution_text' => '<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">Whether you’re producing an orchestral mock-up in a sequencer or writing for a group of real players, if you want to deliver an impressive sounding result you’ll need to have a sound understanding of the instruments you are writing for. </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">And our ‘Instrumentation and Orchestration Basics’ is designed to give you exactly that. 
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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		'solution_title' => 'Master Your Orchestra',
		'solution_text' => '<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">Whether you’re producing an orchestral mock-up in a sequencer or writing for a group of real players, if you want to deliver an impressive sounding result you’ll need to have a sound understanding of the instruments you are writing for. </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">And our ‘Instrumentation and Orchestration Basics’ is designed to give you exactly that. 
You’ll learn all you need to know about the instruments themselves, the range of sounds they are capable of, the roles they play in the orchestra and how to actually write for them to give your compositions the best chance to shine.
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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		'content' => '<p><b>BASIC TECHNIQUES</b></p><p>LEGATO</p><p>The legato technique is the basic technique on the harp. The player let the strings ring until there is a rest or a damping sign.</p><p>It is notated with a slur above/below the affected notes although, if nothing else marked, the player will still play legato. Of course, slurs also help to understand the phrasing of a particular passage, so it is always recommended to write them in a legato phrase. Slurs also indicate that the strings should not be damped while its duration.&nbsp;</p><p>[img=/uploads/topics/harp-legato-5c002f3c0c775.jpg]</p><p><br></p><p>STACCATO</p><p>The staccato technique is produced by damping each string with the same finger it plucked it immediately after. Notice that this technique, since it requires a lot of precision and action, doesn’t allow the harpist to play very fast. Also, consider that the soundboard will still resonate, so the effect in the harp is somewhat limited.</p><p>The staccato technique is notated with a staccato dot above/below the notehead.</p><p>[img=/uploads/topics/harp-staccato-5c002f846484e.jpg]</p><p><br></p><p>GLISSANDI</p><p>The glissando is one of the most used techniques on the harp when in orchestral settings. It is made by sliding a finger throughout the strings, the second when the directions is upwards and the thumb when downwards.</p><p>The glissando technique is notated with a glissando line (with or without the abbreviation “gliss.” on it) that spans through the register (and time) we want it to sound. We can notate the starting and ending note with regular noteheads if we want them articulated, with small noteheads in parenthesis if we want them unarticulated but still have a clear start/ending, or just the glissando line for an approximate non articulated note at the start/ending. We always need to indicate the pedal setting before the glissando starts.</p><p>[img=/uploads/topics/harp-gliss-5c002f328b194.jpg]</p><p><span style="letter-spacing: 0.1px;">If the rhythmic value is not clear, it should be indicated above or below the grand staff.</span><br></p><p>[img=/uploads/topics/harp-gliss-rhythm-5c002f2a04134.jpg]</p><p><br></p><p>ARPEGGIOS</p><p>The arpeggio is one of the most common techniques in the harp’s orchestral literature. When playing a chord, it means to play one note after the other in a quick succession. It can be done upwards or downwards.</p><p>An arpeggio sound very full in the harp due to its natural resonance.</p><p>Arpeggios are notated either with their rhythmic values one note after the other, or with a vertical wavy line before the chord. In the first case the direction and speed is totally clear. When it comes to the second type, if it doesn’t have an arrow on any of its ends, its direction is upwards. When we want to specify the direction on the second type we will add an arrow on the top/bottom end pointing the direction we want the player to play it.</p><p>[img=/uploads/topics/harp-arpeggios-5c002ed2862f5.jpg]</p><p>If a chord in the harp doesn’t have the arpeggio line it should always be played all notes at once.</p><p><br></p><p>DAMPING ALL THE STRINGS</p><p>The player can damp all the strings quickly, although not simultaneously. This effect is achieved by placing the palms of the hands over the strings (the right on the top extreme and the left on the bottom extreme of the harp’s range) and then sliding them as quick as possible in opposite directions.</p><p>The damping of all the strings is notated with a damping sign between the two staves where we want the harpist to stop the resonance.</p><p>[img=/uploads/topics/harp-damping-5c002f21f1578.jpg]</p><p><br></p><p>L.V.</p><p>The harpist can also let the strings resonate until they die naturally.</p><p>L.V. is notated with the written mark L.V. above the notes that affects or with slurs coming from the noteheads to the right.</p><p>[img=/uploads/topics/harp-lv-5c002f443479c.jpg]</p><p><br></p><p><b>SPECIAL TECHNIQUES</b></p><p>TREMOLOS</p><p>The tremolo technique is the quick repetition of a single note or chord. Contrary to the bisbigliando, the harpist produces the notes with the standard playing technique, that is, placing the fingers on the strings before plucking them.</p><p>Tremolos are played by means of making one pair of strings (in the case of one-note tremolos) sound the same, or two or three pairs in the case of two and three-note chords.</p><p>In the harp is not possible to make a tremolo on one string, since the resonance of the string would be damped by the next finger before it would pluck the string.</p><p>Both one note and chord tremolos should be notated with the enharmonic notes and the tremolo symbol between the first and second (enharmonic) note.</p><p>[img=/uploads/topics/harp-tremolo-5c003057ababe.jpg]</p><p><br></p><p>BISBIGLIANDOS</p><p>The bisbigliando is the quick repetition of two or more notes but, contrary to the tremolo, is not played with the standard playing technique. It is quieter, more continuous, and usually played in the middle and high registers.</p><p>When the harpist see the indication of bisbigliando knows that he or she will have to play barely placing the fingers on the strings before plucking the strings, making the plucking action lighter and faster than with the normal technique. While the sound is rather quiet, it projects pretty well.</p><p>The bisbigliando technique is notated the same way as the tremolo, but with the written mark “bisbigl.” above the passage we want to be affected. However, there are more possibilities regarding the order of the notes than when we write tremolo. We will see some of them in the next examples:</p><p>Same chord in both hands:</p><p>[img=/uploads/topics/harp-bisbigliando-1-chord-5c002eda8978b.jpg]</p><p>Different chords in different hands:</p><p>[img=/uploads/topics/harp-bisbigliando-2-chords-5c002ee8cb03b.jpg]</p><p>Different chords in different hands with different directions (and different than upwards):</p><p>[img=/uploads/topics/harp-bisbigliando-2-chords-5c002ee8cb03b.jpg]</p><p>Specific order:</p><p>[img=/uploads/topics/harp-bisbigliando-specific-order-5c002ef0a0ec7.jpg]</p><p><br></p><p>OCTAVE HARMONICS</p><p>Harmonics are a very common effect used in the harp repertoire, and octave harmonics are the most common and easier ones to play among all the types of harmonics. Octave harmonics in the harp sound clear, loud, and project very well.</p><p>Since we want to excite the second overtone of the string, octave harmonics are produced by stopping the string in the exact middle with the knuckle of the second/third finger (in the case of the right hand) or the side of the hand (in left hand) and plucked with the thumb (in both cases).</p><p>They are warmer in the middle register and percussive in the higher range. The comfortable range to make this type of harmonic is from G1 to F4. Harmonics below that range sound softer and are not precise, and above that mark are hard to play the higher we go.</p><p>Octave harmonics are notated with a small circle above/below the notehead.</p><p>[img=/uploads/topics/harp-octave-harmonics-5c002f511139d.jpg]</p><p><br></p><p>PRÈS DE LA TABLE</p><p>“Près de la table” (French) translates into English as “near the soundboard.” In this technique, the harpist plays near the soundboard, which is going to produce a sharper, more nasal, and less resonant sound.</p><p>The optimal range for this technique is from the F1 to the G4, where this effect will shine the most. Above that is not as noticeable due to the shorter length of the strings, and below it it can be very difficult to play, since the player would have to bend himself or herself forward.</p><p>Près de la table is notated with the acronym p.d.l.t. above the passage it affects. We should mark the span of this technique by using a line or writing ord. (ordinario) when it returns to the standard technique.</p><p>[img=/uploads/topics/harp-pres-de-la-table-5c002f76b67ee.jpg]</p><p><br></p><p>STRING BUZZ</p><p>This technique is produced by plucking a low string with enough strength to make it collide with the ones around, which will result in a buzzing sound. It is most effective in the lowest octave of the instrument.</p><p>The string buzz technique is notated by adding the noise symbol below the affected note.</p><p>[img=/uploads/topics/harp-string-buzz-5c00304c8d8dd.jpg]</p>',
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
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	'content' => '<p><b>BASIC TECHNIQUES</b></p><p>LEGATO</p><p>The legato technique is the basic technique on the harp. The player let the strings ring until there is a rest or a damping sign.</p><p>It is notated with a slur above/below the affected notes although, if nothing else marked, the player will still play legato. Of course, slurs also help to understand the phrasing of a particular passage, so it is always recommended to write them in a legato phrase. Slurs also indicate that the strings should not be damped while its duration.&nbsp;</p><p>[img=/uploads/topics/harp-legato-5c002f3c0c775.jpg]</p><p><br></p><p>STACCATO</p><p>The staccato technique is produced by damping each string with the same finger it plucked it immediately after. Notice that this technique, since it requires a lot of precision and action, doesn’t allow the harpist to play very fast. Also, consider that the soundboard will still resonate, so the effect in the harp is somewhat limited.</p><p>The staccato technique is notated with a staccato dot above/below the notehead.</p><p>[img=/uploads/topics/harp-staccato-5c002f846484e.jpg]</p><p><br></p><p>GLISSANDI</p><p>The glissando is one of the most used techniques on the harp when in orchestral settings. It is made by sliding a finger throughout the strings, the second when the directions is upwards and the thumb when downwards.</p><p>The glissando technique is notated with a glissando line (with or without the abbreviation “gliss.” on it) that spans through the register (and time) we want it to sound. We can notate the starting and ending note with regular noteheads if we want them articulated, with small noteheads in parenthesis if we want them unarticulated but still have a clear start/ending, or just the glissando line for an approximate non articulated note at the start/ending. We always need to indicate the pedal setting before the glissando starts.</p><p>[img=/uploads/topics/harp-gliss-5c002f328b194.jpg]</p><p><span style="letter-spacing: 0.1px;">If the rhythmic value is not clear, it should be indicated above or below the grand staff.</span><br></p><p>[img=/uploads/topics/harp-gliss-rhythm-5c002f2a04134.jpg]</p><p><br></p><p>ARPEGGIOS</p><p>The arpeggio is one of the most common techniques in the harp’s orchestral literature. When playing a chord, it means to play one note after the other in a quick succession. It can be done upwards or downwards.</p><p>An arpeggio sound very full in the harp due to its natural resonance.</p><p>Arpeggios are notated either with their rhythmic values one note after the other, or with a vertical wavy line before the chord. In the first case the direction and speed is totally clear. When it comes to the second type, if it doesn’t have an arrow on any of its ends, its direction is upwards. When we want to specify the direction on the second type we will add an arrow on the top/bottom end pointing the direction we want the player to play it.</p><p>[img=/uploads/topics/harp-arpeggios-5c002ed2862f5.jpg]</p><p>If a chord in the harp doesn’t have the arpeggio line it should always be played all notes at once.</p><p><br></p><p>DAMPING ALL THE STRINGS</p><p>The player can damp all the strings quickly, although not simultaneously. This effect is achieved by placing the palms of the hands over the strings (the right on the top extreme and the left on the bottom extreme of the harp’s range) and then sliding them as quick as possible in opposite directions.</p><p>The damping of all the strings is notated with a damping sign between the two staves where we want the harpist to stop the resonance.</p><p>[img=/uploads/topics/harp-damping-5c002f21f1578.jpg]</p><p><br></p><p>L.V.</p><p>The harpist can also let the strings resonate until they die naturally.</p><p>L.V. is notated with the written mark L.V. above the notes that affects or with slurs coming from the noteheads to the right.</p><p>[img=/uploads/topics/harp-lv-5c002f443479c.jpg]</p><p><br></p><p><b>SPECIAL TECHNIQUES</b></p><p>TREMOLOS</p><p>The tremolo technique is the quick repetition of a single note or chord. Contrary to the bisbigliando, the harpist produces the notes with the standard playing technique, that is, placing the fingers on the strings before plucking them.</p><p>Tremolos are played by means of making one pair of strings (in the case of one-note tremolos) sound the same, or two or three pairs in the case of two and three-note chords.</p><p>In the harp is not possible to make a tremolo on one string, since the resonance of the string would be damped by the next finger before it would pluck the string.</p><p>Both one note and chord tremolos should be notated with the enharmonic notes and the tremolo symbol between the first and second (enharmonic) note.</p><p>[img=/uploads/topics/harp-tremolo-5c003057ababe.jpg]</p><p><br></p><p>BISBIGLIANDOS</p><p>The bisbigliando is the quick repetition of two or more notes but, contrary to the tremolo, is not played with the standard playing technique. It is quieter, more continuous, and usually played in the middle and high registers.</p><p>When the harpist see the indication of bisbigliando knows that he or she will have to play barely placing the fingers on the strings before plucking the strings, making the plucking action lighter and faster than with the normal technique. While the sound is rather quiet, it projects pretty well.</p><p>The bisbigliando technique is notated the same way as the tremolo, but with the written mark “bisbigl.” above the passage we want to be affected. However, there are more possibilities regarding the order of the notes than when we write tremolo. We will see some of them in the next examples:</p><p>Same chord in both hands:</p><p>[img=/uploads/topics/harp-bisbigliando-1-chord-5c002eda8978b.jpg]</p><p>Different chords in different hands:</p><p>[img=/uploads/topics/harp-bisbigliando-2-chords-5c002ee8cb03b.jpg]</p><p>Different chords in different hands with different directions (and different than upwards):</p><p>[img=/uploads/topics/harp-bisbigliando-2-chords-5c002ee8cb03b.jpg]</p><p>Specific order:</p><p>[img=/uploads/topics/harp-bisbigliando-specific-order-5c002ef0a0ec7.jpg]</p><p><br></p><p>OCTAVE HARMONICS</p><p>Harmonics are a very common effect used in the harp repertoire, and octave harmonics are the most common and easier ones to play among all the types of harmonics. Octave harmonics in the harp sound clear, loud, and project very well.</p><p>Since we want to excite the second overtone of the string, octave harmonics are produced by stopping the string in the exact middle with the knuckle of the second/third finger (in the case of the right hand) or the side of the hand (in left hand) and plucked with the thumb (in both cases).</p><p>They are warmer in the middle register and percussive in the higher range. The comfortable range to make this type of harmonic is from G1 to F4. Harmonics below that range sound softer and are not precise, and above that mark are hard to play the higher we go.</p><p>Octave harmonics are notated with a small circle above/below the notehead.</p><p>[img=/uploads/topics/harp-octave-harmonics-5c002f511139d.jpg]</p><p><br></p><p>PRÈS DE LA TABLE</p><p>“Près de la table” (French) translates into English as “near the soundboard.” In this technique, the harpist plays near the soundboard, which is going to produce a sharper, more nasal, and less resonant sound.</p><p>The optimal range for this technique is from the F1 to the G4, where this effect will shine the most. Above that is not as noticeable due to the shorter length of the strings, and below it it can be very difficult to play, since the player would have to bend himself or herself forward.</p><p>Près de la table is notated with the acronym p.d.l.t. above the passage it affects. We should mark the span of this technique by using a line or writing ord. (ordinario) when it returns to the standard technique.</p><p>[img=/uploads/topics/harp-pres-de-la-table-5c002f76b67ee.jpg]</p><p><br></p><p>STRING BUZZ</p><p>This technique is produced by plucking a low string with enough strength to make it collide with the ones around, which will result in a buzzing sound. It is most effective in the lowest octave of the instrument.</p><p>The string buzz technique is notated by adding the noise symbol below the affected note.</p><p>[img=/uploads/topics/harp-string-buzz-5c00304c8d8dd.jpg]</p>',
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		'name' => 'The Harp',
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		'content' => '<p>The harp is an instrument from the plucked string family with a triangular shape and a height of 1.80 meters. The instrument sits between the legs of the player and is tilted onto the right shoulder.</p><p>The main parts of the harp include the body, soundboard, base, pedals, column, neck, strings, tuning pins, tuning discs, and bridge pins.</p><p>[img=/uploads/topics/harp-parts-5c0026df8c559.jpg]</p><p><br></p><p><b>RANGE</b></p><p>The range of the harp spans from the B-1 (if the lowest string is manually tuned half step down) to the G#6 (with the G pedal all the way down). Therefore, we can say that it is tuned in C flat, that is, when no tuning discs are in contact with the strings and, as a result, not changing their tuning.</p><p>[img=/uploads/topics/harp-range-5c00273bb9f28.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The harp is always written in a grand staff (two 5-line staves), the top with a treble clef and the bottom with a bass clef. The harp is a non-transposing instrument and always uses key signature.</p><p>[img=/uploads/topics/harp-notation-5c002b0abbed0.jpg]</p><p>Even though piano music often has the music distributed in the staves depending on the hand it plays this is not the case of the harp. Music for harp should always be written in the stave that the pitches belong to.</p><p><br></p><p><b>SOUND</b></p><p>The harp is a quiet instrument compared to most instruments in the orchestra, especially if we just have one. For this reason, often times composers ask to have a pair of harps instead of just one, being other reason the wider variety of effects you can achieve with two of them. These effects include glissandi and arpeggios in contrary movement and complex textures.</p><p>However, the harp is rarely put in a mix with the sound just coming from the Decca Tree. Spots mics are used in most scenarios to a degree that we are totally used these days to listen in recordings a generous balance towards the spot mic.</p><p>The harp is also an instrument that changes a lot depending on what register it plays:</p><p>LOW REGISTER</p><p>Notes in the low register have a great resonance, which works beautifully with arpeggios and anything that needs support from the bass notes. However, the harpist have to pay extra attention to damping the notes in this area, something that composers should keep in mind in any of this ways: letting the player have time to damp the notes; allowing time for the notes to die out; consider the mix of notes/chords part of the music. It is also not recommended to write very low glissandi for this very reason.</p><p>The composer should also take into account that the lowest notes take about half second since the attack to fully develop.</p><p>The low register sounds very full, resonant, metallic, and a bit dull. It is also very appropriate for bass notes, arpeggios, or doubling low instruments.</p><p>MIDDLE REGISTER</p><p>This is the register that we usually listen when the harp is performing solos, arpeggios, glissandos, or chords. Due to its weak dynamic power it is highly advisable to keep the rest of the orchestra to the minimum, very much like a chamber orchestra. The sound is clear, still quite full, gentle, mellow, resonating, and brighter and less metallic than in the low register.</p><p>HIGH REGISTER</p><p>This is the register that really can cut through a more dense and complex texture when we have the harp playing in the orchestra. The sound is clear, bright, sharp, glittering, penetrating, and almost not resonant.</p><p><br></p><p><b>STRINGS</b></p><p>The harp has 47 strings: 7 strings per octave except on the highest octave, which only has the first five notes. Among these 47 strings, the lowest 12 are wire strings (steel centers wrapped with copper, steel, or silver-plated copper), being the remaining 35 made out of gut or nylon.</p><p>Each string is attached to the harp through the tuning pins located in the neck (in the top of the strings), and through the holes in the soundboard (in the bottom).</p><p>[img=/uploads/topics/harp-strings-atachement-marks-5c0026fd403e9.jpg]</p><p>The strings are color coded in the following way:</p><p></p><ul><li>C strings: red</li></ul><ul><li>F strings: black/blue</li></ul><ul><li>Rest of the strings: they have the color from the material the strings are made (silver for the wire strings and white for the gut/nylon strings)</li></ul><p></p><p>[img=/uploads/topics/harp-strings-color-coding-marks-5c0027047bb5c.jpg]</p><p>The resonance of the strings decrease gradually from the extreme low register, where it can last about 5 seconds, to the extreme high register, where it fades very quick after the attack.</p><p><br></p><p><b>PLAYING TECHNIQUE</b></p><p>The harpist can play with up to four fingers: the thumb, index, middle, and ring fingers. The pinky is too short to reach comfortably the strings, so it is not used.</p><p>The position of the hands is as the following picture portraits: thumbs looking up and the rest of the fingers horizontally. The thumbs pluck the strings against the body of the player and the rest towards his or her body.</p><p>[img=/uploads/topics/harp-hand-position-5c0026ef6a10e.jpg]</p><p>The range of the two hands is not the same. While the left hand can reach the whole range of the instrument, the right hand is limited in the low register. This is because the harpist has to rest the harp on the right shoulder. A safe low limit for the right hand is the G1.</p><p>[img=/uploads/topics/harp-range-hands-5c00274dd3193.jpg]</p><p>While the maximum interval a harpist can cover with a hand depends on his or her hand size, a good reference is a maximum of a tenth, which include 2, 3 and 4-note chords.</p><p><br></p><p><b>THE PEDAL MECHANISM</b></p><p>The harp is a diatonic instrument by nature: it has 7 strings per octave with the intervallic relation of a diatonic scale. The way these strings can cover the 12 notes of the chromatic scale is by means of the pedal mechanism.</p><p>This mechanism is made up of 7 pedals placed on the base of the instrument –facing the player– that are connected to the tuning discs on the neck through a series of rods inside the column of the instrument. The seven pedals are arranged in the following way: three on left side (D, C and B) and four on the right (E, F, G and A). Each of them have three positions:</p><p></p><ul><li>Flat: all the way up.There are no tuning discs involved. The strings have their full length.</li></ul><ul><li>Natural: one step down. There is one tuning disc involved. The strings are shortened by one step.</li></ul><ul><li>Sharp: two steps down. There are two tuning disc involved. The strings are shortened by two steps.</li></ul><p></p><p>[img=/uploads/topics/harp-pedals-marks-5c002a45e262c.jpg]</p><p>Every pedal affects the corresponding note in all its octaves. This means that we can’t have different accidentals on the same note in different octaves. However, there is a workaround for this limitation: enharmonics. We can do a C natural and a C sharp at the same time making the B strings sharp (two steps down) and the C strings sharp (two steps down). That said, we can’t do enharmonics in these three notes: D natural, G natural, and A natural.</p><p>There are two strings that the pedals don’t affect to: the lowest C and D. These strings have to be tuned manually by the harpist before starting to play. Therefore, they can only be set to one alteration: flat, natural, or sharp.</p><p>We should always notate the position of all the pedals at the beginning of the piece, after a long pause, a new movement, or at any place that requires a few pedals changes. There are two main ways to notate the pedal setup at any given moment:</p><p></p><ul><li>Letter representation (option 1): all the pedals are written in capital letters (with its accidental on the right), in order (from the point of view of the harpist), and on a single row.</li></ul><ul><li>Letter representation (option 2): as the previous one, but with two rows. The top one has the pedals in the left side of the harp and the bottom one the ones in the right.</li></ul><ul><li>Diagram representation: all the pedals are symbolized with short vertical lines over a longer horizontal line. If the vertical short vertical line of a particular pedal is over the horizontal line the pedal is flat; if it is over, natural; and below, sharp.</li></ul><p></p><p>[img=/uploads/topics/harp-pedal-notation-5c00279410db5.jpg]</p><p>When only one of the pedals needs to be altered, we will only mark that change right before the first note with the new accidental takes place.</p><p>[img=/uploads/topics/harp-pedal-change-1-note-5c00279d0f44d.jpg]</p><p><br></p><p><b>FUNCTION</b></p><p>We can group the functions of the harp in the orchestral repertoire under three main categories:</p><p></p><ul><li>Adding shimmer to the orchestra during swells and climaxes: this is one of the archetypal roles of the harp. Glissandi, arpeggios, and the likes add, especially in the mid-high register, the type of brilliance that we are used to listen from the harp in crescendos or forte passages of orchestral pieces.</li></ul><ul><li>Doubling other instruments: the harp is an instrument that works really well when doubling other instruments or sections in the orchestra. The blend that results from doubling the strings and woodwinds is particularly good, as well as when it is used doubling percussion or keyboard instruments like the glockenspiel, xylophone, or timpani. In the case of instruments that have a softer attack (i.e. clarinet and French horn), can also contribute making the attacks more clear.</li></ul><ul><li>Accompanying a voice or voices or a solo instrument: the harp –like the piano– it complements a voice or a solo instrument wonderfully, since its sound has a different quality (except when the case of a percussion or keyboard instrument) and it has the ability to perform bass and accompanying roles at once.</li></ul><ul><li>Filling the accompaniment: the harp can also take part in a larger groups that perform patterns of accompaniment or complex background textures. In other words, filling in the orchestral texture.</li></ul><p><br></p><p>[vimeo=https://player.vimeo.com/video/303257094]</p>',
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		'content' => '<p>In this section of this module we are going to see the two most common keyboard instruments that we can find in the orchestra: the piano and the celesta.</p><p>Both instruments are usually played by a pianist, especially when celesta parts are more involved, so we grouped both instruments’ playing technique and common techniques in a combined section after talking about the instruments individually.</p>',
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Harp: Techniques

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The Harp and Keyboard Instruments

Harp: Techniques

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