Are harps loud?

The harp is not a particularly loud instrument but the sound of its attack does penetrate, so composers often only use one with an orchestra or two with a larger orchestra. The harp relies on 7 foot pedals to change the pitches of its 47 strings.

philharmonia.co.uk - Harp - Philharmonia Orchestra

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Introduction

The concert harp sound is very similar to that of its relatives only more powerful and richer in tone. Although the harp has a long history it was not really used in orchestral music until the 19th century. What brought this about was the development of a pedalling system, which enabled the player to continually change the tuning whilst playing, turning the harp into a fully chromatic instrument. The harp is not a particularly loud instrument but the sound of its attack does penetrate, so composers often only use one with an orchestra or two with a larger orchestra. The harp relies on 7 foot pedals to change the pitches of its 47 strings. They allow the harp to play chromatic notes but this also means that composers need to be aware of the need to allow sufficient time for pedal changes. Composers tend to use harps in a variety of ways: to support harmonies by playing chords; to add definition to the start of notes, phrases or bass lines – by providing a little ‘ping’ as another instrument begins to play and to create swirls of sound through glissandos – sweeping the hands across the strings in swift, flowing movements.

Notation

Because of the unique characteristics of the harp there are elements of the notation which are different, but essentially the harp is notated on two staves like the piano. Occasionally a composer will add pedal markings to the score (in particular for glissandos) but normally the harpist will work out their own pedalling. Harpists can play only four notes simultaneously in each hand, and 4 note chords must be close together as the stretches become difficult. The hands to play particular notes can be marked m.d (main droite or right hand) or m.g (main gauche or left hand). Key changes and chromatic notes require planning by the harpist and they need a little time to change pedals if lots of chromaticism or a complicated key-changes are called for. Unless specified a harpist will allow notes to ring until they have to be stopped (e.g. to change pedals). Certain effects characterise the harp’s sound, and can be very effective. Glissandos work very well, as do arpeggios and repeated figures, and harps can play tunesas long as any other instruments have quiet dynamics so the harp can be heard.

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