An immense variety of harps have been played in different countries at different times. One of the most important is the triple harp, a high-headed frame type with three ranks of strings, the outer two providing the diatonic notes of the scale and the inner, the accidentals. This was known in the 4th century and was the first fully chromatic harp. Like the old Irish harp it had a clear, bell-like sound, the technique in this case being to strike rather than to pluck or pull the strings. It was played well into the 20th century in Wales and was known as the Welsh harp. The only known scoring for it was in Handel’s Esther. (More…)

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The stave for the harp is written under that of the percussion. Reading downwards it is the first stringed instrument in the score. Since it has a wide compass — of six and a half octaves — the music occupies two staves, the notation for the right hand being written in the treble clef and that of the left generally in the bass clef.

There is something lonely-looking and remote about the single harpist, by tradition usually a woman, arriving early on the platform to tune more than forty strings — some of gut or nylon, some wound wire and some copper. A blast or two of hot or cold air from an off-stage corridor can spoil her endeavours, as can the rising heat and humidity in the hall once the audience has seated itself. (More…)

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