The strength of the root and the steady downward slope of the remaining partials are what gives harp tones their character. 1: Spectrum of a normally-played harp string on the pitch of G3. But the steady downward slope of the spectrum keeps the strength at the base of the pillar, as it were. A stronger body of tone would make the harp sound more trebly, while a bulging sheen from the 6th to 16th partials would give it a more “nasal” quality. This spectrum is what gives harp its limpid, golden timbre. The body of tone is still more or less rich, if slightly subdued while the sheen of the tone (from the 5th partial upward) falls off rather quickly, if spikily on the chart. While brass instruments tend toward a weak root and then stronger body of tone (partials 2-4), harp has a decidedly powerful root, standing high above the other partials that follow it on the chart below. The first thing you may notice is that harp timbre is essentially the opposite of brass.
Right away, you’ll see the difference in strength, resonance, and timbre that will hopefully guide you toward a more apt approach.īefore we get into comparisons, though, let’s start by looking over the spectrum of a normal harp note, in this case play at mf on the pitch of G3. Technique is subject of its own – but in terms of weight and character, all we have to do is compare the spectrum of normal and harmonic tones. I’ve analysed many scores lately that treat harmonic harp tones the same as normal tones in weight, technique, and character. But it’s so easy to get it wrong as well. The scores of composers like Ravel and Holst contain beautiful examples, carefully highlighted in ways that draw the attention of the listener intimately inwards. The poetic, bell-like tone of harp harmonics is a magical effect.
Comparing the spectrum of normally played harp notes with harmonic tones reveals a wealth of information useful in understanding dynamics, contrasts, and quality of timbre.
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