Enharmonic spelling tricks for harpists
Sometimes spelling a chord, passage or just one note enharmonically
simplifies execution of a passage or makes the passage possible.
Orchestration books include examples of how a harpist can respell music enharmonically but few actually teach why
one might want to do this. This page is not intended for composers as
much as harpists who are new to the idea of enharmonic spellings.
Hint Nr. 1:
The original key change in Music of the Night goes from the key of D
flat (5 flats) to the key of B (5 sharps). This isn't bad on piano but
it's a lot of pedals on harp: all seven pedals must move, some more
than one knotch. The easy solution? Play the B major section in C flat
major instead. If you practice this enough, you'll get to where you can
just transpose at sight without rewriting it. The example below shows
the music in the new key. It will sound exactly the same.
Hint Nr. 2:
Because this hint includes a picture of both the original key and the
more harp friendly key, it's easy to see what you'll do with your
hands. When you transpose from the key of B major to C flat major, you
are moving up one half step. Simply play what you see one string higher
on the harp if you don't rewrite the part. When you treat this
key change in this way this is possible for an advanced lever harpist.
Hint. Nr. 3:
Body and Soul, a popular song from 1930 ends with this chord
progression is C, C#, C, C#, C. That's three pedal changes between each
chord UNLESS you get clever. If you think enharmonically, you'll play a
D flat chord (D flat, F natural and A flat) instead of the C# chord
(C#, E#, and G#), two pedals and different strings makes this a breeze.
No need to write it out, just learn to think differently.
Also, see the E flat in the triplet? If it's played as a D# instead you
simplify your pedal movements. It's easier to get to the C chord
because you still have the E natural and your foot will be on the
D pedal, ready for that D flat chord you'll use instead of the C#
chord. You'll lose the 5th of the G7 chord, but only briefly.
