By Mindy Firfer
The harp is one of the oldest instruments known to mankind. While still inherently the same, modern harps have undergone a long evolution over the past few thousand years. For example, unlike the original harp, most modern harps have pedals, which requires coordination between the mind, hands and feet. However, this change did not happen overnight. So… how did we get here?
The first harps, belonging to the prehistoric period, are from the Mesopotamian region, dated sometime between 5000 – 4000 years BCE. They were likely developed from bows, suggested by the uncanny resemblance. It is believed that archers noticed the musical quality of the release of the bow’s string, inspiring the creation of an instrument purely for the purpose of music. Due to the fact that they evolved from bows, these early harps did not have a column, as all modern Western harps do today. The column, or pillar, is the vertical column, situated parallel to the strings. The curvature of the bow frame allowed for a variation in the pitch across strings. The first soundboxes, which are hollow spaces within an instrument for the purpose of amplifying sound, were often hollowed-out gourds, and the strings were made of animal intestines.
As the harp began to grow in popularity, new variations appeared, mainly changing its shape and the number of strings. Evidence of the cultural diffusion shows up in Egypt, as harps appear in many depictions within tombs and palaces; occasionally, a well-preserved harp will be found, but this is rare. Many of the harps and lyres that have been found in ancient Egypt are from sites where palace complexes had previously stood, suggesting a strong connection between harps and the aristocracy. Harps also likely had some religious significance, linked to music in the afterlife, since many were discovered at gravesites. Depictions also show harps used in religious rituals; some surviving instruments are even adorned with reliefs and carvings of deities.
The harp continues to flourish in Biblical Israel, as can be seen in the Bible with the words “kinnor” and “nevel.” Modern Hebrew translates “kinnor” as violin and “nevel” as harp. In Biblical Hebrew, however, many agree that “kinnor” refers to a lyre, while translations for “nevel” are a little less clear. Some scholars suggest that it may have been the psaltery or a lyre similar to the “kinnor,” though this certainty is lost to time. What is certain is that the harp flourished (in different forms, perhaps) in Biblical Israel. Religious symbolism surrounding King David’s harp would later resurface during the Middle Ages.
The harp’s introduction to ancient Greece is rather interesting. Sculptural representations appear on surrounding islands long before evidence emerges on the mainland. Once there, harps show up on vases and engravings, and are even mentioned in the Iliad, though lyres seem to have been more popular compared to larger harps. As the ancient Romans began adopting Greek culture, the harp/lyre gradually fell out of favor.
During the medieval period, the harp underwent a major development with the introduction of the column. This structural addition gave the frame greater support, allowing for more tension; thus, medieval harps tend to have more strings than the harps of antiquity. During this period, we see a continued association between harps and royalty, status, religion and spirituality. The harp was frequently used as a religious motif, often depicted with angels or King David. By the late Middle Ages, harps moved into the secular scene as well, played by traveling bards and minstrels to entertain courts, and occasionally the populace. This gave the harp its distinctive voice in medieval music. While Renaissance harps were generally larger than their medieval counterparts, many regional variations in construction can be found. During this time, Ireland began to incorporate the harp as an integral part of its culture, which had a distinct influence on later Irish tradition and folk music.
As the Western tradition of music and theory developed through the Renaissance and Baroque periods, many musicians struggled to achieve a full chromatic scale on the harp. A harp can only hold so many strings, due to technical restrictions, which can pose a problem when a piece of music requires accidentals, notes in music that are not part of a specific key signature. In other words, harps can only be tuned to one key, containing seven distinct pitches, and are unable to play the whole chromatic scale, which has 12 distinct pitches, without the need to retune certain strings. To address this, some regions developed double and triple – strung harps. These harps had two or three rows of strings, to allow for a wider range of notes. Others introduced hooks or levers to raise or lower the pitch of a note. These became known as lever harps, and they are still widely used today, especially by beginners and folk harpists. Yet while this may have worked well in some cases, the harp’s repertoire was still quite limited, and playing was also made difficult by the need to remove the hands from the strings in order to adjust a lever or hook.
By the early 18th century, a new solution emerged: the single action pedal harp. Without delving into too many details, metallic rods connect the pedals at the base to the neck, passing through the hollow column. The pedals then adjust certain pins in the neck of the harp, changing the tension of the strings.
This mechanism allows harpists to play accidentals without removing and replacing their fingers to adjust hooks or levers. The earliest single action pedal harps were created in Bavaria circa 1720, and they continued to be improved throughout the rest of the century. These harps were mainly reserved for royals; the French Queen Marie Antoinette was, in fact, a harpist. Sebastien Erard is credited with creating the modern version of the pedal harp sometime between 1808 and 1810, or the double action pedal harp. By introducing two rows of pins, the harp finally reached its current form. Unlike the single action version, this harp allows for an even greater range of notes. This advanced harp soon spread throughout Europe, leading to a dramatic expansion in the harp’s repertoire.
In the Romantic period, the harp began to make its appearance in concert halls and orchestras, a stark contrast to its earlier role as an instrument of the nobility and upper class. Many Romantic composers took advantage of its new, expanded range, composing solos, duets and harp scores for orchestral pieces. The notable Romantic composer Hector Berlioz even went so far as to devote a section in his book Treatise Upon Instrumentation in Modern Orchestration to the harp, including practical advice to composers about the technical realities of the harp.
In the 20th century, most developments involved genre rather than the overall structure of the harp. Along with the creation of electric harps, the harp’s repertoire has seen vast growth both in and outside of the classical genre, especially in, but not limited to, jazz and folk music.
Today, some major pedal harp manufacturers around the world include Lyon & Healy, Salvi Harps and Camac Harps. Beyond the Western harp tradition in Europe and North America, harp tradition flourishes in areas such as Japan and Latin America, where it was brought by Spanish colonists. The modern repertoire often includes pieces by Jan Ladislav Dussek, his wife Sophia Dussek, Alphonse Hasselmans, Mikhail Glinka, Marcel Grandjany, and Carlos Salzedo. With the rise of social media, the harp community is a thriving, supportive space, spearheaded by organizations such as Harp Column.
From the ancient world, through the Middle Ages, to the Renaissance and finally with the addition of pedals, the harp has truly evolved from its humble origins. To the person who is considering giving harp a try: it’s never, ever, too late to learn.
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