wound strings (The overtones become out-of-tune.)
For this reason, if the instrument is played regularly,
the strings should be changed approximately every
one to two years.
Moisture will cause oxidation of the strings and this
also leads to a weakening of the tone. In order to
prevent this the strings should be wiped dry with a
cloth after each use and treated with a special string
oil about every three months. The oil will help to
restore and impregnate the strings and will also remove
traces of incipient rust.
S
TRINGING THE
H
ARP
While restringing the harp, it is important to assure
that the instrument remains under even tension.
Therefore, only one or two strings should be replaced
at a time, and they must be tightened immediately.
I
NSTRUCTIONS FOR STRINGING
:
1.
The tuning peg in question is turned 2 1/2
times toward the right, unwinding the string, if
one is there.
2.
The new string is drawn through the string hol
der at the bottom of the harp and then through
the hole in the peg.
3.
The string must then be shortened with pliers 5
cm (2 inches) beyond the peg and bent at a
right angle, 5 mm (1/4 inch) from the end of the
string.
4.
The bent end of the string is now pulled back to
the peg, and the string is tightened by turning
the peg to the left with the tuning key. Care
must be taken that the string eventually comes
to rest in the grooves of the two wooden
bridges.
All the strings are designed for their specific pitches,
and the strings should on no account be interchanged.
The picture shows the arrangement, pitch and
numbering of the strings.
I
NSTRUCTIONS FOR
T
UNING
After the pitch of the a' is determined using a tuning
fork or a well-tuned piano, the instrument is tuned in
pure fifths and pure octaves. The intervals are pure
when no "beating" occurs when the strings are played
together.
1. Tune strings 4 and 7 (a' - d') to a fifth
2. Tune strings 2 and 7 (d'' - d') to an octave
3. Tune strings 2 and 5 (d'' - g') to a fifth
4. Tune strings 4 and 1 (a' - e'') to a fifth
5. Tune strings 1 and 6 (e'' - e') to an octave
6. Tune strings 6 and 3 (e' - b') to a fifth.
Norbert Visser
(transl. Karen and Peter Klaveness)
e“ d“
b’ a’ g’ e’ d’
Available from:
and Anthroposophic Press,
258, Hungry Hollow Road,
Spring Valley, NY 10977,
U.S.A.
"Spindrift"
Games, Rhymes and Songs;
Wynpress, Wynstones
House, Brookthorpe,
Gloucestershire,
England
It should be noted that the author, Norbert Visser, with
this concept of the pentatonic does not include all the
traditional pentatonic music, which, with its emphasis
on thirds and fourths often relates strongly to the
major and minor modes, which are suited to older
children, after about the age of nine. Before this age,
it is important to try to maintain the mood-of-the-fifth,
with its de-emphasis of the ground tone. (Translator's
note.)
H
OW TO HOLD AND
P
LAY THE
H
ARP
The children's harp should be held in the left hand, in
such a way as to allow the back part of the resonance
body to rest in the palm and the finger tips to gently
curve around the frame of the instrument. In this way
the player can feel the instrument vibrate.
The strings are played in the middle, and one can
practice playing with all fingers except the thumb.
The strings are "stroked" rather than plucked. The
underside of the finger tip should first press the string
gently towards the left, then slide to the next string
to find a hold. The"stroked" string can now vibrate
freely.
When playing the top (e'') string, no such support is
available, and a light touch is all the more important.
The quality and strength of the tone are improved
when the pressure, resistance and movement of the
strings are in mutual balance. The hand should be held
with the fingers roughly parallel to the strings, in a
"prayer' gesture.
C
ARE OF THE
I
NSTRUMENT AND
S
TRINGS
Changes of temperature, variations in humidity and
dust, all reduce the quality of the tone. For this reason,
high tension of the strings and the ongoing tuning and
playing, the steel of the strigs will in time show signs
of "tiredness". The sound will then no longer be as full
and radiating. In addition, the wound strings will
become worn with use and will eventually not be
quite in tune with themselves, as is the case with all