What instrument is depicted in the provided image?

The image displays a cross-strung chromatic harp, specifically one produced by Pleyel, Wolff, Lyon & Cie in the early 20th century.

What distinctive features characterized the cross-strung chromatic harp designed by Henry Greenway?

The cross-strung chromatic harp designed by Henry Greenway, created after 1895, was notable for its X-shaped double pillar and two necks, as depicted in the source material.

What is a cross-strung harp, and how does it fundamentally differ from other harp types?

A cross-strung harp, also known as a chromatic double harp, is a multi-course harp characterized by having two rows of strings that intersect without touching. Unlike pedal harps, which use pedals to play accidentals, or lever harps, which use levers, the cross-strung harp provides a dedicated string for each of the twelve semitones of the chromatic scale.

Where and when is the first cross-strung harp believed to have been developed?

The first cross-strung harp is believed to have been created in Spain during the late 16th century, where it was known as the 'arpa de dos órdenes'.

What was the initial use of the 'arpa de dos órdenes' in the early 17th century?

As early as the 17th century, the 'arpa de dos órdenes' was established as an instrument used in both liturgical (religious) and secular (non-religious) music.

Who was Bartolomé Jovernardi, and what was his contribution to the cross-strung harp?

Bartolomé Jovernardi described a cross-strung harp, along with other instruments, in his 1634 work 'Tratado de la música', and he is credited with inventing a chromatic variety of this instrument.

When did the 'arpa de dos órdenes' reach its peak popularity, and when did it decline?

The 'arpa de dos órdenes' reached its peak popularity in the late 17th century, but its use declined thereafter into the early 18th century.

What factors contributed to the decline in popularity of the Spanish 'arpa de dos órdenes'?

The decline in popularity of the 'arpa de dos órdenes' was due to complex reasons, including the cultural displacement of Spanish music and instruments like the 'arpa de dos órdenes' and the vihuela at court, in favor of Italian and French music and instruments such as the violin, harpsichord, and lute.

Which company produced a cross-strung harp model in the late 19th century to address increasing chromaticism in orchestral music?

The Pleyel & Wolff Company in Paris produced a cross-strung harp model in the late 19th century, designed to accommodate the growing use of chromaticism in orchestral music, which posed a challenge for orchestral harpists using single-action pedal systems.

Who designed the 'harpe chromatique' for the Pleyel & Wolff Company, and how was it tuned?

Gustave Lyon designed the 'harpe chromatique' for the Pleyel & Wolff Company. It featured two sets of strings: one tuned to C major and the other tuned to an F-sharp/G-flat pentatonic scale, similar to a piano, allowing the harpist to access any note from either side of the neck.

What notable classical composition was written for the 'harpe chromatique'?

Claude Debussy's 'Danses', comprising 'Danse sacrée' and 'Danse profane' for harp and strings, is perhaps the most famous classical composition written for the 'harpe chromatique'. It was commissioned by Pleyel and published in 1904.

Was there another chromatic harp developed in the late 19th century, and where was it primarily taught?

Yes, another chromatic harp was developed in the late 19th century, but it gained only a small number of proponents and was mainly taught in Belgium.

Who was Henry Greenway, and what was unique about his cross-strung chromatic harp model?

Henry Greenway was an English-born American harp builder who, towards the end of the 19th century, constructed several distinctive cross-strung chromatic harp models featuring an X-shaped pillar and two necks.

Where can examples of Henry Greenway's cross-strung chromatic harps be found today?

One of Henry Greenway's cross-strung chromatic harps is displayed at the Metropolitan Museum in New York City, and another is located at the National Music Museum in Vermillion, South Dakota.

What types of strings are used in contemporary cross-strung harps, and what are their general characteristics?

Contemporary cross-strung harps are built with gut, nylon, or wire strings and come in various sizes, typically ranging from two to five or more octaves. They are often designed on a Celtic or folk model, featuring smaller soundboxes, lighter string tension, and a more compact size compared to historical models.

When and where did a significant resurgence or reinterpretation of the cross-strung harp begin?

The largest resurgence or reinterpretation of the cross-strung harp began in California in 1987.

Who was Roland 'Robbie' Robinson, and what was his role in the contemporary resurgence of the cross-strung harp?

Roland 'Robbie' Robinson was a luthier and folk harp enthusiast in California. In 1987, he was presented with a cross-strung harp needing repairs, which is believed to have been a student instrument for the 'harpe chromatique' program at the Conservatoire Royal de Bruxelles, made by Welsh luthier John Thomas. Robinson subsequently published a description and drawing of this instrument in the 'Folk Harp Journal'.

How did Emil Geering contribute to the contemporary development of cross-strung harps?

Emil Geering, a retired machinist in British Columbia, began building cross-strung harps based on Roland 'Robbie' Robinson's published plans.

Who developed a five-octave model of the cross-strung harp with Blessley Instruments, and what was their notable achievement?

Harper Tasche, a musician from Washington State, developed a five-octave model of the cross-strung harp with Blessley Instruments in Vancouver, Washington, and subsequently recorded the world's first CD dedicated to the cross-strung harp in 1998.

What is the most common string configuration for contemporary cross-strung harps, and how is it organized?

The most common type of contemporary cross-strung harp uses a '7x5' string configuration. In this setup, each octave has seven notes of a diatonic scale on one set of strings and the five 'accidentals' per octave on the other set.

What are the advantages of the '7x5' string configuration for cross-strung harps?

The '7x5' string configuration offers the advantage of providing a familiar concept (diatonic and accidentals) to the harpist, making it easier to learn due to the presence of a diatonic 'home row' of strings. Each major scale also has its own distinct fingering pattern, and basic chords fall into recognizable pattern shapes or groupings.

Describe the '6x6' string configuration for cross-strung harps.

The '6x6' string configuration is a less common setup where each set of strings is tuned to a whole-tone scale, rather than the diatonic and accidental tuning found in the '7x5' configuration.

What are the benefits of the '6x6' string configuration compared to the '7x5' configuration?

The '6x6' configuration requires only two sets of fingering patterns for major scales (one for roots on the left-strung strings and one for roots on the right-strung strings). Additionally, a '6x6' harp can achieve a broader range than a '7x5' harp of similar size because it has only six strings per octave in each row.

What are some examples of unusual custom versions of the cross-strung harp mentioned in the text?

Unusual custom versions include a five-octave cross-strung harp with steel strings, called the 'lute harp', made by Gustave Lyon in 1899; large X-shaped harps with two necks and two pillars, like the 'Greenway' harp from 1889; various innovations by Gustave Lyon on the 'harpe chromatique' between 1894 and 1930 (such as built-in tuning reeds, pedal-operated soundbox shutters, and steel framing); a '7x5x7' crossing double harp with pedal-activated damping rods for the lowest strings by Philippe SRL Clément in the late 1980s; a cross-strung harp with phosphor bronze wire strings by Argent Fox Musical Instruments; and a hybrid '6x6' cross-strung harp with a sharpening lever on each string, built by Glenn Hill of Mountain Glen Harps in 1992.

What is the general classification of a cross-strung harp based on its string arrangement?

A cross-strung harp is classified as a multi-course harp, meaning it has multiple sets or rows of strings.

What was the specific name given to the first cross-strung harp developed in Spain?

The first cross-strung harp, created in late 16th-century Spain, was specifically known as the 'arpa de dos órdenes'.

What was the title and publication year of Bartolomé Jovernardi's work that described the cross-strung harp?

Bartolomé Jovernardi's work that described the cross-strung harp, among other instruments, was titled 'Tratado de la música' and was published in 1634.

What specific Italian and French instruments gained favor at court, contributing to the decline of Spanish instruments like the 'arpa de dos órdenes'?

The decline of the 'arpa de dos órdenes' and the vihuela was partly due to the increasing favor of Italian and French instruments at court, such as the violin, harpsichord, and lute.

What problem did the Pleyel & Wolff Company's 'harpe chromatique' aim to solve for orchestral harpists in the late 19th century?

The 'harpe chromatique' was developed by Pleyel & Wolff to address the challenges faced by orchestral harpists due to the increasing chromaticism in orchestral music, which was difficult to manage with the single-action pedal system then in use on orchestral harps.

What was the name of the Welsh luthier believed to have made the cross-strung harp that Roland 'Robbie' Robinson repaired?

The cross-strung harp that Roland 'Robbie' Robinson repaired in 1987 is believed to have been made by Welsh luthier John Thomas.

For what program was the harp repaired by Roland 'Robbie' Robinson originally intended as a student instrument?

The harp repaired by Roland 'Robbie' Robinson was believed to have been a student instrument for the 'harpe chromatique' program at the Conservatoire Royal de Bruxelles.

What specific types of custom cross-strung harps did Gustave Lyon innovate between 1894 and 1930?

Between 1894 and 1930, Gustave Lyon introduced many innovations and variations in the design of the 'harpe chromatique', including built-in tuning reeds, shutters on the soundbox operated by pedals, and steel framing.

Who built a hybrid '6x6' cross-strung harp that included a sharpening lever on each string, and in what year?

Glenn Hill of Mountain Glen Harps in Oregon built a hybrid '6x6' cross-strung harp, which featured a sharpening lever on each string, in 1992.

What material was used for the strings of the 'lute harp' created by Gustave Lyon in 1899?

The 'lute harp', a five-octave cross-strung harp made by Gustave Lyon in 1899, was fitted with steel strings.

What was a specific innovation by Philippe SRL Clément for cross-strung harps in the late 1980s?

In the late 1980s, Philippe SRL Clément developed a '7x5x7' crossing double harp that included pedal-activated damping rods for the lowest strings.

Which musical institution had a 'harpe chromatique' program for which a student instrument was made?

The Conservatoire Royal de Bruxelles had a 'harpe chromatique' program, for which a student instrument, later repaired by Roland 'Robbie' Robinson, was believed to have been made.

What is the significance of the 'Folk Harp Journal' in the context of the cross-strung harp's resurgence?

Roland 'Robbie' Robinson published a description and drawing of the cross-strung harp he repaired in the 'Folk Harp Journal', which helped disseminate information about the instrument and contributed to its contemporary resurgence.

Cross-strung Harp Wiki: Harmonic Horizons: The Cross-Strung Harp's Chromatic Journey

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Introduction to Chromatic Harps

The Essence of Chromaticism

The cross-strung harp, also known as a chromatic double harp, represents a sophisticated solution to achieving full chromaticism on a stringed instrument. Unlike its diatonic counterparts, which rely on pedals or levers to alter string pitch, this multi-course harp features two distinct rows of strings. These rows are ingeniously arranged to intersect without physical contact, ensuring that each of the twelve semitones within the chromatic scale possesses its own dedicated string. This design fundamentally transforms the player's interaction with the instrument, offering direct access to every note without mechanical intervention during performance.

Mechanical Ingenuity

The core innovation of the cross-strung harp lies in its dual-stringing system. While traditional pedal harps employ a complex pedal mechanism to raise the pitch of specific strings by a semitone or whole tone, and lever harps use individual levers for similar adjustments, the cross-strung harp provides a dedicated string for every note. This eliminates the need for rapid pedal or lever changes, allowing for seamless execution of chromatic passages and complex harmonies. The intersecting string planes enable a compact design while providing the necessary physical separation for each string to vibrate independently.

A Spectrum of Sound

The ability to play any note of the chromatic scale directly, without altering string tension mid-performance, opens up a vast sonic palette for composers and performers. This design facilitates the exploration of richer harmonic textures and more intricate melodic lines, making the cross-strung harp a versatile instrument capable of performing a wide range of musical styles, from classical compositions demanding complex modulations to contemporary pieces requiring fluid chromatic improvisation. Its unique construction offers a distinct timbre and playing experience compared to other harp types.

Spanish Renaissance: Arpa de Dos Órdenes

Origins in Iberia

The genesis of the cross-strung harp is widely attributed to late 16th-century Spain, where it emerged as the arpa de dos órdenes, or "harp of two orders." By the early 17th century, this instrument had firmly established its identity within the Spanish musical landscape, finding its place in both sacred liturgical settings and vibrant secular performances. Its innovative design addressed the growing demand for chromatic flexibility in the evolving musical forms of the Renaissance and early Baroque periods.

Jovernardi's Contributions

A pivotal figure in the early documentation and development of the arpa de dos órdenes was Bartolomé Jovernardi. In his seminal work, Tratado de la música (1634), Jovernardi not only provided detailed descriptions of this and other contemporary instruments but is also credited with inventing a specific chromatic variant of the harp. His theoretical and practical contributions underscore the instrument's significance in Spanish musical thought and its role in expanding the harmonic possibilities available to musicians of the era.

Decline and Cultural Shift

The arpa de dos órdenes reached its zenith of popularity in the late 17th century, only to experience a gradual decline into the early 18th century. This shift was multifaceted, driven largely by a broader cultural displacement within the Spanish court. Italian and French musical aesthetics and instruments, such as the violin, harpsichord, and lute, gained prominence, overshadowing indigenous Spanish instruments like the arpa de dos órdenes and the vihuela. This change in courtly preference ultimately led to the instrument's diminished role in mainstream European music.

French Romantic: Harpe Chromatique

Orchestral Demands

In the late 19th century, the Pleyel & Wolff Company in Paris introduced a new cross-strung model, the harpe chromatique. This development was a direct response to the increasing chromatic complexity in orchestral music, which posed significant challenges for harpists using the then-prevalent single-action pedal system. The single-action pedal mechanism, capable of only raising the pitch of strings by a semitone, often proved insufficient for the rapid and extensive chromatic passages demanded by Romantic and Impressionistic composers.

Gustave Lyon's Innovation

Designed by Gustave Lyon, the harpe chromatique featured two sets of strings. One set was tuned to a C major diatonic scale, while the other was tuned to an F-sharp/G-flat pentatonic scale, mirroring the black and white keys of a piano. This ingenious arrangement allowed harpists to access any of the twelve semitones directly. Crucially, Lyon's design positioned the string intersection near the vertical midpoint of the strings, a significant ergonomic improvement over the Spanish arpa de dos órdenes, whose strings crossed closer to the neck. This allowed both of the player's hands to reach both sets of strings at the point of greatest resonance, enhancing playability and sound projection.

Debussy's Danses

The harpe chromatique quickly attracted the attention of leading composers. Perhaps its most celebrated classical composition is Claude Debussy's Danses (I. Danse sacrée; II. Danse profane), written for harp and strings. Commissioned by Pleyel and published in 1904, these pieces brilliantly showcase the instrument's expanded chromatic capabilities and rich tonal palette, cementing its place in the repertoire of early 20th-century music, even if its widespread adoption was ultimately limited by the dominance of the double-action pedal harp.

Belgian Chromatic Harp

A Niche Development

Concurrent with the French innovations, a distinct chromatic harp was developed in Belgium towards the close of the 19th century. While it shared the fundamental principle of providing dedicated strings for all chromatic notes, this particular variant garnered a more limited following. Its primary sphere of influence was within Belgium itself, where it was predominantly taught in specialized musical institutions. Despite its technical merits, it did not achieve the broader recognition or widespread adoption seen by other chromatic harp designs, remaining a notable, albeit niche, contribution to the instrument's history.

Educational Focus

The Belgian chromatic harp's concentration within educational settings in Belgium suggests a pedagogical emphasis. It likely served as a valuable tool for students and academics exploring advanced harmonic concepts and chromatic performance techniques. Its existence highlights the diverse approaches taken by instrument makers and musicians across Europe to overcome the inherent limitations of diatonic harps in an era of increasingly complex musical composition.

Henry Greenway's Distinctive Harps

An American Vision

Towards the end of the 19th century, the English-born American harp builder Henry Greenway made significant contributions to the design of cross-strung chromatic harps. Greenway's models were particularly distinctive, featuring an X-shaped pillar and two necks. This unique structural configuration not only provided enhanced stability but also contributed to a visually striking aesthetic, setting his instruments apart from other contemporary designs. His work exemplifies the ongoing experimentation and innovation in harp construction during this period.

Preserved Legacies

Greenway's peculiar cross-strung chromatic harps are rare and highly valued. Several copies of his instruments have been preserved in prominent collections, offering invaluable insights into late 19th-century harp design. One notable example is housed at the Metropolitan Museum of Art in New York City, while another can be found at the National Music Museum in Vermillion, South Dakota. These instruments serve as tangible testaments to Greenway's inventive spirit and his lasting impact on the evolution of the chromatic harp.

Contemporary Cross-Strung Harps

A Resurgent Craft

The contemporary era has witnessed a significant resurgence and reinterpretation of the cross-strung harp, particularly since the late 20th century. Modern instruments are crafted with a variety of string materials, including gut, nylon, or wire, and are available in diverse sizes, typically spanning two to five or more octaves. Unlike their historical predecessors, many contemporary cross-strung harps are designed following a Celtic or folk model, characterized by smaller soundboxes, lighter string tension, and a more compact overall size, making them more accessible and portable for a wider range of musicians.

Pioneering Figures

The modern revival of the cross-strung harp can be traced to California in 1987, when luthier Roland "Robbie" Robinson undertook the repair of a cross-strung harp, believed to be a student instrument by Welsh luthier John Thomas for the Conservatoire Royal de Bruxelles. Robinson's subsequent publication of a description and drawing in the Folk Harp Journal ignited new interest. This led to Emil Geering building harps based on Robinson's plans, and later, musician Ben Brown's advocacy persuaded American luthiers Dan Speer and Pat O'Laughlin to create their own models. Harper Tasche further advanced the instrument's profile by developing a five-octave model with Blessley Instruments and recording the world's first dedicated cross-strung harp CD in 1998.

String Configurations

Two primary string configurations dominate contemporary cross-strung harp design:

7x5 Configuration: This is the most common type, where each octave features seven strings for the diatonic scale on one row and five strings for the "accidentals" on the other. This layout offers a familiar conceptual framework, akin to a piano keyboard, making it relatively easier for harpists to learn due to the presence of a diatonic "home row" of strings. Basic chords often fall into recognizable pattern shapes.
6x6 Configuration: A less common but equally innovative approach, where each set of strings is tuned to a whole-tone scale. This configuration simplifies fingering patterns for major scales, requiring only two distinct patterns depending on whether the root of the key is on the left or right set of strings. Additionally, a 6x6 harp can achieve a broader musical range than a 7x5 of comparable size, as it allocates only six strings per octave per row.

Custom Innovations

The contemporary landscape of cross-strung harp building is marked by remarkable customization and innovation. Notable examples include:

A five-octave steel-strung "lute harp" by Gustave Lyon (1899), demonstrating early experimentation with string materials.
The large, visually striking X-shaped harps with two necks and two pillars, exemplified by Henry Greenway's 1889 model now in the Metropolitan Museum of Art.
Gustave Lyon's extensive innovations on the harpe chromatique from 1894 to 1930, which included built-in tuning reeds, pedal-operated soundbox shutters, and steel framing.
Philippe SRL Clément's late 1980s designs, featuring pedal-activated damping rods for lower strings and a unique "7x5x7" crossing double harp.
Argent Fox Musical Instruments' cross-strung harps with phosphor bronze wire strings, offering a distinct tonal quality.
Glenn Hill of Mountain Glen Harps' 1992 hybrid 6x6 cross-strung harp, which ingeniously incorporated a sharpening lever on each string, blending different chromatic mechanisms.

These custom versions highlight the ongoing quest to refine the cross-strung harp's playability, tonal characteristics, and aesthetic appeal.

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References

International Society of Folk Harpers and Craftsmen

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This is not professional musical or historical advice. The information provided on this website is not a substitute for consulting with professional musicologists, instrument builders, or performers for specific research, performance, or construction needs. Always refer to primary historical sources, academic publications, and expert practitioners for definitive information regarding the cross-strung harp. Never disregard professional advice because of something you have read on this website.

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Harmonic Horizons: The Cross-Strung Harp's Chromatic Journey

💡 Dive in with Flashcard Learning! 💡

Introduction to Chromatic Harps 💡

🎼 The Essence of Chromaticism

⚙️ Mechanical Ingenuity

🎶 A Spectrum of Sound

Spanish Renaissance: Arpa de Dos Órdenes 🇪🇸

📜 Origins in Iberia

✍️ Jovernardi's Contributions

📉 Decline and Cultural Shift

French Romantic: Harpe Chromatique 🇫🇷

🎻 Orchestral Demands

🎹 Gustave Lyon's Innovation

🩰 Debussy's Danses

Belgian Chromatic Harp 🇧🇪

🎓 A Niche Development

📚 Educational Focus

Henry Greenway's Distinctive Harps 🇬🇧🇺🇸

🛠️ An American Vision

🏛️ Preserved Legacies

Contemporary Cross-Strung Harps ✨

🌱 A Resurgent Craft

💡 Pioneering Figures

🔢 String Configurations

🌟 Custom Innovations

Teacher's Corner 🧑‍🏫

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📜 Important Notice

Dive in with Flashcard Learning!

Introduction to Chromatic Harps

The Essence of Chromaticism

Mechanical Ingenuity

A Spectrum of Sound

Spanish Renaissance: Arpa de Dos Órdenes

Origins in Iberia

Jovernardi's Contributions

Decline and Cultural Shift

French Romantic: Harpe Chromatique

Orchestral Demands

Gustave Lyon's Innovation

Debussy's Danses

Belgian Chromatic Harp

A Niche Development

Educational Focus

Henry Greenway's Distinctive Harps

An American Vision

Preserved Legacies

Contemporary Cross-Strung Harps

A Resurgent Craft

Pioneering Figures

String Configurations

Custom Innovations

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice