Harp Prelude

Wow, I loved it! It's the perfect blend of beauty and mystery, and I loved it. I was worried that this piece would feel empty with just harp, but you proved me wrong! bravo!

A quick glance at the score. I noticed you use both the dampening sign and the descrec al niente symbol. I think in practice they will have the same effect. In ms 50 for example, I think the sound has died away and the descresc al niente is not really needed. My guess is the harpist would dampen just to be sure.

Although I am not sure, I know that the bass register on the harp reverberates for quite long. I use the dampening sign whenever I want the harpist to dampen completely and the decrescendo al niente when the dampening is gradual.

Hi!
Wow, I really did like this, it's a beautiful piece. 90% of the harp writing is good, but a few things to note:
first, those chords will only resonate for that long in the lowest notes of the harp. in the upper strings, it will not ring for very long. you might want to have the harp player re-strike the strings (probably softer) and it will be better
also, the slurs are only going to show the harpist how to make the phrases, it won't connect the notes. And also, staccato isn't really possible on harp. if you want the note stopped, mark it etoufee.
Finally, from 98 until the end, the harp writing is a bit akward. The range is a bit large and the notes are kind of fast. I re-wrote what I think would give the same effect without any trouble (this was the only spot that actually needed to be re-worked) I put the link to it below (you'd still have your tempos and dynamics.

Other than that, great work! I think this would sound great on a real harp
Graham

(Link: http://www.box.com/s...37d54e2a1858a35)

Hello Heckelphone!

Yes, I am aware that the higher registers have a very short decay. That's ok.

Slurs, like you said, show the phrasing, same for staccato (I know that staccato is only possible by dampening the string just after you hit it). I have got to look sons etouffees up and see how one uses the technique. I had forgotten about it...

I think that the Coda could easily be played if the motif was played by both hands (perhaps I will have to renotate that part). I am not certain, but I think your version with the tremolo isn't ideal either mainly because of the chords and the fact that they are repeated. Repeated notes are not very easy on the harp unless two different strings are used enharmonically tuned. I could be wrong however...

Anyway, thanks for listening and for your suggestions!

Hi Alexander,
re-notating that part could work. as for repeated notes, you wouldn't usually do it, but in the case of bisbigliando (which is what this is), it somehow works!

Heckel