muffle, damp, dampening

[MusikFind1]

THE current authority book on notation and orchestration is:
Behind Bars : the definitive guide to music notation
by Elaine Gould
Publisher: London : Faber Music, 2011.

Page 362 to 363 under Harp has articles under Damping. She translates “sons etouffes” as damped sounds.
—–
Ruth K Inglefield; Lou Anne Neill
Writing for the pedal harp : a standardized manual for composers and harpists.
Publisher: Berkeley : University of California Press, ©1985.
Publisher: 2nd edition; Vanderbuilt Music Company. ©2006
Page 14 uses Damping (Muffling)

[emma-graham]

That’s interesting too Paul, not what it says on the Horngacher website!!
http://www.horngacher-harps.de/english/seiten/developments.htm

[Marco Hilgeman]

Hi Emma, I’m familiar with the damping system on the Horngacher harps (those harps are quite pricy though) but I wonder if they’re able to fit this system across the whole harp…would be nice if they could.

But what we are thinking of developing is a mountable damping system which you can attach to any brand of harp…we’re still thinking about a way to do it without having to screw it onto the harp and drilling holes (obviously that’s what no harpist would want).

Yeah and it’s great to see the diversity of the harp world nowadays…just like Vollenweider, I’m experimenting with the (electro-acoustic) harp sound by adding (guitar) effects to it, such as chorus and a very short delay which makes it a rather different sound that the classical harp, but still it’s recognizable as a harp.

It’s fun to innovate and that’s why we’re so much into this damping system, as it can make the harp sound more percussive and staccato. Perhaps this is not directly suitable for classical music, but maybe in some ways it can be an addition; no more muting ‘issues’ and such…

[paul-knoke]

Hi Emma

Here’s the 1922/1927 Wurlitzer patent on the damper pedal:

http://www.freepatentsonline.com/1637539.pdf

(Let me know if the link works; it didn’t seem to want to paste in… thanks!)

[balfour-knight]

Well, I finally looked in the Method books which I learned from, and here goes: David Watkins, in his Complete Method For the Harp, used “damped”. Henriette Renie, in her Complete Method for Harp, used “damped” or at least her translator, Geraldine Ruegg did! Carlos Salzedo, in his Modern Study of the Harp, used “muffled” or his translator did (Schirmer edition). I am glad that most of us know the meaning of both words, so it is not confusing.

Marco, on the subject of the damping system for the harp, I for one, would not use it for my style of playing, even for jazz harp. I have hand-damped for so long, the addition of a lever or pedal for the purpose of damping would prove to be confusing. However, I see no objection to your trying to market your idea, since it might prove effective to other harpists. Go for it!

[Marco Hilgeman]

Hi Balfour, yeah those thoughts crossed my mind while creating my post, but I wondered if harpists consider damping to be a part of their playing technique which they ‘cherish’ or if they would like the possibilty of dealing with it in a different way, by means of a damping system. This would mean not having to worry about hands/fingers being on strings to mute their sound and instead, they could already be placed on other strings for instance.

To illustrate the interest in a damping system: the very talented and renowned Dutch harpist Remy van Kesteren once said in an interview that he thinks it’s about time harp builders invent a damping system that would work for the entire harp (and not only for the bass strings which already exists)…so there are definitely harpists who would really be pleased if such a system would be developed (like myself, and maybe not coincidentally I’m Dutch as well). That’s why we’re thinking about ways to get this damping system into production.

Then again, I can imagine that damping could be that much interlocked in a person’s playing that it would be hard to take that element out of his/her playing technique by means of a damping system; then it won’t be an advantage of course. But I think it could work well for several more staccato playing styles, like the one I play.

Oh and by the way, the system we’re thinking about is not exactly my idea: all the credits for this system go to Andreas Vollenweider, who is the pioneer/inventor of this damping system. Furthermore, it’s not operated by a lever or pedal but by knee, which gives the player more freedom as there is no hand or foot needed to operate it.

Interesting topic anyway…would like to read some more opinions here 😉

[balfour-knight]

Hi, Marco!

Great to get your reply, and I checked out your group “Windseeds” and also Andreas Vollenweider. You guys are great! I can see why a damping system would be very useful on your harp when playing this wonderful style of music. So, like I said, go for it!

[emma-graham]

Wow, this thread has really developed into something fascinating. Paul, yes the link works perfectly. Thank you for posting it. It’s Really interesting. It looks like the Wurlitzer version goes much further than Horngacher’s. Marco I really hope you get your plan up and running. If anyone could demonstrate its capabilities to the rest of the harp world it would be Remy. I’ve always hand damped as it suits what I play. I am currently one handed though (broken wrist) so I’m experimenting with my electro acoustic harp, effects and a looper pedal just with my right hand. I could really do with a damping (or muffling!!) system on the harp right now.

[balfour-knight]

Emma, so sorry to hear about your broken wrist! I hope it heals soon and perfectly. My best to you!

[Marco Hilgeman]

Hi Emma, that’s bad news about your wrist! Hope it’ll get better asap. I can imagine you could use a damper right now…

Whenever there’s more news on developing the damping system, I’ll start a thread to inform you all.

@Balfour, thanks for checking out Vollenweider and my windseeds stuff as well; now you can hear who inspired me to play the style I do 🙂

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