[paul-knoke]

Hi! Here’s my 2 cents:

The technical term for this technique is “cross-pedaling”. Sometimes

it’s the most expedient way to deal with a pedaling problem. It almost

always involves the left foot on E or F pedals. I’ve never run across

an example where the right foot had to be on B. I’ll have to try it,

but it seems like it would be very difficult to keep the harp

balanced.

The notation for cross-pedaling is to draw a box around the markings

for the pedals that need to be moved with the foot that would not

ordinarily move them. In the event of simultaneous pedal changes,

“right foot” pedals are marked above “left foot” pedals.

I hope this is helpful. Cross-pedaling is a valuable resource.

Practice it a little, and it will soon become easy!

[paul-knoke]

I’m not sure that this is going to constitute a “quick response”, but
here goes:

The harp is not an “extra” instrument in an orchestra. It is an
important and integral element, necessary for the performance of the
standard symphonic repertory. Some might say, “But the harp doesn’t
play in all the pieces!” The response to that is, “Neither do the
trombones, but no one would consider forming an orchestra without
them.” When the harp is used in the orchestra, it is often as a solo
instrument (Waltz of the Flowers, Ma Vlast, Rhapsodie Espagnol), the
only accompaniment to a solo instrument (Force of Destiny Overture, La
Vie Parisienne, Pelleas et Melisande), or accompanying the orchestra
as a whole (Mahler 5, Caucasian Sketches, Prelude to Khovahntschina).
It is also one of the few orchestral instruments capable of playing
chords, and hence is frequently vital to the cohesion of the rest of
the ensemble.

Why is it important for a school to own a harp? School harps have
enabled countless children to begin lessons when no other harp was
available to them. Many have gone on to become outstanding
professionals. For students that have their own harps, moving the
instrument frequently to and from school for rehearsals and home
practice is impractical and highly risky. Most orchestral harpists
keep a harp at the rehearsal hall for this reason. It is also
important to ensure that the harpist participate in every rehearsal
where there is a harp part. This is the only way a harp student will
receive training and experience comparable to that of other
instrumentalists. It is also helpful to the other members of the
orchestra, so they may become accustomed to hearing the music as it
will be performed and learn their cues appropriately.

The composers wrote their music with harp in it because they intended
it to be played that way!

(Hope this helps you in your noble efforts to get a harp for your
school. Keep us posted.)

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