The orchestra and its instruments . ers can attack the string with asmuch force as in the ordinary position. The successive execution of the notes of a chord,either ascending, or descending, is perfectly in thecharacter of the harp. It is even after its Italianname, arpa, that these passages have received thename of arpeggios. The shake exists for the harp,but it is only tolerable on the high notes. The effect of harps is in proportion better as theyare in greater number. The notes, the chords, or thearpeggios which they throw out amidst the Orchestraare of extreme splendor. Nothing can be mor
The orchestra and its instruments . ers can attack the string with asmuch force as in the ordinary position. The successive execution of the notes of a chord,either ascending, or descending, is perfectly in thecharacter of the harp. It is even after its Italianname, arpa, that these passages have received thename of arpeggios. The shake exists for the harp,but it is only tolerable on the high notes. The effect of harps is in proportion better as theyare in greater number. The notes, the chords, or thearpeggios which they throw out amidst the Orchestraare of extreme splendor. Nothing can be more inkeeping with the ideas of poetic festivities, or religiousrites, than the sound of a large body of harps ingen-iously introduced. Alone, in groups of two, three, orfour, they have also a most happy effect, either unitingwith the orchestra, or serving to accompany voicesand solo instruments. Of all known qualities of toneit is singular that the quality of horns, of trombones,and, generally, of brass instruments mingles best with. MINSTRELS PLAYING HARP, FLUTE, AND PIPE AND TABOR Fifteenth Century THE HARP 281 theirs. The lower strings (exclusive of the soft anddull strings of the extreme depth), the sound of whichis so veiled, so mysterious, and so fine, have scarcelyever been employed except for bass accompanimentsof the left hand; and the more the pity! It is truethat harp-players care little to play long pieces amongthose octaves so far removed from the body of theperformer that he must lean forward with his armsat full length, maintaining this awkward posture formore or less time; but this motive can have had butlittle weight with composers. The fact is they havenot thought to avail themselves of this especial qualityin tone. The strings of the last upper octave have a deli-cate, crystalline sound of voluptuous freshness, whichrenders them fit for the expression of graceful, fairy-like ideas and for giving murmuring utterance tothe sweetest secrets of smiling melodies, o
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmusicalinstruments
