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harp built in New York in 1889 (now in the
Metropolitan Museum of Art's Crosby Brown Collection of Musical Instruments); the many innovations and variations in design by Gustave Lyon on the 'harpe chromatique' (including built-in tuning reeds, shutters on the soundbox operated by pedals, steel framing, etc.) from 1894 to 1930; pedal-activated damping rods for the lowest strings, and a "7x5x7" crossing double harp, by Philippe SRL Clément, late 1980s; a cross-strung harp with phosphor bronze wire strings by Argent Fox Musical Instruments in Indiana; and a hybrid 6x6 cross-strung which includes a sharpening lever on each string, built in 1992 by Glenn Hill of Mountain Glen Harps in Oregon.
293:(rather than diatonic and 'accidental' tuning). The advantage of this layout is that only two sets of fingering patterns are required for major scales, one set when the root of the key is on the left strung strings and the other for the root on the right strung strings (though there is no advantage in fingering for chords, as the 5x7 and 6x6 configurations use the same number and types of pattern shapes to produce major, minor, augmented, and diminished triads). Another advantage is that a 6x6 harp can include a broader range than a 7x5 of similar size, since there are only six strings per octave in each row.
278:. Emil Geering (now deceased), a retired machinist in British Columbia, began building cross-strung harps based on Robinson's rough plans. Ben Brown, a musician from Michigan, obtained one of Geering's harps and subsequently persuaded American luthiers Dan Speer and Pat O'Laughlin (retired) to build models of cross-strung harps. Harper Tasche, a Washington State musician, developed a five-octave model of 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.
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143:(1634) and invented a chromatic variety of this instrument. Its popularity reached its peak in the late 17th century, and declined thereafter into the early 18th century. The reasons for its decline are complex, including the cultural displacement of Spanish music and musical instruments at court (such as the
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The Pleyel & Wolff
Company in Paris produced a cross-strung model based on pedal harp proportions in the late 19th century, to try to accommodate increasing chromaticism in orchestral music (a problem for orchestral harpists, because of the single-action pedal system still in use on orchestral
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Unusual custom versions of the cross strung harp have been created by harp builders. Among these are a five-octave cross-strung harp fitted with steel strings (called the "lute harp") made by
Gustave Lyon in 1899; the large X-shaped harps with two necks and two pillars, typified by the "Greenway"
273:
The largest resurgence or reinterpretation of the cross-strung harp began in
California in 1987, when luthier and folk harp enthusiast Roland "Robbie" Robinson was presented with a cross-strung harp needing repairs. This harp is believed to have been made by Welsh luthier John Thomas as a student
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scale on one set of strings and the five "accidentals" per octave on the other. The layout is similar to that of a keyboard: each major scale has its own fingering pattern, and basic chords fall into pattern shapes or groupings. The advantage of this layout is that it provides a familiar concept
182:, it had two sets of strings, one tuned to C major and the other tuned to F-sharp/G-flat pentatonic like a piano, enabling the harpist to play any note from either side of the neck. The two sets of strings crossed near the vertical midpoint of the strings, unlike those of the
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Contemporary cross-strung harps are being built with gut, nylon, or wire strings in a variety of sizes ranging from two to five or more octaves. Unlike the
Spanish or French cross-strung harps, these are designed on a
441:
For a more detailed history of the
Spanish arpa de dos órdenes, and the contemporary cross-strung harp, please see the articles under "historical harp" and "folk harp" at the non-profit educational organization
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The most common type of contemporary cross-strung harp is strung with nylon and built with a "7x5" string configuration: each octave contains the seven notes of a
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instrument for the harpe chromatique program at the
Conservatoire Royal de Bruxelles. Robinson published a description and drawing of this instrument in the
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built several copies of his peculiar cross-strung chromatic harp model featuring X-shaped pillar and two necks. One of them is displayed at the
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186:, which crossed close to the neck. This allowed both of the player's hands to reach both sets of strings at the point of greatest resonance.
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126:. Its identity as an instrument was established as soon as the early 17th century and it was used in both liturgical and secular music.
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via the pedals and on the lever harp with levers, the cross-strung harp features two rows so that each of the twelve semitones of the
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286:(diatonic and accidentals) to the harpist and is easier to learn, owing to the presence of the diatonic "home row" of strings.
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developed in the late 19th century that found only a small number of proponents, and was mainly taught in
Belgium.
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How to Play the Cross-Strung Harp: A contemporary guide for use with or without the benefit of a teacher
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Cross-strung chromatic harp with two necks and X-shaped double pillar (Henry
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X-Harps: History, Playing
Technique, Music and Construction of the Cross Strung Chromatic Harp
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A less common string configuration is the "6x6" in which each set of strings is tuned to a
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The first cross-strung harp is believed to have been created in the late 16th century in
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or folk model with smaller soundboxes, lighter string tension, and smaller size.
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Cross-strung chromatic harp (Pleyel, Wolff, Lyon & Cie, early 20th century)
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Towards the end of the 19th century, the English-born American harp builder
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has described a cross-strung harp as well as other instruments in his work
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391:. Roslyn Rensch (1989, revised edition 2007; Indiana University Press).
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209:) for harp and strings, commissioned by Pleyel and published in 1904.
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that has two rows of strings which intersect without touching. While
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379:. Hannelore Devaere and Philippe SRL Clément (1988, out of print).
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341:. Bulletin de l'A.I.H. n°45 AH/2007 I.S.S.N. 0295 – 2610 (2007).
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Perhaps the most famous classical composition written for the
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The Double Harp in Spain from the 16th to the 18th Centuries
153:) in favor of Italian and French music and instruments (
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International Society of Folk Harpers and Craftsmen
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414:International Music Score Library Project
66:Learn how and when to remove this message
29:This article includes a list of general
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1203:Benidorm International Song Festival
1218:Festival Internacional de Santander
35:it lacks sufficient corresponding
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1136:Galicia, Cantabria and Asturias
420:Argent Fox Musical Instruments
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416:, Gustave Lyon's harp method
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110:scale has its own string.
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397:. Early Music (May 1987).
255:Vermillion, South Dakota
1208:Eurovision Song Contest
385:. Harper Tasche (2001).
327:(subscription required)
322:Oxford University Press
50:more precise citations.
320:. Grove Music Online.
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213:Belgian chromatic harp
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317:Jovernardi, Bartolomé
251:National Music Museum
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122:and was known as the
92:chromatic double harp
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431:Blessley Instruments
174:harps). Designed by
141:Tratado de la música
128:Bartolomé Jovernardi
1232:Musical instruments
436:Mountain Glen Harps
249:and another at the
243:Metropolitan Museum
184:arpa de dos órdenes
145:arpa de dos órdenes
124:arpa de dos órdenes
114:Spanish Renaissance
1167:Spanish folk music
1032:Soleá por Bulerías
942:Cantes a palo seco
589:322.212 Chromatic
573:322.21: w/o tuning
389:Harps and Harpists
314:Robert Stevenson.
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337:Sylvain Blassel.
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191:harpe chromatique
180:harpe chromatique
178:and known as the
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827:Rock català
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492:322.1: Open
159:harpsichord
131: [
100:accidentals
48:introducing
1396:Cabreiresa
1343:Txalaparta
1318:Psalterium
1308:Kirikoketa
1022:Siguiriyas
997:Martinetes
992:Malagueñas
871:Xiringüelu
867:Villancico
837:Seguidilla
812:Nova Cançó
598:322.212.2
592:322.212.1
583:Paraguayan
301:References
104:pedal harp
56:April 2012
31:references
1492:Chirigota
1447:Classical
1416:Sanabresa
1406:Odrecillo
1253:Castanets
1248:Bandurria
1126:Catalonia
1096:Andalusia
1057:Verdiales
1002:Peteneras
857:Tonadilla
847:Tajaraste
842:Sevillana
822:Pasodoble
817:Pasacalle
754:Chirigota
422:, Indiana
165:, etc.).
108:chromatic
1522:Category
1502:Rondalla
1497:Comparsa
1487:Charanga
1452:Flamenco
1401:Galician
1386:Asturian
1368:Zambomba
1303:Guitarro
1273:Dulzaina
1263:Chácaras
1151:Valencia
1042:Tarantas
987:Guajiras
982:Granaína
977:Garrotín
952:Cantiñas
927:Bulerías
912:Alegrías
897:Flamenco
875:Zarzuela
802:Muiñeira
779:Fandango
774:Ensalada
632:322.222
538:322.12:
499:322.11:
438:, Oregon
283:diatonic
147:and the
134:Wikidata
1462:Morisca
1442:Baroque
1426:Xeremia
1411:de saco
1391:de boto
1353:Vihuela
1338:Trikiti
1328:Tambori
1283:Flabiol
1278:Fiscorn
1047:Tientos
967:Farruca
922:Bambera
917:Alboreá
769:Endecha
654:African
519:African
150:vihuela
44:improve
1457:Latina
1435:Guitar
1363:Xirula
1348:Txistu
1333:Timple
1313:Palmas
1293:Gralla
1243:Alboka
1141:Murcia
1101:Aragon
1062:Zambra
887:Romani
852:Tiento
792:Jácara
744:Bolero
733:Styles
684:Triple
679:Europe
674:Nordic
594:Inline
509:Adungu
351:part 3
343:part 1
268:Celtic
205:; II.
199:Danses
155:violin
33:, but
1482:Cobla
1378:Gaita
1323:Rabel
1052:Tonás
1037:Tango
1027:Soleá
1017:Saeta
1012:Rumba
932:Cante
902:palos
784:Folia
764:Cuplé
759:Copla
664:Kafir
659:Greek
647:Other
634:Pedal
553:Chang
529:Saung
514:Janzi
485:Harps
347:part2
137:]
120:Spain
1507:Tuna
1358:Viol
1007:Polo
797:Jota
548:Çeng
201:(I.
163:lute
96:harp
86:The
788:Isa
524:Pin
481:322
245:in
197:'s
193:is
90:or
1524::
483::
349:,
345:,
257:.
253:,
161:,
157:,
904:)
900:(
718:e
711:t
704:v
473:e
466:t
459:v
446:.
324:.
69:)
63:(
58:)
54:(
40:.
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