November 1997: Hand Angle And Finger Position

This is a ticklish subject because it infringes upon what is commonly called the "schools of harp technique". Nonetheless I think it bears some examination. The position you choose to use will be to some degree determined by the type of harp you use.

The more common hand angles are:

a) Relatively flat, i.e., the palm almost faces the floor. Fingers may be curved and pointed toward the sound board. Found most commonly in the European technique.

b) Pointed upward with palm facing the strings. Fingers may curve and point somewhat upward. Used in old Celtic styles, seldom seen nowadays.

c) Tipped so the palm is at about a 45 degreee angle out from the strings Fingers may be curved and pointed toward the sound board. Common to European and many modern techniques. Fingers may be bent back at the 1st knuckle. Apparently used by Grandjany.

d) Perpendicular to the floor, i.e., the palm almost faces the strings. Fingers are curved and pointed almost directly at the strings. Specifically Salzedo technique.

Of course, there are many degrees of variance in each category but each style also creates a different type of sound. Try them all out on a simple piece of music you know really well and then listen.

Consider the following ideas: The angle of the hand and fingers affects the part of the fingertip pad that will contact the string and the way the fingers will close.

In (d) above, the front of the fingertip pad would make contact and the fingers would pull into the hand as far toward the wrist as possible. In this position the least amount of tip will draw across the strings and the sound will be bright, projective and clean.

In (a) and (c) the front/upper side of the pad contacts the string and the fingers close into the palm in a little more shallow manner. In these positions a little more flesh draws across each string when plucking so the sound is more mellow but less projective. If the fingers are bent backward at the 1st knuckle even more flesh draws across the string and the sound becomes more muffled.

In (b) the fingers play on the opposite side of the tip surface. Closure is almost impossible so tone is very light. This style of playing was done primarily with lap harps whose string spacing were very narrow and whose stability required different positioning entirely.

My personal choice varies between (c) and (d) depending on the type of sound required by the music. See what you think.

See you next month.

Stephanie

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