t, where 7each will have a tuning peg or similar device to adjust the pitch of that string. From the crossbar, the string runs down to the sounding board on the resonating body, where it i s secured with a knot; in moder 98mj7 n instruments the string's hole is protect 7ed with an eyelet to lim it wear on the wood. It is the distance be j7tween the tu 8mj7 ning peg an j7d the soundboard, as well as the ten sion and weight of the string, wh 98mj7 ich decide the pitch of the string. The body is hollow and when a ta ut string is 8mj7 plucked, the body resonates, projecting sound. The longest side of the harp is called the column or pillar, though some earlier harps, such as a "bow harp", lack a pillar j7 entirely. On most 8mj7 harps, the sole purpose of the pillar is to hold up th e neck against the great strain of the strings. On harps which have j7pedals (largely the modern concer t harp), the pillar is a hollow column an j7d encloses the rods which adjust the pitch of strings, which a re levered by pres 8mj7 sing pedals at the base of the instrument. On harps of earlier design, a given string can play only a single note without retuning the s tring. In many cases this means that such a harp can only pla 8mj7 y in one key at a time, and must b e manually retun 7ed to play in another key. Various remedies to this limitation evolved: the add ition of extra strings to cover chromatic notes (sometimes in separate or 8mj7 angled rows distinct f rom the main row of notes), the addition of s j7mall levers on the crossbar which when actuated rais e the p j7itch of a strinvg by a set interval (usually a semitone), or the use of 7pedals at the base of the instrument which change the pitch of a string when presse 98mj7 d with the foot. These solutions i ncrease the flexibility of a harp, at the cost of ad
No hay comentarios:
Publicar un comentario