A Dictionary of Music and Musicians/Welsh Triple Harp
WELSH TRIPLE HARP (Telyn dair-rhes). This instrument has three rows of strings; the two outside rows being tuned in unison, according to the diatonic scale, and the inner row tuned so as to supply the flats and sharps required to complete the chromatic scale.
The Welsh Triple Harp is the only instrument of its kind that has ever been known with the strings on the right side, of the comb; thereby necessitating its being tuned with the tuning-hammer in the left hand, which is exceedingly awkward to any one who is not left-handed. This also explains why it is held on the left shoulder, and played upon with the left hand in the treble and the right hand in the bass, so as to leave a full view of the strings; otherwise the comb would inconveniently intercept the view.
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Vincentio Galileo, in his 'Dissertation on Ancient and Modern Music,' published in Florence in 1581, states that a double harp (or harp with two rows of strings) was common in Italy in his day. It consisted of a diatonic scale on the right side from the upper part down to the centre of the instrument, with another row of accidentals on the opposite side, to be played, when required, by putting the finger through; and the diatonic scale continued on the left side from the centre to the lower part of the instrument, with the accidentals on the other row on the opposite side. This shows that it was played on with the right hand in the treble and the left in the bass.
Galileo alleges that Italy derived this instrument from Ireland; but it is difficult to conceive how the Irish could have possessed such a harp, inasmuch as it has left no trace upon their national music, the peculiarity of the scale of which consists in leaving out all the notes and accidentals which indicate the least modulation from key to key, but which notes and accidentals would have been available on the above instrument. The invention of the Welsh Triple Harp, with three rows of strings, naturally followed; for, as music advanced, the inconvenience of being circumscribed within the limited compass of only half the diatonic scale on either side of the instrument would soon be felt; therefore the diatonic scale was extended on each side to the full extent of the instrument, with a centre row of accidentals equally extended and accessible from either side. This invention, so far in advance of any other instrument of its kind hitherto known, must have given a powerful impetus to the progress of music in the Principality, and may go far to account for the beauty, in an artistic point of view, of the national music of Wales.
Nevertheless, the great difficulty of playing accidentals on the inner row of strings in rapid passages, and the impossibility of modulating out of the key in which the instrument was tuned, gave rise to the invention of the Pedal Harp, which is an immense improvement, in a musical sense, upon any former invention, as it admits of the most rapid modulation into every key, and enables the performer to execute passages and combinations that would not have been dreamt of previously. In the double-action harp, as perfected by Erard, each note has its flat, natural, and sharp, which is not the case with any other stringed instrument; and this enables the modern harpist to produce those beautiful enharmonic effects which are peculiar to the instrument. Another remarkable advantage is the reduction in the number of strings to one row, which enables the performer not only to keep the instrument in better tune, but to use a thicker string, and thus attain a quality of tone which, for mellowness and richness, may be advantageously compared with that of any other instrument.[ J. T. ]