Abstract:
A harp is disclosed. The harp that allows for more simplified pitch change. The harp allows for the creation of a pitch bend effect, similar to the sound of the twang of a guitar. The harp also allows for rising half tones in the strings, wherein the pitch of a string is raised by exactly one semitone. Because of the various ways to change the pitch, each string in the harp is capable of playing up to three different notes.

Description:
FIELD OF THE INVENTION 
       [0001]    This invention relates generally to string instruments and, more specifically, a harp and method of playing therefor. 
       BACKGROUND OF THE INVENTION 
       [0002]    A harp is a stringed instrument that has a neck, a resonator, and strings. A harp&#39;s strings may be made of nylon, gut, wire, or silk and are positioned perpendicular to a soundboard. 
         [0003]    Most European-derived harps have a single row of strings with strings for each note of the C Major scale. All F strings are black or blue and all C strings are red or orange. The harp rests between the knees of the harpist and along his/her right shoulder. The first four fingers of each hand are used to pluck the strings; the pinky fingers are too short and cannot reach the correct position without distorting the position of the other fingers. However, on some folk harps with light tension, and closely spaced strings, the pinky fingers may occasionally be used. Also, the pinky is not strong enough to pluck a string. Plucking with varying degrees of force creates dynamics. Depending on finger position, different tones can be produced. For example, a fleshy pluck (i.e. near the middle of the first finger joint) will make a warm tone, while a pluck near the end of the finger will make a loud, bright sound. 
         [0004]    A pedal harp is large and technically modern. It is designed for classical music and played solo, as part of chamber ensembles, and in symphony orchestras. 
         [0005]    The pedal harp uses the mechanical action of pedals to change the pitches of the strings. There are seven pedals, one for each note, and each pedal is attached to a rod or cable within the column of the harp, which then connects with a mechanism within the neck. When a pedal is moved with the foot, small discs at the top of the harp rotate. The discs are studded with two pegs that pinch the string as they turn, shortening the vibrating length of the string. The pedal has three positions. In the top position, no pegs are in contact with the string and all notes are flat. In the middle position, the top wheel pinches the string, resulting in a natural. And in the bottom position, another wheel is turned, shortening the string again to create a sharp. 
         [0006]    Folk harps use levers or blades to change pitch. Folk harps with levers installed have a lever close to the top of each string. When the lever is engaged, the string is shortened so that its pitch is raised a semitone, resulting in a sharped note if the string was a natural, or a natural note if the string was a flat. Blades and hooks perform almost the same function as levers, but use a different mechanism. 
         [0007]    This instrument has several unique features. The harp neck is designed so that the strings come from the center of the neck, eliminating the tendency for the neck to roll over to the left because of string tension. Since the pillar and soundboard do not need to be extra strong to accommodate this unbalanced tension, the whole instrument weighs far less than a comparable Irish harp. 
       SUMMARY OF THE INVENTION 
       [0008]    It is an object of the present invention to provide a harp that allows for at least one means of changing the pitch of a string. 
         [0009]    It is another object of the present invention to provide a harp that allows for the creation of a pitch bend effect, similar to the sound of the twang of a guitar. 
         [0010]    It is another object of the present invention to provide a harp that allows for rising half tones in the strings. 
         [0011]    It is another object of the present invention to provide a harp wherein each string is capable of playing three notes. 
       BRIEF DESCRIPTION OF THE PREFERRED EMBODIMENTS 
       [0012]    In accordance with one embodiment of the present invention, a harp is disclosed. The harp comprises a soundboard, a neck extending outwardly from a top end of the soundboard, a column extending downwardly from a distal end of the neck, a foot coupled to a bottom end of the column and to a bottom end of the soundboard, a plurality of tuning pegs coupled along a top surface of the neck, a plurality of strings, each string being coupled at one end to the neck and coupled at another end to the soundboard, and means for creating rising half tones in the strings. 
         [0013]    In accordance with another embodiment of the present invention, a harp is disclosed. The harp comprises a soundboard, a neck extending outwardly from a top end of the soundboard, a column extending downwardly from a distal end of the neck, a foot coupled to a bottom end of the column and to a bottom end of the soundboard, a plurality of tuning pegs coupled along a top surface of the neck, a plurality of strings, each string being coupled at one end to the neck and coupled at another end to the soundboard, and means for creating a pitch bend effect on a string. 
         [0014]    In accordance with another embodiment of the present invention, a harp is disclosed. The harp comprises an exposed soundboard comprising: a top portion; a bottom portion; and an open space defined by the top portion and the bottom portion, a neck extending outwardly from a top end of the soundboard, a column extending downwardly from a distal end of the neck, a foot coupled to a bottom end of the column and to a bottom end of the soundboard, a plurality of tuning pegs coupled along a top surface of the neck, a plurality of strings, wherein each string is coupled at one end to the neck, passes through the top portion of the soundboard, is coupled to the bottom portion of the soundboard, and traverses the open space defined by the top portion and the bottom portion of the soundboard, wherein bending a string within the open space causes a pitch bend effect on the string, and a plurality of bridges coupled along a top surface of the top portion of the soundboard, each bridge being positioned at a predetermined distance from the top surface of the top portion of the soundboard, wherein pressing a string against a corresponding bridge raises the pitch of the string by a semitone. 
         [0015]    In accordance with another embodiment of the present invention, a method of playing a harp is disclosed. The method comprises the steps of providing a harp comprising a soundboard, a neck extending outwardly from a top end of the soundboard, a column extending downwardly from a distal end of the neck, a foot coupled to a bottom end of the column and to a bottom end of the soundboard, a plurality of tuning pegs coupled along a top surface of the neck, and a plurality of strings, each string being coupled at one end to the neck and coupled at another end to the soundboard, playing at least one string by plucking the at least one string, and altering the pitch of the at least one string. 
         [0016]    The foregoing and other objects, features, and advantages of the present invention will be apparent from the following, more particular, description of the preferred embodiments of the invention, as illustrated in the accompanying drawings. 
     
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         [0017]      FIG. 1  is a left side perspective view of a harp of the present invention. 
           [0018]      FIG. 1   a  is a front perspective view of a prior art harp, specifically a Paraguayan harp. 
           [0019]      FIG. 2  is a right side view of the harp of  FIG. 1 . 
           [0020]      FIG. 3   a  is a side view of a string of the harp of  FIG. 1  being pressed against a bridge to raise the pitch of the string by a perfect semitone. 
           [0021]      FIG. 3  is a perspective view of the exposed soundboard of the harp of  FIG. 1 . 
           [0022]      FIG. 4  is a perspective view of the harp of  FIG. 1  in use. 
           [0023]      FIG. 5  is a perspective view of a string of the harp of  FIG. 1  being pressed against the bridge to raise the pitch of the string by a perfect semitone. 
           [0024]      FIG. 6  is a perspective view of a string of the harp of  FIG. 1  being bent in the open space of the soundboard to create a pitch bend effect. 
       
    
    
     DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS 
       [0025]    The novel features believed characteristic of the invention are set forth in the appended claims. The invention will best be understood by reference to the following detailed description of illustrated embodiments when read in conjunction with the accompanying drawings, wherein like reference numerals and symbols represent like elements. 
         [0026]      FIGS. 1-6  together disclose a harp, hereinafter harp  10 . The harp  10  comprises a soundboard  12 , a neck  20 , a column  22 , a foot  24 , tuning pegs  26 , and strings  30  coupled at one end to the neck  20  and coupled at another end to the soundboard  12 . The harp  10  of the present invention has means for altering the pitch of the strings  30  so that each string  30  on the harp  10  is capable of playing three notes. 
         [0027]      FIG. 1A  shows a prior art harp, specifically a Paraguayan harp. The prior art harp has a soundboard, a neck extending outwardly from a top end of the soundboard, a column (or forepillar) extending downwardly from a distal end of the neck, a foot coupled to a bottom end of the column and to a bottom end of the soundboard, a plurality of tuning pegs coupled along a top surface of the neck, and a plurality of strings, each string being coupled at one end to the neck and coupled at another end to the soundboard. 
         [0028]    Referring to the embodiment shown in  FIG. 1 , the pitch of a string  30  may be altered by creating a pitch bend effect. A pitch bend effect, i.e. vibrato or portamento, occurs when a player  40  quickly varies the tension and sometimes the length of a string  30 . This temporarily causes a vocal slide between two pitches. This pitch bend effect is commonly described as a “twang” type of sound and is most commonly achieved by a tremolo arm or “whammy bar” on an electric guitar. 
         [0029]    In  FIG. 1 , the harp  10  is shown as having an exposed soundboard  12 . The soundboard  12  has a top portion  14 , a bottom portion  16 , and an open space  18  that is defined by the top portion  14  and the bottom portion  16  of the soundboard  12 . The strings  30  pass through the top portion  14 , traverse the open space  18 , and are coupled to the bottom portion  16  of the soundboard  12 . The open space  18  may be any size, as long as it is wide enough to fit the hand of the player  40 , therefore allowing the player  40  to take hold of the string  30  and bend it. When the player  40  bends a string  30  within the open space  18 , a pitch bend effect will result on that string  30 . It should be clearly understood that the string  30  may be bent before or after plucking the string  30 . 
         [0030]    Referring to  FIG. 2 , the harp  10  may have a plurality of pick-up microphones  34 , wherein each pick-up microphone  34  is positioned proximate a corresponding string  30  and is coupled to an electronic circuit board  36  for amplification of the string  30 . In the embodiment shown in  FIG. 2 , the electronic circuit board  36  may be housed within the soundboard  12 , although it should be clearly understood that substantial benefit may be derived from the electronic circuit board  36  being coupled in an alternate location. It should also be clearly understood that use of an electronic circuit board  36  is not required. While the pick-up microphones  34  are shown to be coupled to a top surface of the top portion  14  of the soundboard  12 , it should be clearly understood that substantial benefit may be derived from the pick-up microphones  34  being positioned in an alternate location, so long as the pick-up microphones  34  are capable of picking up the vibration of their corresponding strings  30 . 
         [0031]      FIG. 3   a  shows a string  30  coupled at one end to the neck  20  and coupled at another end to the soundboard  12 . Also shown is a tuning peg  26  coupled along a top surface of the neck  20 . A lever  38  is shown coupled to the string  30  proximate a bottom surface of the neck  20 . When the lever  38  is in a first position, the pitch of the corresponding string  30  is raised by a semitone. For example, if the string  30  is a G natural, placing the lever  38  in the first position would raise the pitch of the string  30  to a G sharp. 
         [0032]    The harp  10  of the present invention has means for creating rising half tones in the strings  30 . Previously, players  40  have pressed the strings  30  directly unto the soundboard  12 , but that method does not produce a perfect semitone. Referring to  FIG. 3 , the harp  10  has a plurality of bridges  32  that function in a way similar to the frets of a guitar. The bridges  32  are shown coupled along a top surface of the top portion  14  of the soundboard  12 . The bridges  32  may be made of metal wire, however, it should be clearly understood that substantial benefit may be derived from the bridges  32  being made of some other suitable material. 
         [0033]    Each bridge  32  is positioned at a predetermined distance from the top surface of the top portion  14  of the soundboard  12  because the bridge  32  must contact the string  30  at a precise point in order to achieve a perfect semitone. The point at which the bridge  32  must contact the string  30  may be determined by using a tuner to find the exact pitch frequency for the semitone. When a player  40  presses a string  30  against a corresponding bridge  32 , the pitch of the string  30  is raised by exactly one semitone. 
       Statement of Operation 
       [0034]      FIGS. 4-6  show the harp  10  of the present invention being played. To play a string  30 , it must be plucked by the player  40 . The harp  30  allows a player  40  to alter the pitch of a string  30  in several ways. 
         [0035]    One way to alter the pitch is to create a pitch bend effect on a string  30 . After plucking a string  30 , the player  40  may then bend the string  30  within the open space  18  of the exposed soundboard  12 , thus causing the pitch bend effect on the string  30 . 
         [0036]    Another way to alter the pitch of a string  30  is to press the string  30  against its corresponding bridge  32 . Pressing the string  30  against the bridge  32  shortens the length of the string  30  and increases the pitch of the string  30  by exactly one semitone. 
         [0037]    And finally, one other way to alter the pitch of a string  30  is to move its corresponding lever  38  into a first position to raise the pitch of the string  30  by a semitone. 
         [0038]    In total, each string  30  on the harp  10  may play up to three notes. For example, if an open string  30  plays a C natural, a lever  38  may be placed in the first position to raise the pitch of the string  30  by a semitone to C sharp. By pressing the same string  30  against its corresponding bridge  32 , the pitch of the string  30  will be raised by another semitone to a D natural. And by bending the same string  30  in the open space  18  of the soundboard  12 , the pitch of the string  30  may be raised again by a semitone to D sharp or even by a whole tone to E natural. Depending upon how much the string  30  is bent, the pitch may rise to any pitch level between D natural and even to a pitch level slightly higher than E natural. 
         [0039]    While the invention has been particularly shown and described with reference to preferred embodiments thereof, it will be understood by those skilled in the art that the foregoing and other changes in form and details may be made therein without departing from the spirit and scope of the invention. For example, while it is shown that the means for creating a pitch bending effect and the means for creating rising half tones in the strings are used on a Paraguayan harp, it should be clearly understood that those means may be used on any other type of harp.