Harpa
Autor: Sueli Rossi | Publicado: 2017-03-23T21:00:00-03:00



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HARPA. Instrumento antiqüíssimo de cordas dedilhadas, presas diagonalmente entre a caixa de ressonância e o braço. Sua forma mais simples – a harpa arqueada - originou-se, segundo se acredita, no arco musical, com várias cordas em lugar da corda única do arco. A moderna harpa triangular, com uma coluna vertical que lhe dá solidez e sustenta o braço, desenvolveu-se a partir da harpa angular, mais antiga, que consistia em duas barras dispostas em ângulo, com as cordas esticadas entre elas. Harpas de arco e harpas angulares ainda são encontradas na África e, na Antiguidade, foram usadas no Egito, Grécia e Roma. As harpas de moldura (estilo moderno) foram desenvolvidas na Idade Média, e a pequena harpa de moldura do soberano irlandês Brian Boru, do século XI, ainda pode ser vista no Museu do Trinity College, em Dublin. Essa típica harpa celta (ou clàsach) mudou pouco nos últimos mil anos, e tais instrumentos ainda são usados para acompanhar canções folclóricas célticas. A harpa orquestral, que assenta no chão em vez de assentar sobre o joelho, esteve em uso esporádico no século XVII, mas era severamente limitada porque as cordas estavam afinadas para a escala diatônica (as notas brancas do piano), o que impedia a emissão de sustenidos e bemóis. A harpa de pedal, inventada em 1720, permitiu que todas as cordas para determinada nota na escala diatônica fossem aumentadas de um semitom. Essa melhoria ainda não tornava inteiramente possível modular livremente de tom para tom ou tocar nos tons bemóis. Sebastian Erard, em 1820, forneceu a solução para esse problema na forma da harpa de dupla ação, em que o pedal pode ser semicalcado para elevar a altura da corda de um semitom, ou completamente calcado para eleva-la de um tom. A harpa moderna está diatonicamente afinada para a clave de dó bemol e tem espectro de cinco oitavas e meia, a partir do dó bemol três oitavas abaixo do dó central. Também foram construídas harpas cromaticamente afinadas, com uma corda para cada semitom. Elas não requeriam pedais, mas o glissando diatônico, característico da harpa, não podia ser executado nela. Com a invenção da harpa de ação dupla, de Erard, os compositores do século XIX foram encorajados a incluir partes para harpa em sua música orquestral, e muitos deles, como Bizet, Ravel e Tchaikovsky, escreveram música especialmente destinada a esse instrumento. Os sons característicos da harpa são o glissando, em que a mão desliza sobre as cordas, e o arpejo, acorde em que as notas são dedilhadas sucessivamente.