You begin to get the idea. Really, sit down with a harpist.
I confirm everything Bill wrote.I'd add a note regarding "overlapping" hands. The harpists try to keep the fingers on the strings as much as they can to dump the resonances (imagine playing piano with the sustain pedal always pressed...) and also to play louder. When the hands "mix up" the things gets easily messy. Alternate them as much as you can.Usually an acceptable surrogate of a chromatic scale, practically impossible on the harp, is a simple glissato.Remember that you can make two adjacent strings play the same note (e.g. C# and Db). This is often used to play fast, odd "scales" simply with a glissato.Modern "jazzy" players use pedal bending, pedal half tone/tone portamento, soundboard clapping and clusters. (An example for all: Pearl Chertok's "Around the clock", that includes Harpicide at midnight)Last but not least: don't forget the wonderful sound of the harp harmonics! (Normally only octave harmonics.)
write just the letter name and accidental (e.g., C#) for a single accidental change, at the time the new accidental is needed. She also suggests writing the complete current pedal settings at the top of each new page and at each rehearsal letter.
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