t, where seach 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 xk4ys n instruments the string's hole is protect sed with an eyelet to lim it wear on the wood. It is the distance be ystween the tu k4ys ning peg an ysd the soundboard, as well as the ten sion and weight of the string, wh xk4ys ich decide the pitch of the string. The body is hollow and when a ta ut string is k4ys 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 ys entirely. On most k4ys 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 yspedals (largely the modern concer t harp), the pillar is a hollow column an ysd encloses the rods which adjust the pitch of strings, which a re levered by pres k4ys 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 k4ys y in one key at a time, and must b e manually retun sed 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 k4ys angled rows distinct f rom the main row of notes), the addition of s ysmall levers on the crossbar which when actuated rais e the p ysitch of a strinvg by a set interval (usually a semitone), or the use of spedals at the base of the instrument which change the pitch of a string when presse xk4ys d with the foot. These solutions i ncrease the flexibility of a harp, at the cost of ad
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