harp strings

[Sylvia]

I’m in the nylon uppers camp.

[Saul Davis Zlatkovski]

I was first recommended to use the heavy-gauge nylon strings made by Pirastro by Karen Rokos, who is the finest regulator to work on my harp, as it would allow the discs to be regulated to a slightly more open position, and because I am a strong player. They have a bit less give, more body and substance to the tone, and sound less plastic. In fact, if you play lower on the string with the same attack, you can make them sound just like gut strings. I have tested this on my harp. Pirastro does seem to use the best quality nylon, it lasts longer, holds pitch well, and doesn’t take forever to come up to pitch. They also have a nice surface, which helps with grip, not slipping off.

They sound quite natural in the upper octaves, and maybe Emily might remember that in the 1970s, as far as I saw, Lyon & Healy sent out harps with nylon strings in the first and second octaves. I believe that was considered standard for non-Salzedo harpists. One of the reasons Salzedo harpists would use the nylon even as low as middle c was that if you were playing a melodic line, you would not have an awkward change in quality as you cross from one type of string to another. Around middle c is also the place where the change is least noticeable.

The strings were thinned sometime in the mid or late 1980s, and I don’t know why. It might have helped some harpists buzz less. It seems to me that the artists of the harp, like Emily Mitchell, should lead the way on this, as it matters most to them what they play on, and less to more casual players. I would like to see Bow Brand (and others) cater to the artists and not what is most popular only. Even if there is a smaller market for thicker strings, it should be supplied, and if the dealers in the USA don’t want to do that, then we should be able to order directly from the manufacturer. But, I am sure some dealer will step up. I hope. I don’t see that having the heavy-gauge strings caused my board to pull up at all. I would only imagine that there is a risk on a poorly made or fragile harp, one that is very old.
The heavy gauge strings definitely have a warmer, richer tone, more projection, and better pitch definition. You won’t have a problem with pulling. Also, they are never false when new. Most importantly, they sustain longer, allowing you to play melodically in the upper registers. They also provide juicy harmonics. They also require less effort to play than gut strings, and last about one year.

Harp Connection used to sell heavy-gauge nylon Pirastro strings.

Sometimes one can be sent the wrong kind of nylon, lever harp strings, which won’t come up to pitch, and are very translucent.

[Saul Davis Zlatkovski]

Also, the regular Pirastro nylon strings now available are still made of the superior material they have, so even though they are not heavy-gauge, you do get some of the same benefits.

[Tacye]

I find the assumption that harpists should use the same strings bemusing
– work out the thicknesses you want and order them.

[deb-l]

just wondering if anyone has tried Camac Boyau Classique Gut? That’s what’s on my Korrigan and I love everything about that harp, very little string breakage on it too. Strings don’t appear as shiny and I heard complaints about varnish.

[B Y]

Yikes! Emily, thanks for posting. I agree with you…I’m having trouble with the upper octave string sound.

And, I can’t adjust to the feel and sound of nylons in the upper octave. After I used your harp in Houston, I played in Michigan and the harp they gave me had the 1st 2 and a 1/2 octave strung in nylon and it sounded like 2 different harps and I had to totally change my attack in my right hand. Was so weird. I never play on nylons at all unless it’s a small lever harp.

Is the varnish the issue?

Has anyone tried the strings that Venus makes? I’ve heard both good & bad things about those.

🙁

Glad the topic was posted…let me know what you figure out, please!

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