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You are too kind, Balfour:-)
Really though this kind of thing only takes a few minutes, especially with a “library” of designs already in hand.
I think that people hear that string band design is mathematical and are intimidated, but heck with computer programs a basic clarseach like Jennifer’s is easy. After all there are a limited number of choices – brass or bronze, possibly silver – and limited number of available gauges! Just plug in the numbers and maybe tweak a little!
Best wishes,
BiagioHi Jennifer,
No problem – it is difficult to get accurate measurements for several reasons and indeed people have been known to replace a string of one size with another if the first breaks. The more relevant for our purposes is the length (also hard to measure accurately when it has been under tension for a while), but “close enough” as they say. Here’s what I come up with (phosphor bronze):
F6,E6 0.014
D6-A5 0.016
G5-D5 0.020
G5-A4 0.022
G4-E4 0.025
D4-B3 0.028
A3,G3 0.032
F3-D3 0.035
C3 0.040If you want to make C3 also at 0.035 that would be OK. Red brass (at 0.035) would be even better.
It might interest you to know that this looks very much like a 27 string harp made by Chris Caswell, but with a larger range obviously. I happened to have that on file and just changed a few lengths to yours, and tweaked a few diameters.
I don’t know if he ever made kits but who knows? And harp makers often “borrow” designs from each other haha.
Happy harping,
BiagioSorry I don’t recognize it immediately but it seems to be well made.
If you measure the string vibrating lengths and know the intended range it would be easy to figure out the needed gauges. Ask a string supplier such as Robertson’s Harp Shop/Vermont strings. Or contact me off list.
If you do know the correct gauges, bronze strings may be purchased from Vermont Strings; brass from Malcolm Rose or The Instrument Workshop https://www.fortepiano.com/
In the event that they are steel you can probably get those from Musicmakers.
Follow-up: often one can string a smallish nylon strung harp with steel (in smaller diameters of course), while keeping the same range. Alternatively, one may use brass or bronze for a more traditional tone, but drop the range – typically by four steps. The Musicmakers Limerick is one candidate; while no longer in production, plans are still available. Another still in production would be the Triplett Zephyr.
So if you find one of those second hand at a good price give it a try. The string design for either steel or bronze is well known – just ask a string maker such as Robinson’s Harp Shop.
Or if you can do simple wood working you can build Rick Kemper’s Waldorf (plans are free) available at Sligo Harps and just replace the nylon with bronze a few steps lower as follows: A5-G4 0.016″; F4-D4 0.018″; C4-A3 0.020″; G3 0.022″; F3-D3 0.025″;C3-B2 0.028″ A2 0.032″
Some misguided people will say that “wire strung harps are at much higher tension”; not true but they FEEL that way because metal is not very elastic compared to nylon or gut. Traditionally these did not have either bridge pins nor sharping devices, but that’s not really an issue if you are careful about winding the strings on.
Probably the best site to answer your questions would be (guess what?) the Wire Strung Harp website:
https://www.wirestrungharp.com/Briefly though…yes, it is customary to play these with the finger nails but not necessary and no, using the pads does not hurt. The strings ring so loudly that just a touch is enough to set them singing. That in fact is perhaps the major issue compared to nylon or gut: you have to damp more often or the sound gets muddy. Some are also made with narrower string spacing than you might be used to (see above, fingernails).
Some “clarsairs” do color the strings with DyeKem (dye makers layout fluid) or similar. However there are techniques that really make seeing the strings almost unnecessary; for instance, Coupled Hands, developed by Ann Heymann.
I have two wire strung harps and two nylon strung and go back and forth with little problem.
The main problem is that not many luthiers make them these days!
I don’t think there is much difference visually although obviously you could not play the V shape pre de la table. At least, not easily. However, it is easier to build than the “parallel” type. There is no reason that string breakage would be greater for one than the other.
As a builder I prefer placing the strings parallel more due to acoustics. One of the double’s charms is the sympathetic vibrations which are greater if the strings do not converge at the SB. One must make the SB about 4 cm wider too, which means more vibrating surface. It also just seems more natural to my hands but I know some excellent doubles player who like the V shape better.
Just my take: Stoney End was the first of two who made doubles so they have certainly been around a while. If the question is cost Stoney End’s are less than the Rees’. OTOH Rees’ sound better IMO. Some like the Dusty Strings model of course.
While the origins of Danny Boy aka Londonderry air are obscure, some have traced it to the late 1700s to a tune recorded by Bunting.
What does that have to do with blocked chords one might ask? Well, it is an Irish “Celtic” tune played traditionally on the wire strung harp and extended chords sound poorly on that instrument unless they are damped. So single note or blocked chord harmony is pretty common.
Listening to Friou’s arrangement there are plenty of rolled and arpeggios too…but her arrangement is clearly for a gut or nylon harp so she can get away with it; a “traditional” player would view that as anathema. My obscure point being that where they are blocked she intended to accentuate that beat.
Sometimes (always) it is good to earn a folk tune’s history when considering the interpretation, IMHO. Dunno if that helps though (grin).
If you are playing 3 or 4 notes together as blocked chord it may well sound terrible no matter how long you have been playing, so don’t worry. ALL must be played simultaneously (not too easy to do, actually at first) Timing is everything.
Here’s a suggestion: just play a lot of chords by themselves in different configurations: standard 1-3-5-8, 1-5-8, 1-5-3, 1-3-5etc. Play them VERY slowly and listen VERY CAREFULLY. What sounds most pleasing to you?
Honestly, it could be just the way your harp sounds, not your technique but ya know, blocked chords on the harp are not that common in my experience, unless played very fast, and they are usually damped, where they are almost a passing tone.
Hope that helps!
BiagioGood questions Molly!
In answer…I can’t think of any player who does not have at least two harps after they have been playing for awhile. Often those will be a 34 or larger at least plus a smaller one for travel, going to gatherings etc. That applies whether they are principally a concert harpist or “folk” player. Some indeed have branched out to include wire strungs, doubles, and other types. It can get addictive!
You read and hear a lot early on about tension (pedal or lever) type of strings and so on. I think that most experienced players would say, however, that you can adapt to something different fairly easily unless it involves an entirely different technique. For example, going from the fairly wide string spacing of most harps to the narrow spacing of a wire strung harp (about 1.27 cm vs 1.1cm).
As for me personally I have at present four: a 36 and a 26 nylon strung, and a 26 and a 19 wire strung. A pedal harp is just too large and expensive for me at this stage in my life, plus I just play for my own amusement.
My advice to beginners is almost always the same: first find and interview a good teacher. If they are of the “pedal harp/pedal harp tension only” breed (and there are still some like that) be cautious of their recommendation unless you are absolutely convinced that is the way you want to go.
My first teacher was a world renowned concert harpist but her recommendation to me was exactly as Balfour suggested: the Dusty Strings Ravenna 34. Conversely, a priest I know had been a concert harpist and wanted something smaller as well: She ended up buying my Dusty FH26.
Best wishes,
BiagioIf that is to be all one piece it will actually be made from laminations: typically a maple ply core with hardwood sides for aesthetics. Sometimes it is all ply which makes a pretty strong neck but the pillar will be vulnerable to bending; hence those that do this will also add some bracing such as a fore pillar or internal tension rod.
Most harp makers think it more visually pleasing to use 2 part construction as well a less wasteful. There are at least half a dozen ways to make that joint very strong instead of sawing out a one piece core from expensive ply – typically maple piano pin block. A sufficient large piece of pin block will cost in the neighborhood of $400+ USD (versus maybe $200 at most for hardwoods).
Let’s start with a bit of acoustics. The SB acts as a means to transfer string vibration to the air in the box which in turn acts as an acoustic amplifier much like the body of a guitar or kettle drum. So the main question is whether the shape of the box is effective. Too deep for the SB’s thickness and volume will not be as strong. Too narrow and you may get unwanted echoing. I think you can be fairly sure that a competent maker has experimented with both.
The argument has often been made that a solid wood SB of some strong elastic species (spruce, cypress, red wood, cedar, etc.) will be “better” than a high density laminate one such as found on harps such as the Ravennas, Musicmakers, Marini, etc.) because “vibrations travel along the wood grains.” true enough but for smaller harps I don’t think that makes much difference unless it is quite wide. Some may disagree with that opinion and more power to them.
All of that is a round about way of saying that if you want a small portable “packable” harp the main question is the size of your suitcase!
Side note…Caswell did as Shane mentioned: an inlaid butterfly covered by a plate (for aesthetics). Because the butterfly + plate is extremely strong Chris used dowels just to align it and pocket hole screws to draw the joint together (plus come epoxy). Look, Ma, no clamps needed:-)
Aside from the SB, the NPJ and the harmonic curve can be reinforced with little effort or expense, and I’m pretty confident that all competent makers do so in one way or another. The early Troubadours though were made of laminates which is no prob after they reinforced it for lateral bend. Dunno about the more recent ones.
It seems obvious to many here but often not to begionners (no disrespect meant): with few exceptions (double strung, SA harps), the strings pull not only down but laterally and if one considers that a harp like the Troub has well over 1/2 ton of tension, sooner or later that will pull the neck over and open up the neck-pillar joint.
Alas, that is the nature of this beautiful instrument. A careful maker will take steps to mitigate this and other stress-related issues….some lovely harps are over 100 years old and still sound great. Many modern ones use reinforcing that is not visible to the buyer. But….
Back to my advice plus 4 for the new player
1) Do not buy a used harp unless you have an experienced person with you
2) Evaluate your needs both now and future
3) Stick to recognized makers for the first harp
4) Teacher first – THEN buy a harp (grin)Haha, need it be said that I did none of the above???
Blessings to all,
BiagioDitto Charles and Shane, absolutely.
Without getting into further techie details (and lord knows I like them), here’s my take for your question:
-Given that your daughter is an absolute beginner, unless both you and she are absolutely sure that she will progress in time to a concert pedal harp, do not waste time and money on a concert tension lever harp at this point. Invest rather in an excellent teacher and a good, new instrument.
-How they are strung (gut or nylon) does not mater too much at the learning stage: gut costs more though.
-I* can highly recommend a number from low to higher price ranges: Dusty Strings FHs or Ravennas; Thornahlens; Camacs; Sligo Harps Raven or Luchair; Musicmakers Voyageur or Cheyenne; any of the Blessleys.
-There are other excellent harps out there – those are just some of which
I know both harp and maker personally.That gives you wide range in terms of cost but not, surprisingly, quality. The Musicmakers Cheyenne and Voyageur even available as kits and they are excellent just out of the box if you are handy with simple hand tools. They are often used as student rental harps. But I must “brag’ That I have mdified both with a spruce sound board and custom stings. In all modesty – WOW.
Best wishes,
Biagio
