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How much effort would go into replacing one lever type for another depends to a large degree on the respective brackets; the sharp point depends entirely on vibrating length not on the particular lever design.
Lovelands have fairly wide brackets and a single long screw slot; compared to the Truitts in your photo which have for most of the range 4 small slots of which only two are needed. It is likely that many of the holes left from Lovelands would not need to be filled.
Aesthetically one might wish to anyway and go through the filling/sanding/refinishing that Charles described. The same is likely true for Camacs, Teifi etc. and from where I sit, cost is the major drawback. I do not agree that “all the strings would have to be removed” – unless you plan to go through that aesthetic process from the start.
Often, especially if replacing Lovelands with Truitts, you just have to loosen the string, remove the old, retighten the string and slide the new lever in. Check the sharp pitch, mark new holes, drill and screw. If the old screw hole shows but does not block a new one, just fill it with a dab of wood paste. New finish if needed may be applied with a cotton swab.
If you (or anyone) just prefers a longer throw than the cams on those original Lovelands they can just replace the cams with the newer ones. All you need for that is 1/4″ offset wrench and patience.
Lovelands are not my favorite lever for a new harp but they have long been a mainstay and work perfectly well. Dusty is quite accommodating but they might charge a large premium for Camacs on a new 2x- their necks are pre-drilled for the Lovelands so that would mean a custom jig. If someone wanted to go to that expense I’d suggest a new Rees 2x. Much as I like the folks at Dusty, I like the Rees doubles better.
Biagio
Hi Tess,
I left the Clark with the original blades (except the 1-3 that had to be made). If you love your Clark I’d suggest keeping it as is. There really isn’t any way to improve the sound though other than by bending the shaft a little or adjusting the bridge in if the problem is that they are not accurate.
There are no blades on the last few strings anyway on my harp (which I’ve since sold).
Wood’s book is excellent; Arranging for the Folk Harp by Kim Robertson, while shorter, goes into greater depth on alternatives: inversions, arpeggios etc. of the same chord.
Two fun exercises shown by Harper Tache might also be useful. Exercise 1: set up a rhythm using just the tonic and two dominants, then start to improvise a melody around them. Exercise 2: play a phrase from the melody and listen to how the harmony sounds using first major chord, than a minor one (e.g. if the melody “wants” a Cmaj try instead an Amin).
It’s tempting to try to rush this sort of thing but that can end up being frustrating – understand that much of modern music especially choral, might be thought of as two or more melodies played or sung simultaneously.
I soon discovered that why teachers and most teach yourself books emphasize harp technique and exercises/etudes so much. Sure, you can pluck out a tube from the score or by ear.
But the way to raelly learn and progress lies in “muscle memory”. Ideally one should be able to a) recognize a pattern b) place one finger and c) let the rest of the fingers fall where they should while looking ahead.
Scales, exercises and etudes will make that happen; just struggling with tunes will not (or at least, not very quickly or easily).
Alfredo Rolando Ortiz discusses that and other South American effects in his DVD “Special Effects for All Harps.” Unfortunately it is no longer offered by Dr. Ortiz but you may be able to find a used copy somewhere. Alternatively, there may be instructive videos on Yutube – for instance by Edmar Castaneda. It’s a harp version of Slap Bass which is more commonly seen by guitarists – but then SA harp music imitates the guitar in many ways.
You could also study this piece by Jonathan Fanganello – the video is taken from the side which makes it easier to visualize.
It’s true that the SA harp is characterized by very loose bass strings and a very wide sound box which enhance that booming percussive sound; but you can certainly use the technique on any other harp (not metal strung though haha).
If you feel you really want to play an SA harp they are not expensive; happily Dusty Strings has recently come out with their version.
Biagio
An interesting thing to do: put aside music written specifically for the harp and focus on what you like in other genres and/or instruments. For example, two pieces I rather like are “Heart of Glass” by Blondie (Debby Harry) and “Memory” from the film Departure, composed by Joe Hasashi.
At first glance one might never consider either as a harp solo piece but they both sound great when played that way. Neither is particularly complicated’ while lending themselves to interesting harmonic improvisation.
Biagio
Thanks Will and I agree on all points. First, while the “McHugh/.Muzikkon” sdeem to be an improvement over earlier Pakistani harps, they have a ways to go before proving themselves IMO.
Second, levers: when you consider that each one adds about $20 to the cost, most beginner books assuming open C tuning, and that one will spend several years mastering technique a fully levered first harp seems to me an extravagance. You can always add levers later – it is not difficult.
Third, kits: I am indeed a fan of a few kits most particularly the Voyageur by Musicmakers if you have some minimal woodworking ability and tools:
https://www.harpkit.com/voyageur-harp-kit.html
Check the building instructions to see if it seems within your ability and don’t be intimidated by the photo of multiple clamps when gluing on the sound board. Since it is also nailed and screwed you don’t really need them. Earlier instructions suggested just taping it down until the glue had cured. Jason seems to be moving the company more toward finished harps and the picture represents how they do it in their shop.
Best wishes,
BiagioHave fun!
Krylon(r) offers a wide variety of colors and finishes; probably the black “hammered” finish would be closest to what you want.
It’s a fine harp but if I were mainly intending it for hiking, camping, and so on, in your shoes I would opt for the lowest cost and lowest weight in a harp that is nevertheless well built. For me that would be the Rees Sharpsicle or Fullsicle.
Enjoy whatever you choose!
BiagioDepends somewhat on the harp model: those with aircraft grade laminate boards such as Dusty Ravennas and the Allegro/Crescendo are less prone to humidity “issues” than those with solid wood boards. Gut is more susceptible than nylon and fluorocarbon even less than nylon.
As a general rule though if you are comfortable your harp should be too. If humidity and temperature fluctuate widely (usually overnight) you may have to tune more often but not a big deal. Here where I live (the US Puget Sound region) relative humidity may fluctuate between 60% and 75% (sometimes as high as 80% and as low as 50%) and in winter I have to live with imprecise forced air heaters. No problems there either (though I’d rather have radiant heaters!).
Biagio
Most of the original OP’s issues have been resolved (they concerned the strings in the treble). Muzikkon is not a instrument making shop really but a general music instrument retailer. They also appear to have become cognizant of some naming issues and resolved those too.
So I agree with Wil, don’t panic.
It is true that these harps such as the Claddagh are made in Pakistan and the levers used for them are usually lower quality than others. However, there is considerable variability – sometimes, when we find problems that is only because they were not mounted accurately. So don’t panic yet about that either.
Best wishes,
BiagioI regret, Evolene, if that little discourse appeared to be a criticism of students. I meant it more as a reaction to things I sometimes hear from teachers, including some very well respected ones.
One must also admit that what is said may be only a brief comment, that is subsequently taken as a general statement!
When I made that first harp it was like, “Wow, finally such a simple instrument that I can actually get beautiful sounds from.” Back then I knew practically nothing about theory – only the treble clef and a vague notion of what the markings meant. Then I found a wonderful teacher – Jocelyn insisted that the students start right from the beginning – clapping and stamping to internalize rhythm, plucking only one string at a time with each finger to internalize the sound. This no matter how well versed the student was otherwise.
Then, when she began to teach music theory she insisted that we analyze our own harps: string lengths, materials, sound boards, the whole thing and compare that to others’. This was an eye-opening event! Maybe that experience just colors my views. “Why does this harp sound different from that one?” she would ask. “What do you think would it sound like if you changed the range or string materials?” “OK, you love this model but WHY?” and so on.
Anyway, I apologize if the “message” came across as arrogant. There are just so many beautiful harps available and I hope that others experience the joy of discovery that Jocelyn gave to us.
iagio
I’m afraid I’ve gone way off topic but since I have….
My observation extends well beyond gut vs. nylon – that’s just the most obvious example.
For instance, some just accept that a spruce sound board is the only way to go (but don’t actually have any substantive reasons beyond tradition and their personal experiences.) What species of spruce, by the way, Engelmann or Sitka? What of the angle where the strings reach the board? How about composite boards (one species in certain octaves, another elsewhere)? Shall we touch on the merits and detractions of veneered boards?
Then there’s the argument that a lighter neck “transfers the vibration back to board, which enhances the sound.” Maybe, if by “enhances” they mean those vibrations muffle the volume and reduce sympathetic string vibrations. Some however mean that a light neck actually imparts certain frequencies over others which is ridiculous on its face.
Consider also the questions regarding wood used for the body. If the box walls are thin enough maple will certainly sound brighter than let us say walnut. But predicting that is problematic – a lot depends on the specific tree from which the wood is cut and how the box is shaped.
Levers – is one inherently better than others? Everyone has their favorites and for different reasons. Lovelands are just fine and cost less than Truitts or Camacs, but the latter are easier to mount and regulate. Broughs were wonderful while Peter still made them. And so on.
Not to be quarrlesome and I agree that “standard string sets” may not be suitable. That is because there are no lever harp standards in terms of vibrating length, as there are with pedal harps. But I cannot agree with the idea that gut strings have limits in what can substitute for nylon; only the diameter matters. Gut comes in much finer diameter gradations although it is true that you cannot rely on the published specs alone (X octave Y note).
You have to also know the diameters and that takes research. You will only run into a problem with Cs and Fs, and if the string design is well thought out that will not be much of a problem either. Some may be pedal gut, others lever gut: you (or rather the harp maker) just have to figure out which would be appropriate where. And of course there is there are the options of N/N, fluorocarbon, SFN, BFN, FS and so on.
For example, take a look at Dusty’s gut set for their FH36:
https://manufacturing.dustystrings.com/harps/stringsThat is only one harp model of course but I’ll make you a bet: Give me the intended note and vibrating length for any well made nylon strung harp and I or a professional string designer will be able to provide a gut substitution that comes as close to the deigned tension as makes no difference. The bet would have to be for a reasonable wager LOL, as that would take some time but I have no doubt that it could be done.
I’m not suggesting that good teachers need be aware of these things in great depth. But I do think that if the general principles were more common knowledge beginning students might be less confused.
Or possibly not, just confused at a higher level LOL. However, if the teacher understands these things she or he is in a better place to guide the student – not only in that first harp purchase but in minute approaches to their technique.
So much for the morning rant – sorry guys,
BiagioI’m sure you are right Emma – in fact that’s the subject for the first few pages of every pedal harp method book I know. My observation probably is based more on people teaching the lever harp who have not had a thorough grounding in theory. One reason I suspect that some teachers require the student to have some piano training.
On the other hand, how often do we hear comments such as “Never put gut strings on a nylon harp”? When I’ve asked the person espousing this view it often turns out that they are misquoting their teacher, or else the teacher did not understand the issue. The player who asks this is invariably a lever harper; perhaps the teacher never learned either.
“If you tune in the key of C, then you only have sharp keys available to you. Your teacher can, and should have explained all of this to you.”
Indeed; I often wonder why some teachers do not explain the harp’s basic design to their students. Simply put, for any given string the note (sharp flat or natural) is linearly related to it’s vibrating length. On a double actin design – pedal harps that is – notice that the discs are spaced at increasingly greater distances from each other as the strings get longer.
One would need to have two levers on each string to achieve the same flexibility on a lever harp. That’s doable but not worth the cost nor (probably) how cumbersome it would be. Of course one could order a custom lever harp with two sharping devices on each string.
Tuning to open Eb as Carl mentioned provides the most flexibility for lever harpists. But one might also consider the music one plays and whether with others or solo. If solo it is easy enough to transpose.
Most harp makers design to an open Cmaj since that is the most straight forward way to do it and the lever harp movement grew out of Celtic wire harp designs (no levers often tuned to Gmaj). It is then up to the player to decide alternative open tuning. There have been experiments with a relatvely inexpensive double action lever design but so far it has proven to be more expensive than just buying a good pedal harp.
Biagio
