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The term “Celtic harp” can be very broad and confusing. In the broadest sense I take that to mean a triangular sharped stringed instrument where the strings intersect the neck and the sound board. It may have sharping devices or not, But no pedals.
Whew, that covers a lot of ground!
If you want a small harp-like instrument I think that you you would be much happier and be able to do a lot more with a 10-12 string lyre than you could with a baby harp of that size. That is actually a very fun instrument; see for instance the Lynda Lyre from Musicmakers.
The only possible exception to that statement IMO would be a narrow spaced wire strung clarsach of about 19-22 strings. However this requires a specialized technique, much more similar to how one plays a lyre than a harp.
So my answer is also, “No, that baby harp is pretty much a waste of money.”
Biagio
Hi Annie,
I am glad that you are being careful and taking your time to do this research; too many eager people just dive right in and buy something that is later a disappointment.
A word about doubles….the hand techniques one uses are the same as for a single strung harp. The advantage of a double (aside from not having our hands bump into each other) is that it allows effects that are not possible on any other kind of harp. Or not if you do not want to use them of course! Nor are they all that much more expensive (see the Rees Morgan Meadows and Morgan Meghan for example).
Some have felt intimidated by thinking about two rows, but there is no reason to; it just takes a few days for your eyes and hands to become accustomed. And let me dispel the idea that one would be better off to start with a single.
A bunch of us will be getting together (including Laurie) next week at the house of one of Laurie’s students. She started on a double immediately and now has two: Laurie’s Rees 30 and a 23 I made for her.
Have fun!
BiagioHi Annie,
Wil mentioned the cross strung harp which would be an option if you anticipate lots of accidentals but don’t want to spend the money for a pedal harp. Technique is substantially different from that of other harps. Another option would be the double strung, with two parallel rows of strings and two full rows of levers.
The double has become increasingly popular lately. Both rows are usually tuned identically but a little thought would suggest that by selecting different levers on different sides they could be tuned differently – and it certainly makes modulation easy. Rees makes several sizes and contrary to some opinions it is played the same as a single course harp – just much more flexibility. For more information see Laurie Riley and others on Youtube.
Speaking of Rees – their levers are excellent. Like Truitts, the lever itself presses UP on the string (rather than down like Lovelands) which makes them much easier to mount and regulate. The bracket which holds the device to the neck, however, is like the Loveland, which costs less to make than the Truitt. I would have used them instead of Truitts if they had been available while I was building harps.
Best wishes,
BiagioPerhaps you might consider what kind of music you wish to play and if a single or double action would be desirable – as you know all notes would be changed at once (all As or all Cs or whatever). Levers are used to change one at a time.
A good single action is also much more expensive than a lever harp. I’m not familiar with European ones; here in the US I do know of the Joy Harp – also known as the Douglas Harp – made by Arsalaan Faye:
http://djoyharps.magix.net/about.htm
My opinion for what it’s worth would be to buy a 33-36 string lever harp at this stage of your experience; or if you are OK with the Nightengale’s 27 that’s fine too.
When Fischer writes that this is a “Children’s harp” it means that it is in effect a pre-step to a full concert pedal harp. Personally I can’t see much point in buying something like that. You must first learn technique if a concert harp is your aim anyway, and that can be done on a lever harp such as the L&H Prelude or Troubadour assuming that you want concert tension gut strings.
There are a number of other fine harps around the price range of the Nightingale. Incidentally, Rees levers are also available for that and they are very good too.
“Muzikkon has offered to refund the harp now…but not before I have sent the harp back to them and they have received it. Does this seem reasonable to you? ”
That is standard industry practice and should be spelled out in your warranty. A typical statement would read that “[Company } will refund, repair, or replace a defective harp at [Company’s] discretion. Crating and shipping costs to be paid by the purchaser” or something similar. See if that is what your warranty says.
I’m not surprised that your experience with these people makes you feel a little uneasy. Be sure that you retain all receipts including shipping expense, the warranty, and all correspondence. Ship it insured and registered so that it can be traced.
Muzikkon is apparently a fairly new company with a large number of products, probably still “learning the ropes.” I’d bet they don’t want any more controversy about this.
Good luck!
Biagio“Like Biagio said, I’m a little puzzled at the idea that anyone taking up any instrument should want to be a pro virtuoso.”
Thank you Evolene. A couple of reflections…
“Music is what happens between the notes” Yo-Yo Ma
“I took the harp to the ridge, to learn what it could teach me” – Chris Caswell
“Just play one note and listen to it” – Carlos Salzedo
Biagio
Victoria,
A brilliant teacher of my acquaintance was once asked by her student, “When Will I know I am ready to teach?” Her answer was “You are ready when some one asks you. You may yourself be only at an early stage, but you can have a lot of fun learning together!”
It has always puzzled me that there seems to be an aura around the harp in some circles, viz. the notion that one must start as a child with ambitions to becoming a professional in an orchestra. That is as misguided as the idea that one must be capable of competing in Le Mans in order to drive a car.
It is true that one will benefit from a teacher’s guidance until technique has been understood, and learning basic music theory is essential. And of course if the dream of playing harp is motivated by the wish to achieve the level of, let us say a Frank Voltz, Sunita Stanislaw, or Yolanda Kondonassis it will be a long road. Some may also be intimidated by thinking that they must shell out $15,000 or more for a pedal instrument.
Whoa, hold on a minute! Let’s remember that the harp is probably the most ancient of all stringed instruments, people in virtually all cultures were playing it in one form or another for thousands of years before Sebastein Erard or Carlos Salzedo came on the scene. Let’s address the issues that prospective beginners often encounter:
Teachers – some now give lessons via Skype or similar via internet, and there are many excellent DVDs and books available if no teachers live nearby.
Conferences etc – at least two excellent players have started to offer on-line conferences; there are several internet forums – besides the Harp Column the Harplist, Virtual Harp Circle, The Wire Harp Group if one is so inclined, not to mention a number of societies.
Expense – One can buy an excellent lever harp for anything from $2,000 to $6,000.
Age – as many here have mentioned they began at a more advanced age than your friend. Progress is only limited by willingness to practice.
Personally I think that the harp is one of the easiest instruments to learn – there is nothing between you and the music except the strings. No bows, no picks, no white and black keys, just the harp and your hands.
I began some 10+ years ago around age 55 by making them, first on a whim, and then became fascinated enough to learn to play. I will never be a professional and do not want to be, but the harp brings me endless joy. There is always more to learn.
A few suggestions, then for your friend:
First and foremost do the research – different kinds of harps besides the pedal instrument – single and double strung, cross strung, wire strung and so on just to see how many varieties exist.
It would probably be best to start with a good economical single such as the Dusty Strings Ravenna, Camac Hermine, Boulding Olladion, or Musicmakers Jolie or Voyageur.
Avoid poorly made instruments – if the harp is cheap it is probably poorly made and nothing is so discouraging as trying to learn on a bad instrument. Stick with established harp makers.
Second, look into on-line teachers and join societies the Harplist, Virtual Harp Circle, International Society of Harpers and Craftsmen, American Harp Society. Ask lots of questions, members will be delighted to help.
Finally, check out what is offered on Youtube for inspiration; one of my favorites is History of the Harp by Catrin Finch.
Best wishes,
Biagio“I think Aine just needs a very clear image of the problems and about what is expected of her. I still believe that in the end, when she understands the full magnitude of the problem, she will do the right thing.”
Yes, if she wishes to remain a rep for Camac. Some of the things that Stardust has quoted her as saying leave something to be desired IMO: that “many harps are not labeled” for instance. She should know better.
If Aine does not come through I would hope that Camac learns about this.
This “explanation” from Aine and Dave is totally unacceptable. A legitimate harp maker (or retailer) will sell what is advertised, not a “newer model”; they will stand by the product and offer a refund if it is defective – which this definitely is.
UP until now I had given Aine the benefit of doubt but not after this. Utter garbage.
How much trouble you wish to go through is up to you; personally I would document all the correspondence and information (including input from Sally, Charles, Wil and myself) and take that to a consumer protection bureau.
I would do this not only because I was outraged but to warn others.
Wil will recall that I did something similar a few years ago – and the harp maker in question was an outstanding harper and maker as well as a close personal friend. I stoutly defended him until his excuses became unacceptable.
I later learned that he was dying from cancer but refusing to admit it – either to himself or to his customers. To this day I feel sad – but not guilty for taking him to task publicly. It would have been better for him to have just “come clean” rather than trying to tough it out.
Call it “tough love.” Muzikkon has no such excuse nor do they deserve it.
Biagio
Stardust, yes I live in the US.
Universals have some advantages: you don’t have to consider different sizes as you must for every other kind, they are relatively* inexpensive, and easy to put on.
Conversely they are not as precisely engineered as most others, not as easy to flip quickly, and allow less room to regulate. However, if you mostly use them to change keys between tunes they’re fine.
*Expense depends on whether you buy them directly from the manufacturer or from a retailer. In USD: Camac and Truitt cost about the same ($16+/-); Lovelands $15 retail, $6 from the manufacturer, Robinsons $5. A relative newcomer is from Rees at $12.
Personally as a harp maker I prefer either Truitts or Rees both for the precise engineering and easy installation/regulation (Camacs require special tools).
When a beginner asks me about levers and is concerned about cost I often suggest that they only get Cs and Fs at first. You can always add more later when more complex music requires it.
Incidentally, the Musicmakers quoted price of $3800 includes a full set of either Camacs or Truitts
Choice of levers and strings are largely a matter of personal preference and it is well to know that you can change both fairly easily. For example the Voyageur ends with a bass C string and uses nylon but there are string designs developed for gut, fluorocarbon and silkgut, and for the bass string to end on A two steps down. If you decide to upgrade from Universals that too is easy.
I think it makes most sense at the beginning to buy a good basic instrument at first.
Hope that is helpful to know.
BiagioHi Stardust,
I consider the Voyageur model one of the best in it’s price range and it will certainly last a lifetime, quite possibly two. A few people have upgraded it’s 5-ply laminate sound board to spruce or cedar, which elevates it to a concert quality instrument.
I am almost positive that Sally imports the kit and then puts it together as many other Musicmakers’ licensees do. I don’t know how much it costs to ship the components to her; here in the US the kit costs $1500 before levers costs – those can range from Lovelands at about $6 each from the lever maker to about $16 each if one buys Truitt or Camac levers.
So for a fully levered Voyageur with Truitts I’d be looking at selling the completed harp for about $2500-$2600 US at least, which includes a 20% markup for labor and profit. A Voyageur build at the factory runs $3800, so I expect Sally would offer it somewhere between the two figures ($2600-$3800) US). Perhaps she would “do a deal” by fixing the Muzikkon harp issues while she is at it? Then you would have two harps (many of us have two or more, haha).
Compare that to the Hermione listed on Muzikkon: $2600 US equivalent. I’d conclude that they are equivalent in terms of cost (assuming you want to take a chance again with Muzikkon) The Hermione may sell for a bit less or a bit more at other outlets.
I can’t say which would be the better harp (both are fine), but I would ask Sally what she would charge for the completed Voyageur. You and she seem to have a trusting relationship by now and that too is a positive thing. Ask her as well about what sort of warranty she would offer and compare that to what is offered on the Hermione.
Good fortune!
BiagioEdit: Musicmakers made it’s reputation under the former owner Jerry Brown by producing top quality instrument kits. Jerry retired last year and the new owner, Jacob Nelson, seems to be moving the focus to higher end, completed instruments. A completed Voyageur with Truitts or Camacs now competes in price and quality with the Dusty Strings Crescendo, it would appear.
Stardust, if you should decide to get the Balder from Sally….it is a very nice harp for the price, but be sure that she uses the new string set. They redesigned the original one a few months ago.
The voyageur is an excellent harp in the economy range and used by several teachers for student rentals.
Best wishes,
BiagioWhat Tacye said. If they are not too far out of tune you could try ppushing the bridge pins in a little or pulling them out.
The Clarks are lovely instruments but those blades are a real problem. It may be sacrilege to purists but I would just replace them all with Truitts or Lovelands.
Good luck!
With some blades such as those used by Caswell and Triplett there is simple a shaft that is inserted in a hole drilled into the neck. You can adjust them by bending the shaft so that the sharp point is higher or lower.
That will not work on the blades used by Clark. Those blades have the shaft enclosed in a metal tube – if you try to bend them they will break.
Biagio
Second the tentative diagnosis, Wil. Not only does the string force pull the SB up, it also pulls the sides in. Then a slow separation develops if inner braces have slipped or been removed. As a used harp it will not be covered by the original warranty.
There is only one reliable solution without removing the SB and it is a messy one. A technician would remove all strings and the neck-pillar, then lay in epoxy coated carbon fiber tape on the inner edges where box meets SB. He/she would have to go in through the string access holes after thoroughly masking then from the epoxy. I don’t know how much a tech would charge for this; probably at least $500.
Biagio
