Forum Replies Created
-
Posts
-
I would guess that depends on experience. I sold a medium tension FH26 to a priest who used to be harpist for the Chicago Symphony – she picked it up right away. You cannot use the same force, obviously.
There are however a number of lever harps that are strung at concert tension: some of the Camacs, Salvi/L&H, and the Dusty Boulevard for instance. Perhaps you could try various lever harps at a showroom?
Looks like it to me too, Tacye. Given the choice I’d favor repairing the Style 15 over buying a new harp, whatever that might be.
I do agree that it would be a good idea to look into repairing your L&H rather than buying a new harp. That said, moving over to a few more comments about doubles:
Cost – a double will cost more than a single mainly due to lever cost. Regulation is the same as any lever harp.
Design – construction is actually easier than a single: string torque is equal on both sides of the neck.
Structural – the design for an existing single model can be easily modified; the neck may have to be somewhat wider and/or be reinforced and the sound board about 40% thicker (an in some designs wider), but that is trivial. Repair (hopefully not needed for a long time) is the same as for a single
Weight – the double will be somewhat heavier, especially if the tuning pegs are tapered rather than zither types. Smaller doubles can use zither pegs.
Range – while you can change an arrangement so that the bass is an octave higher, perhaps you really want those low notes – more costly, obviously.
Arranging – if you are not comfortable with arranging scores (ie are paper trained) that could be an issue.
Portability – I’ve seen no issue there; of the 20 or so harpists that show up at our annual retreats, three or four play the double. It is wise to have a soft case, as with any harp.
Availability – does demand drive design or the other way around? At present in the US there are only five or so makers: Rees, Blevins, Stoney End, Dusty Strings, Argent Fox. Rees has the widest selection. Some smaller shops will make a double on demand: Sligo, Thormahlen, probably Blessley for example.
Best wishes,
BiagioI hate to disagree with my friend Tacye but here I will. A double is played with the same techniques as a single, so there are plenty of resources. It has also in recent years gained significantly in popularity although it is true that there are fewer players, still.
Where I DO agree is in that there are fewer teachers for the double specifically: Laurie Riley and Cynthia Shelhart are the best known. Both have videos on Youtube; Laurie has a DVD out as well and also teaches via Skype.
The main issue you will run into at first: retraining your eyes and hands for the double row. This may take a few weeks. On that particular harp the strings angle in to the SB rather than being equally spaced, which some players find takes a little longer to get used to. Those are the Cons.
Here are the Pros: your hands will not run into each other so you can play in the same octave; there are a number of additional effects that are not possible on a single (e.g. doubling aka echoing). I’d suggest that you watch Laurie’s Youtube tutorial which may give a better overview of the possibilities.
https://www.youtube.com/watch?v=VMG9lZOwJds&t=1722s
Biagio
Hi Wil,
Indeed, putting together a kit harp is not for everyone. Especially if someone lives in an apartment with limited tools and limited interest in crafts! I just meant that the technical aspects of harp design are already taken care of (fitting critical joints, figuring out string design etc.)
If the choice were between a Fireside harp and the Pixie…well, you know my opinion of these Pakistani built harps. To whit “blah”. On the other hand, the Fireside is not only easy to put together, just doing it teaches a lot about acoustics and how harps “work.”
On the subject of cost, it might be helpful to “hpn” to know that up to 40% of that is due to levers alone. Wow. If expense is a big issue I always suggest that a beginner go with only a few or no levers at first – add them later after technique is comfortable.
Returning to the OP: one can learn a good deal with a small harp (19-22 strings) but it is pretty limiting. Comparing cost to size, I would go out on a limb and say that a 19 is really only suitable as a wire strung harp, for camping, or as a curiosity.
BiagioWil wrote:
” it takes a lot of technical insights and skills to build a harp from a kit.”
No offense, my friend, but I think that depends on what the kit is like and how clear the instructions. Musicmakers’ are all pre-fitted and pre-drilled, you just have to “glue and screw.” Building your own harp can also be very satisfying.
If in doubt whether a kit is for you, read the instructions before ordering. Disclaimer: I am not affiliated with Musicmakers LOL.
Regarding the Backyard and Harpsicles: they are fine but I feel I should note that these are lap sized harps – it is a lot easier to learn how to play a harp with a floor sized model.
Fitting levers runs from time-consuming to easy depending on the kind of lever you choose; stringing a new harp can also take some time and practice. There are plenty of instructions and videos on both.
On the other hand, sooner or later the harper will have to regulate levers and replace broken strings, so those are things they might as well learn right at the beginning.
OK, that’s my “pitch” ha ha.
Biagio
If you have access to some minimal tools you might take a look at one of the Musicmakers kits. For your concerns about volume, price, versatility and size I might recommend the Belle:
https://www.harpkit.com/belle-harps.html
This is a popular kit harp for Celtic and jazz players with it’s light tension but of course not limited to those.
Good Wishes,
BiagioIf you listen to music – CD or the radio – at a reasonhable decibel level, that is likely louder than any harp except an amplified one, or a concert sized harp played as loudly as possible.
Some some Paki-made harps are OK, some are not, most often the levers are junk in any case. You would be better off with the Backyard harp that Wil mentioned for a 19 string harp. One of the Rees Harpsicles would be a better investment.
Hi David,
Well, there are many good harps out there and it can be confusing to choose – don’t I know! Furthermore, our likes often change as time passes – boy do I know that too. I started (briefly) on pedal harp, moved to lever (single and double), now mainly pay the wire strung clarsach. And built all but the pedal one….Sheesh.
If I were able to do it all over again, I’d start with a good but not overly expensive fully levered and fairly standard instrument i.e not the double or clarsach), minimum 26 strings. In fact, I might leave off some levers or even all to save money (more can be added later).
Learning correct technique, intervals, and basic theory are absolutely essential if one is going to progress and enjoy playing the harp. Levers (or pedals) are not necessary in those early stages and at $15 or more each levers add to the cost very quickly.
My first choices would be either the Ravenna, or the Musicmakers Jolie or Voyageur kit.
Just one opinion – have fun whatever you decide!
Biagio
Hi David,
Your fingers and technique can adapt to various spacings and tensions (factoid: there is really no “standard” among lever harps). But if you contemplate ever moving to a higher tension instrument the Serrana might not be the best choice compared to the Ravenna 34 – which costs $1,000 less. What does your teacher say about this?
If you do not have a teacher, all the more reason to choose the Ravenna IMHO, since there are far more “teach yourself” resources. These “South American” style harps can be played with the same techniques as others but actually are designed for very rapid playing, often with the nails to produce similar sounds to the Spanish guitar. Traditionally as well, they are never played alone but one of several instruments in a band.
This is not meant to discourage you from the Serrana, it looks like it would be a fun harp. We could probably offer more informed advice if we knew a little more about you: what kind of music you like, what attracts you to the harp, any musical background, and so on.
You might also submit your question to Christy Mooer on Dusty’s Forum; I am sure you will give you an honest, objective opinion.
Biagio
This is a good point Hearpe, and indeed it is most noticeable where the sides are thin – say about 1/4″ as most well made harps are. One further observation: sound waves travel best along the grain lines, so for optimal transmission the sides should be quarter-sawn.
That could be a problem though since the force from the strings will pull the sides in and possibly rupture without bracing. I know of one very well respected harper who actually removes those braces and reports no ill effects.
I’d guess that most makers are conservative, tending to over build – as Dave Kolacny says “I don’t think it is possible to over build a harp neck.”
For such a seemingly simple instrument it is really fascinating. For my part I would say “I don’t think it is possible to build the perfect harp!”
One can find these physical properties and much more in the US Forestry Service’s document (pdf) published by the Forest Products Laboratory. Search “physical properties of wood pdf”
Blessings all,
BiagioHi Allison, Jennifer and Wil,
Yes, the sides of Stoney End harps are plywood. People make a Big Deal out of what kind of wood is used in a harp’s body and how that affects tone but IMHO that’s a much over-blown idea. Sure, there is some audible difference but so many other factors are at play as well: size and shape of the sound chamber, access holes, type and length of strings, heaviness of the neck and pillar, etc. etc.
Same goes for the sound board material: Dusty’s FH26 and Rees’ Morgan Meghan (a 27) use solid wood but the former is mahogany and the latter poplar. The FH sounds “brighter” to my ear than the Rees and yet – perhaps surprisingly – I don’t hear much if any difference between the FH and my own 2×26 – which has a high density laminate SB but somewhat longer strings.
All of which just reinforces Wil’s suggestion to try a harp if at all possible.
A few other remarks for what they’re worth:
Regarding those bridge pins, it is necessary sometimes to file the ends if you can’t get the lever close enough. Dusty supplies those (see their hardware catalogue) or read what David Kolacny writes in “Trouble Shooting Your Lever Harp”. A booklet that every serious lever harper really should invest in, by the way.
On climate: every high end maker, in the US at least, dries their SBs in a special chamber before fitting them to the harp body. There is little chance of breaking in most climates IF any change is gradual. It is a sudden change in humidity and especially temperature that can put the harp at risk.
Happy Holidays to all,
BiagioWhich double – or single for that matter – is obviously a matter of price, preference and availability. For myself, having played both the Dusty and the Rees’ I would go with the latter hands down. Dusty is, of course, and excellent firm but they on make one double (a 26). Rees makes five, from a lap sized to a full sized 36. Just my preference.
Biagio
Hi Jennifer,
The short answer (sorry, little pun) to changing the shorter strings is “Not readily.” If one wishes a lower range one must have either longer strings, heavier ones, or both. That could mean a different design entirely, that is to say, a taller one. Usually!
However, somewhere in the archives is a discussion about dropping the range on a Stoney End double (? a Brittany?) which includes a string set one fourth lower on one side. See Mae McAllister on “Double Strung Saga” or something like that. That was a kit so Mae could make the necessary changes to hardware: larger eyelets and enlarged holes for some of the Zither pegs.
WRT 22 vs 26 strings, most if not all designs simply add more to the bottom e.g. the lowest for a 26 would be a C (range C-g). The idea is that for a 26 the base tuning would be to C major, for the 22 G major. There’s no particular “law” about that, just what makers assume during the design.
There’s also no reason that you cannot ask a harp maker for a different design – it would be a custom instrument, though. Most smaller shops such as Sligo, Blevins, Stone, etc. might consider building a custom harp, but of course that would cost more than a standard design with a longer waiting period.
Best wishes,
Biagio
