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Excellent point Balfour!
I love the Adjusrite bench and chair although they are expensive compared to let us say an ordinary desk chair that is 18″-20″ high. Many harpists do not go in for the Adjustrite but just add a pad if needed. Most in any case tip the harp back to rest on the thigh (or shoulder if a pedal harp, which is designed for that balance point).
Speaking of Laurie (different thread) she is about 5’8″ with long arms and often uses a stool that is only about 14″ high. So did Jocelyn Chang (my first teacher). Jocelyn was only about 5′ tall yet played an L&H Concert Grand.
Honestly, Jmoir, I am not being flippant when I say that I do not know any serious harpist who has just one harp which they have stuck to from the beginning. And as we have said many times here on various threads what a harp sounds like in someone hands may not sound at all the same in someone else’s.
For what it’s worth I would suggest that at this point in light of the paucity of stores in your area that you buy the Dusty Ravenna 34 and use that for mastering technique – which may take you several years most likely. Later on you will have developed your own preferences and style. There is a ready second hand market for the Ravenna, or you could keep it for informal gigging.
Sometimes I really really wish that I had done that instead of forging ahead into harp making. I would have saved a lot of time and money (and probably be a better player too).
Best wishes to you both,
Biagio.Carikyn has published some tings but I would suggest as well Laurie Riley who is and was the early master of the modern double. She has published a number of boos and DVDs about the double (I think her “introduction” is also on Youtube).
The double allows for several unique techniques and effects which both Laurie and Carolyn demonstrate; other than that one lays it exactly like a single once your eyes get used to seeing two rows.
I’ll do my best, my friend. Let’s consider posture first: feet flat on the floor, back straight but not rigid, thighs parallel to the floor, head and shoulders relaxed. Hands should each easily to the middle of the strings.
Most 5+ octave harps should be satisfactory but in your place I would probably prefer one that is fairly taller than, say a Dusty FH36. Be advised that long bass strings provide significant resonance and sustain however, that some might not prefer. I do, My custom made 36 is 64″ tall which is larger than most – I have to do a lot more damping than on shorter ones.
It’s no longer being made, but I would think the Salvi McFall ideal and if you can find a used one in good condition grab it. The L&H Troubadour and Prelude would also be fine if you are OK with the pedal gut strings and tension. The McFall was somewhat lighter and for a long time the concert lever harp played by Kim Robertson. I think that Frank Voltz plays a Prelude.
Best of fortune in your search!
Biagio
The Drake harp looks nice and I am intrigued by the new string material. WRT “tension”: many people find this confusing, believe it or not.
When harp makers refer to tension they are referring to static tension – i.e. the force prior to the pluck.
Many players on the other hand think of the force required to pluck the string for a good tone. This is more accurately a different physical term – “resistance” – but it is very difficult to come up with a non-confusing way to measure that so we use instead the ratio of tension divided by length. Unfortunately few makers publish the data needed to evaluate this so if in doubt it is always best to try the harp yourself.
This confusion between static tension and resistance can lead to fallacious ideas; here are two common examples:
-“Gut strung harps are at higher tension than nylon strung” Not necessarily, you can replace nylon with gut, assuming appropriate diameters, without altering the static tension but gut is less elastic so the resistance is greater.
“Wire strung harps are at very high tension” Again, nope. It is true that a wire harp may have the strings closer to the breaking point than with gut or nylon but again that is a question of the material’s elasticity (and density). I have two 26 string harps, one nylon, and the other bronze and silver. The nylon one is actually at higher static tension.
Hmmm…well I posted some Youtube links but it appears that that the HC spam filter did not allow them. Maybe they will later but for now the best I can di fir you is to suggest that you search for them on YT. I listed Yolanda at the tiny desk and a collection; Catrin playing the Goldberg variations and with Sekou Keita; Frank’s jazz version of Ode to Joy; The History of the Harp hosted by Catrin; and just for fun Harper Tasche playing Prelude in C on his cross strung.
Sorry about the HC censure (grin). But just hop on over to YT and search – you’ll find others I’m sure that illustrate technique (as well as being great music).
Cheers,
BiagioHere are a few of my favorites:
Anything by Yolanda Kondonassis and Catrin Finch
Speaking of Ms. Finch, see also her BBC documentary on the harp’s history
Anything by Frank VoltzDidn’t I mention that Gretchen? Thought I had, but you are of course correct. Also I don’t know what it would cost to crate the harp, but for a pedal instrument I guess it would not be trivial???
Great observations Gretchen! That will give you an idea of some bargaining room once you have decided on an opening bid. You do not mention the strings’ age but the cost of a new set and new regulation are other negotiable items.
To give you an idea, an in-house regulation by an L&H technician runs around $400 before required materials. It is hard to estimate the string cost without knowing the model So as a low ball park let’s say $500. So there you are as a possible starting point:
Cost new less 10%-20%
Less regulation and strings $900
Shipping and insurance is usually paid by the buyerSo I guess you have a few thousand dollars negotiable.
And thank YOU! It is gratifying to learn that my remarks have been helpful – at least most of the time, haha Sometimes I babble.
I have found that harpists and harp makers are among the most generous people in the world so one might say that I am just returning the kind guidance that I received.
Best wishes in your harp journey!
Biagio
If you can make a price comparison on other used harps offered for sale that might be helpful in determining an opening bid. For starters, check the harps on consignment at the Virginia Harp Center, The Harp Connection and Kolacny Music. An hour or two of googling will lead to other sites.
Think of it like house hunting: the seller will have probably made some comps (or their agent will have done), so you do the same. But it is probably not a good idea to low-ball if you already like the harp as it is.
If time runs out for the seller they can simply put it on consignment. They might not get the price they want but OTOH they can leave the bargaining to the dealer. If the dealer gets an offer they will then contact the seller, but he or she will not be stuck with storage or shipping.
It is worth mentioning that a used harp may actually sound better than a brand new one of the same model. It takes a few years for the SB to reach it’s optimum tone.
They are not amateurs but here are a couple of good reads all the same:
David Michael – “Busker”
Laurie Riley – “My Life in Music”It sounds as though the seller is not particularly anxious, but maybe not. If, as you say, the harp is in great condition and has been recently regulated, I would offer what I could afford and if they find that acceptable – great. If they counter that will give you an idea of how motivated they are. In my experience, a person selling a good or great harp is not going to want to dicker much and trying to really drive the price too low will turn them off.
Not to be picky but let’s recognize that in principal major and minor keys are simply two of the seven recognized modes and even determining those are sometimes problematic. Looking at the key signature might suggest that it is in G but it may in fact be pentatonic or a harmonic minor, or some other. As Charles says, playing the piece an examining the chord progressions is a more reliable guide.
