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OK. Troubadour VI. So, L&H Performance levers. Mounted _below_ the bridge pins (down the strings)…. So, when engaged they shorten the strings. So they must move the string sharper when engaged. It can’t work any other way.
Perhaps you’re looking at a harp tuned in Eb major? So the C, D, F, and G strings are tuned to those exact notes, and the E, A, and B strings are tuned one-half step flat (to D#/Eb, G#/Ab, and A#/Bb). Engaging those levers brings the string from one-half step flat up to pitch–but the lever still raises the pitch when it is engaged.
Can you explain further what you are seeing?
Vanderbilt Music in USA carries both, and describes both on their website. The pieces are in different order, with Nocturne and Reverie being reversed.
I thought there was a discussion on this forum a few years back about this very subject, but have been unable to find it. What I remember from that discussion is that the Leduc edition is original, There are several significant changes, including several measures quite different between the two. I understood from that previous discussion, and from no editor being mentioned in the Lyra edition, that Grandjany revised the piece for the later publication.
Both are written for pedal harp. The Lyra has notes made on how to modify for lever.
I haven’t found one either. Was hoping you were looking for a video to learn to play it from, and maybe could help you that way.
Reading Dave’s quote from the email (your “disappeared” post) it seems he is suggesting changing both stringing gauge and pitch range, lowering the latter. Is that what you understood?
To reiterate what many have said here before (and simplifying)—
assuming a given string material, changing gauge alone will make _no_ difference in string breakage. Changing gauge does affect the sound _and_ the overall tension, including how firm the strings feel.
However, lowering the pitch is exactly what one must do to stop breakage. If the gauges are appropriately increased along with a pitch reduction, overall tension can be maintained or even increased. But don’t get the gauge so heavy that the instrument breaks!
If the instrument was mistakenly manufactured, or was fradulently advertised for range, they owe you what you agreed to purchase. Collecting on that is another matter. At some point, you may be better off with some compromise, spending the time practicing rather than fighting about it.
Are you looking for video or audio?
The text is a paraphrase of a prayer attributed to St. Francis. Various versions of the text have been set to several different tunes.
I’m guessing you’re talking of the setting by Sebastian Temple.
Do you play the harp, perchance? It is pretty easy to play from lead sheet.
It definitely sounds like you need a restring and regulation. You should start with new strings, using the manufacturer’s standard string schedule, and not from any old strings that came with the harp.
If you want to try nylgut, it can be hard to find, depending on where you are. I’ve never seen it in the US, though sometimes one can find Bow Brand SilkGut, which is the same Aquila product packaged for Bow Brand.
If you are inexperienced with restringing, find a harp builder or harpist to show you how. The type of knot, and the way it is secured to the tuning pin can make a difference in string breakage. As said above, _where_ the original strings are breaking may be important information.
In general, any standard production harp with recent strings should not experience frequent string breakage like this. except….
with gut, (or sometimes nylon) in humid weather,
if it was restrung about 4 years ago with strings from faulty production lots,
if it is not being tuned to correct pitch,
if strings are being knotted and wound on the pin correctly.
Does any of this sound like a cause? What other information can you give?
Nice harp for a gift!
Howard Bryant is in Richmond.
Cunningham harps is in Atlanta (don’t know if they work on others)
I do repair work in Chattanooga.
Atlanta harp center may know of someone.If you want to post photos, and make/model of harp, someone might have additional ideas.
From what I had to look through at home:
Carolyn Bame, Christmas at the Bedside, Vol. 4 (Beg-Int.) (hard to find; I think it is only available from Carolyn)
Barbara Semmann, Nativity Carols, Vol. 2 (Beg-Int)
Ray Pool, Carols from Around the World, Vol. 1 (early Int.)
Darhon Rees-Rohrbacher, Christmas Classics, Vol 1 (Int.+)
Kim Robertson, PDF download, Harp Column Music (Int.)
In my industry, when we hear “squeak,” we think “stick-slip-stick-slip-stick-slip” happening very fast. I would try Johnson’s paste wax on that area of the wood, followed by buffing with a soft cloth. Do not get it near the levers nor near any brass parts. Some paste car waxes might also work, but they typically have a polishing agent, and often silicone. You don’t want those on your finish. Unless you are sure you’re getting only wax, I would stick with Johnson’s.
No matter what, it won’t hurt anything to try.
Off the top of my head:
Ray Pool in Carols around the World
Carolyn Bame in her vol 3 Christmas tunes
Sylvia Woods
and I think Gary Schocker in one of his Christmas books, and
I think Barbara Semmann also. (Will check on these last two tonight, if you want.)What level arrangement are you looking for?
I’m assuming you’re looking for harp solo?I can look through others tonight; I’m sure I’ve missed some
In my day job, building pipe organs, the exact same mystique persists about instrument design. Organists (and builders!) are forever talking about this or that builder’s “secret scale” formula that makes their instruments special to them. People even purchase the scale information if a builder goes out of business.
Knowing scale information means knowing the material, wall thickness, diameter, and other construction details of an organ pipe. Anyone with a tape measure and access to an example of a builder’s work can acquire that information.
What they cannot acquire is the ability to bring the sound of that instrument to life in a given room. Two identically scaled organs in different rooms, finished by different voicers, will be very different instruments.
For harps, the big difference is the harpist: technique, finger and hand position, strength, “pulling or plucking,” status of calluses. I suppose most of the voicing by the builder is determined in the design phase if one discounts stringing changes custom to that one instrument.
I wonder if one can “voice” a soundboard after the harp is built to alter its resonance?
When asked for a recommendation for a first harp, I almost always suggest a pre-owned instrument from an experienced builder. That way little depreciation is lost, and the instrument can be heard having developed its mature voice.
I learned on my first harp–when I didn’t know better. I thought I wanted portable, and cost was a real issue. I ended up with a 29-string, all nylon mono, down to 5th C. Fortunately, the construction, strength, and stability of the instrument were (are) excellent. Within a year, I had new stringing on it down to 5th F, with wires and wound strings up to middle-C.
The advantage I had was years of working with other instruments to know that it could be changed, and to not be scared by the process because I fully understood the physics involved. Otherwise, that harp would have been a huge mistake (learning experience!). I still have the reconstructed and revised instrument, and enjoy playing it, when portability is needed.
But I love the concert grand more 🙂
I am continually astounded at the things people can be offended by and “read into” written communications–especially on an internet platform.
People here know how much investment a harp is. Many have owned several harps that they later wished they hadn’t purchased–because they didn’t turn out to suit musical needs. It is perfectly appropriate to not advise another without at least finding some information.
Many people seem to think there are good harps and bad harps, and experienced harpists should be able to make a list of each. Rather like automobiles, though, there are few that are truly good or bad, but many which may not match the owner’s needs and driving style. The same harp, played by three different people, will sound different. Additionally, three harps of the same model, by the same builder, will each respond differently.
That it is inconvenient, or requires a lot of travel, while true and unfortunate, is immaterial and irrelevant. The cost of the travel is miniscule compared to the cost of purchase and ownership–especially if the wrong harp is purchased.
As luck would have it, Virginia Harp Center sent an email flyer today on this very subject. The video they link is here:
Two caveats/corrections: He states the string pressure as 2000 pounds per square inch. Two thousand pounds total is the correct force. Second, a vertical crack in the soundboard that is away from the string rib may not mean a new soundboard. The lengthwise wood grain is only a thin veneer for appearance. The strength of the board comes from the horizontal grain wood hidden behind.
So, it is more important to carefully examine the back of the soundboard with a good light inside the harp, whether or not there are any cracks in the face.
