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One other thing to consider (and I say this as a lever harpist only) is to make sure the instrument you choose has the right tension for the music you wish to play. While I know many fabulous pedal harpists who play Irish music on concert tension lever harps, I would find that challenging.
I have played at Ren Faires and in pubs at trad sessions in the US and in my new home of Dublin for several years. Volume is important, but a medium/lighter tension is equally if not more so. Choice of wood and maker of harp can also provide more volume (my maple harps cut through more than my walnut and cherry ones).
Trad ornamentation has several differences (lots of quick slides, repetition, and rolls/crans) from classical ornamentation. Some of the larger manufacturers actually make harps specifically with the “trad” player in mind (ex: Camac makes one specifically designed for Janet Harbison). Yet another reason to try to get your hands on a harp before buying.
As a last bit of info, three of my four harps (including the two I play in sessions and at faires) are both square backed. It hasn’t bothered me to have a flat back, even when playing for 9 hours at a particularly rollicking set of sessions in Dublin a few months ago.
Good luck!
I have a Wenger Port-a-stand. It’s portable but has a really heavy base. It also has two elastic straps to hold the music in place. I’ve used it for outdoor playing quite a bit and it has done well.
I also really enjoy the fact that it can go down to a short height. Great little stand: http://www.wengercorp.com/Stands/Portastand.html
I have a 22 string Argent Fox and a 25 string Triplett Christina. I have traveled on planes with both: the 22 string to Ireland from the US and the 25 string on various planes across the US.
I like having those extra 3 strings on the 25 string, but I will admit there were times I was sweating going through security and wondering if they’d allow my 25 string on the plane. Luckily, I’ve had no problems.
I do not have specific experience with the Zephyr, but I absolutely LOVE dealing with Triplett. They are great folks and have gone above and beyond any time I’ve had a question. When the Camac lever on my Christina broke, they sent me a new lever, and the appropriate allen wrench to replace it all free of charge.
Sorry if I’m late to the party on this, but I recently bought a Wenger Portastand: http://www.wengercorp.com/Stands/Portastand.html
I primarily play Irish music and get the stand really low in order to simply be a reference tool since I’m only chording. It also has the benefit of being easily portable, but pretty sturdy. (It even has a shoulder strap). The stand itself has a cloth cover with straps that hold down your music, and the cloth comes in a few different subtle colors. I don’t mean to sound sales-pitchy, I just love this little stand!
You can see how low I get it to sit on this video of one of our performances: http://www.youtube.com/watch?v=Z2W1RbKmAmE&context=C4f78ab0ADvjVQa1PpcFNDAltO4MbJdnMLIa_gs_ss62uIw0FmEos=
I flew on Southwest this past Christmas and carried on a Triplett Christina. Had a few moments wondering “what if they don’t let it on?” but had no issues. I think Southwest might be better than other airlines since they don’t make you pay to check your luggage. It seems their overhead bins aren’t as full.
Even the TSA people were really friendly and made sure nothing bumped into the harp on the conveyor.
I would just plan on arriving as early as possible and checking in 24 hours in advance online so you’re in an early boarding group.
I can speak regarding Irish traditional (as that’s what I play): you definitely need F & C levers, and if you can afford it, B levers.
Those three would get you pretty far in most Irish traditional music.
Pamela Brunner used to do the painting on Heartland Harps when they built wood harps. You may want to check with her.
You could also try a decal (here’s one place that sells them: http://www.harpdecals.com/) or you could get some decal paper and paint on that. The great thing about decals would be the fact you could change them when you tire of the design!
Good luck!
I have just starting playing in a traditional Irish band (we’re a trio: fiddle, harp, and bodhran). I tend to play the harp more as an accompaniment instrument to the fiddle.
Even though I’m classically trained (voice), much of Irish traditional music is taught and indeed played without written music. This can be a bit daunting at first, but what I found is by knowing which mode/key the song sits in, you can do wonderful things with accompaniment simply by experimenting with chords (it tends to be a mix of I, IV, V, and vii, ii).
I’ve found that since I started playing in the band I’ve gotten better at this, and now when we’re doing a new tune, I just ask the fiddle player which key and I make up things as I go along, and it actually works!
Probably not the exact answer you were looking for, but if you have some time to work with your flute player, you might be able to come up with some wonderful arrangements on your own.
