Forum Replies Created
-
Posts
-
Hi Allison – thank you for posting your experience.
Congratulations on your build. Your graphics are beautiful (I’m a big flower person too 🙂 and youve created a wonderful piece. I so admire you folks with the impetus to build and paint…all I seem to be able to make time for is playing music (after having done grad school in art! Lol 🙂 )
A wonderful summer to everyone!
-Randal
It appears the author of the thread hasn’t checked-in in a while .. I do hope that the desire for a harp hasn’t waned.
FWIW, I have a Cunningham 22-str harp that I don’t use – it would make an excellent camping harp I suppose, although I haven’t done any camping in quite a while (were I to camp now I would take some of my little instruments – flute, charango, m’bira, etc). My intent was to use it as a therapy harp, but I’ve other instruments that I prefer. I suppose it would make a rather fine camping harp – and it already has a couple of dings in it, so it needn’t evoke particular concern for its cosmetic preservation. A great wee harp that I’d be willing to pass along at a good price to someone who will put it to use. Email me if you’re interested in photos, etc.
Welcome to harps and the forum m-cat.
I totally understand your excitement and eagerness to begin with a larger instrument! When I eventually made the commitment to harping, I had difficulty being patient – as I’m not inclined to delay my pursuit of creativity, which is impulsive inspiration. I lived in a rural area when I began harp, and being of limited resources, I had to procure my harps via ebay. So, some amount of patience is necessary I’m afraid. There were a Blevins or two on ebay recently, btw.
Personally, I would not spend money on a harp of dubious quality from an unreliable (“unreputed”) manufacturer unless at a dirt cheap price, or you will likely eventually find yourself in the same position as this CL seller mentioned – trying to unload it to an unsuspecting buyer. However, I could see the efficacy in acquiring such a harp for a temporary solution, with the understanding that it’s more or less “disposable.”
The good news – eventually, a quality instrument, within driving g dustance, WILL present on Craigslist. Even in rural Montana – I was able to acquire a Gustavo Arias celtic last autumn (for about 1/10th of its retail price), as well as my Triplett 30 wire a couple of years prior. Last month i was also fortunate to purchase a Cunningham lap harp on ebay – again at about 1/6th its retail price). So, great harps, at great prices, are around; search diligently, and one will find you.
Yes I have two (Triplett) wires. Thank you, but I’m entirely past doing any such work with my hands due to chronic pain issues – it’s why I gave up guitar: it’s a challenge doing even house chores, basic repairs ..
After life of classical and flamenco guitar study – and all the while ‘conceiving’ of harp, aspiring to play – I was primed for harp. The highly technical idiomatic devices involved in flamenco are as rigorous an exercise as a hand will encounter among any/all the instruments. In this instance, playing (the guitar) facilitated an ability on the harp (there are even several shared aspects); of course, the left hand (my fingering hand on fingerboard strings) had to be brought along more, as it had to make more of a transition..
Other instruments also are highly nuanced in their technical requirements – orchestral strings, wind instruments, etc; naturally these have less overt ‘analogue’ in harping technique. But the classical/flamenco guitar, for me, carried over exceptionally well: when I was considering acquiring my first harp (as an older adult) I imagined it would be technically ‘easy’ to play – technical elements/mechanics in the right hand, given my previous experience – and when I first picked it up it was exactly as I’d imagined.
I play trad tunes (Irish/Scottish), O’Carolan, repertoire from the ap Huw manuscript; so, I’m practicing tunes and techniques relative to this idiom alone – rather than working on broader expansion of repertoire/technical advances – and actually am studying other instruments similarly – fiddle, free-reeds, flute – deploying much the same technical and stylistic ‘vernacular’ (in the ornamentation, phrasing, etc) on each.
FWIW – I believe this aspect (whether study with an instructor is essential) is largely dependent upon what one aspires to in their playing. Viability is likely a mix of factors – particularly for an advanced musician on other various instruments.
Also, those Smartwoods and others available as kits – much easier to ship overseas…maybe ask a friend to help you build it .. visit the arts colleges on your campus – I’ll bet there are a few who’d enjoy putting together a harp. As Biago says – a good quality is what’s important here.
Hello Linika – I suggest searching online auction sites in your region for a used QUALITY small harp – such as the “Stoney End”; these are often available on “ebay” quite inexpensively here in the US – although I’m sure there are fewer where you are. These are great for the medieval music/scene. I have one available here in the US, but as you mention – shipping overseas would likely be cost-prohibitive. But, I’ve always wanted a nyckelharpa – and they’re rare (and expensive) here!
BTW, nice-looking cat there 🙂
Yes, mine too (as Tayce’s). It’s a lightly-built little harp with not a great deal of tension…and in this corner of the stringed-instrument world (as opposed to fingerboard strings – guitar, violin, etc. – where just a wee-tad too much neck/fingerboard concavity (“relief”) renders an instrument virtually unplayable), the deflection-curvature of a little folk harp hasn’t nearly the same profound affect; unlike with fingerboard instruments – the structural flaw here has little if any discernible affect on fingering, playability, etc..
What you paid was about the most-inexpensive price you’ll typically see these going for; in my estimation, you won’t get much better sound on a wee-harp at this price. As you’ve observed, the soundbox is quite resonant and lively – I don’t think you’ll see that in one of those cheap import harps..
Enjoy it – don’t worry abut it imploding – it’s a quality little harp for not much money (in this case). The curvature means little here ..
I have four harps – and not one of them is exactly what I want…but I live in the rural western states and choice among harps isn’t a particularly prevalent option..
“I’m hoping the Stoney End will be brighter..”
I have an Eve 22 – in walnut. It’s a very bright-sounding harp. Again, I acquired it as it was a wonderful bargain (only 2/3 the cost of yours – if yours is the recent ebay Eve in cherry…also a very good buy, BTW). It’s strung high (G-G) so, it’s a bit idiosyncratic…but perfect for the ap Huw repertoire I play…and tunes (medieval harp may not be everyone’s cup of tea, but there is certainly music to be made on small harps – http://www.dafyddapgwilym.net/video/play_eng.php?src=mms://mrcstr1.swan.ac.uk/cymraeg/5solo.wmv&title=Caniad%20San%20Silin&performer=Bill%20Taylor©right= )
…and wonderfully portable (consequently, I play this harp publicly much more often than my larger harps). If you’re desiring to learn a more modern repertoire, it may pose some limitations…but sound is not one of them. Enjoy it – if you don’t like it, you can probably sell it for what you paid.
Well, one reason why guitars are ubiquitous – is because they are, both, extremely versatile and effective. A decent intermediate-level guitar can be had for only a few hundred dollars – or much less if you’re astute; because of their popularity hundreds of thousands of them were/are produced (distinguished from the hundreds of thousands of pure rubbish ones) – they’re everywhere and very easy to get ‘hold of a fully functional and decent-sounding one for quite cheap. (It’s the same with accordians, btw – because so many were made, a plethora of beautiful-sounding vintage accordians are available for a relative pittance)
I love the sound of zithers too (autoharp, “lap” dulcimer, etc.) – ergo my penchant for playing hammered dulcimer (and wire harp, for that matter) – and am quite fond of the myriad traditional zither-style instruments. particularly from Scandinavia. Quite beautiful music can be made in rudimentary modal forms on rudimentary lyres, lutes, and zithers – I assuaged my love for the sound of wire with these instruments for decades – before I was finally able to procure a wire clarsach.
Or perhaps other instruments? – an m’bira (kalimba), for example, can be carried in a handbag … or melodeon (button accordion) – quite small, easy to play simply, excellent for song accompaniment (portability and ease is in fact what they were/are made for, and again, a quality beautiful-sounding vintage instrument is a wee fraction of what it cost new…caveat – must know what to buy)
Rachel – I’m not sure why you might think it’s outlandish to begin studying/playing a second instrument (especially one so well-suited to your accompaniment needs). In my 45-some years of playing, it would be easier to list instruments that I haven’t studied and performed with – cello and viola, and brass. I’ve studied oud, saz, charango, hammered dulcimer, violin/fiddle, doublebass, woodwinds, drums, guitars/banjos/mandolins, piano, piano accordians, button accordians, concertinas…and whatever else…
Of course, I do think I’m a little crazy – my case is somewhat extreme and I cant’ say that I’d necessarily recommend such an apporoach. I think I’m particularly in-love with form, and so I can’t help myself – playing so many different styles…it does get a little nuts. It is nice, however, to have a big bag of tricks in that it’s easy to entertain people…although, hauling instruments around is a hassle ..
