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I suddenly realized, yesterday – that a clip-on light is going to be a valued/vital accessory. I’ve been playing (wire) mostly by feel, and some visual reference (as much as light conditions allow), but have recently put some color to a few of my strings on my large harp – for which I need more visual reference. And with a light (from now on), this is really an aid for me. 🙂
I obtained a Fishman SBT-HP last week, as well. It does a wonderful job of amplifying the lows – particularly- on my little lap harp through my little Crate cimmaron – which is probably about like the small battery-powered Rolands. It sounds pretty good on my hammered dulcimers too. However, I haven’t had much luck with it yet on my wire harps.
Everywhere there is so much Beauty – and to be a musician is a most wonderful opportunity to study it. I’m often reveling and grateful for the ability and capacity to love and experience beauty – and the particular facility that the mode of music and being a musician enables!
Biagio
Indeed. Old music/traditions are so richly varied, historically and aesthetically fascinating, and have given rise to such evocative forms! I can’t focus study for very long in one idiom as for my captivation by so many: flamenco, al-andulus, Balkan, Arabic, Gaelic, jazz… (Humanity) is a deep well..
“Primitive” harps, m’bira, the potential of sound… Most compelling subjects. 🙂
You all have probably seen the Harrari videos already – but I’ve just happened on it this evening: https://www.youtube.com/watch?v=3mdowL7dVds
Others with expertise will no doubt respond to the string questions – but I’d like to address the other, with respect and not wishing to derail Allison’s thread.. I think, Janis, that you’re referring to the “Reverie” harp from Musicmakers? I believe that was conceived and designed particularly for use with/by persons whom are restricted to supine positions…I think this is discussed on their website. I do a lot of work with folks in nursing home, and would love to acquire such a harp (or zither) – perfect for this application. As it is, I use a small Stoney End – which is nice too, but more cumbersome of course. I hope to eventually acquire a small kantele for this application.
I understand what you say about the limited range of the smaller harps. However, in my view, if one IS going to limit one’s playing to simple melodies and figures available on such a small harp, the allure of wire is the best solution, as it conveys the most expression – with those few strings. IOW, it does the most with those few strings; every time I pick it up, I’m captivated by the sound – of just a single unadorned line or simple figure – on my small harp.
(I’ve been a “small”/portable devotee in past years – already played fiddle/mandolins, then got into flute and concertinas to assuage this obsession…I packed two double-cases – one with fiddle/mandolin, and the other with English/anglo concertinas! 🙂
Congratulations Allison! Is this a brand new harp?
FWIW, when I acquired my first wire harp, I did everything by trial and error. My first is an older harp that came to me with a couple of broken strings – and the rest appeared as if they’d soon break – as they were all well corroded and obviously quite old. Since I couldn’t even afford replacement strings when I got the harp, I kept everything tuned at least .5 or 1 step lower than normal – this reduced my string breakage rate as I was learning (from scratch). I filled in the missing strings with some extra hammered dulcimers strings – not ideal obviously, but it got me up and playing.
This harp would no doubt sound even more beautiful with new strings and full tension, yet – as I’m still poor 😉 – I still keep the harp as it is…it’s functional, and still beautiful-sounding. And, I still haven’t broken the old strings.. 🙂
Well I found my little 15W amp a little problematic – for convenience with all the instruments, I used a microphone – which wasn’t adequate signal. I have a keyboard amp that is perfect, except that the line-out isn’t functional.
I guess I’ll have to acquire something after all –
Thank you Sherj. I’m happy to be corrected – only my impression having read the forum here over the years. I haven’t seen very much posted on this topic (particularly in comparison), although I would love to find more..
I intend to start working with my large harp, too, some day; undeniably, its resonance is especially effective compared with the small harps. Although, the small harps do provide something special too: I place them in the laps of folks, like a zither (which is why I’m learning to play backward ; ) – this provides an intimacy with the instrument for the client, especially those who are limited to recumbent positions/bed. But the large harp will present limitations – in what else I can bring. What I particularly enjoy about the diversity of instruments and styles is that I can reach some with this, and others with that…some folks love the old jazz tunes on the plectrum banjo, others the fiddle, and most everyone enjoys the accordians..
And thank you p-j and b-k for your gracious comments, too.
On the subject of evoking those, in particular, who tend to show unresponsiveness to their normal ADL and environment, this is most rewarding, isn’t it. Of all the types of playing and performing I’ve done over the years, the clinical setting is to me rewarding in ways that others are not. As a volunteer, I can truly give. And having entrée to persons and their families – and when they are so vulnerable – as you mention b-k : to be able to give our gift – and employ our gift of supersensitivity – every day I am honored and privileged.
Oh, and BTW – I’m selective about where I go: I have a strict policy of visiting only the facilities that are in need – only the small, private ones typically with no dedicated “activities” staff. Most are corporate/for-profit, and I do not play there.
I so would like one of those…or a Roland, or other…
I have some gear left over from guitar days – a little Crate CA15 acoustic amp. I just plugged it into a Mesa Boogie 115 cab and, lo!, it drives it! My little piezo – taped to the top – even does an adequate job on my charango..
Great recommendation Biago – the harp is an instrument that so many find both visually and sonically alluring – and beckoning for physical contact (don’t we all know!). I like to be able to provide that tactile experience as well with a small, portable harp: I perform with other instruments too, so I can turn the little harp over to an interested party and break out something else – and play violin or mandolin along to the strums of the listener. This type of musical interaction is very rewarding as well!
I’m searching the posts for solutions to this question.
I’m in the same position as kentishlass: I’m playing at a market in a few weeks and wish to use a small lap harp with amplification. As I’m playing other acoustic instruments, I commonly simply apply a little piezo-contact with putty to the soundboards and off we go.. It’s not the optimal solution by any means – merely super convenient, cheap and easy (it’s not a concert, but merely a winter market). These little piezos do an amazing job for as simple and inexpensive as they are – the biggest concern is getting an appropriate amplifier and preamp system.
Allison–someone who has built a wire MM Limerick posted about it over on the new “wireharp.org” forum, on this thread:
http://wireharp.org/forum/viewtopic.php?f=10&t=6&sid=a509e660955f6009c07c48296584be85
