Patrick Byrne explained to the collector, John Bell, about the unison strings on a Gaelic harp which are called na comhluighe, or the sister strings:
The open on the bass string of the Violin is one of the Sisters on the harp. The next string below on the harp and it, were tuned in unison, for which reason they were called the sisters. These two unison notes are sometimes called, and in ancient times were called, Ne Cawlee – or the companions. Afterwards they were called the Sisters.
The harp is tuned to the Sister note
(John Bell’s Notebook, cited in Henry George Farmer, ‘Some Notes on the Irish Harp’ Music & Letters vol. XXIV, April 1943)
But did Byrne actually use na comhluige on his own harp?
Continue reading Knowing about na comhluighe, but not using it?
When I first strung my first harp with brass wire, I ordered only four reels of brass from Malcolm Rose, in just four gauges of wire. I was inventing my own stringing regime, and I was inspired by the late 19th century scheme on the harp in the Kingussie museum, which was measured and published by Keith Sanger and Alison Kinnaird in Tree of Strings (appendix A, p.213)
I thought it was not sensible to follow a late Victorian revival scheme, and the jumps in tension and touch between the gauges seemed crude, and so I purchased more reels to fill in the intermediate gauges, and ever since I have (like others working in this field) aimed to have gentle transitions in tension and touch from one gauge to the next.
Continue reading Tactile cues in string feel
I realised it would be somewhat hypocritical of me to recommend my new Trinity College & Queen Mary harp stringing and tuning schedule, with na comhluighe (the sisters) at middle c, if I didn’t put it onto my replica of the Queen Mary harp.
So, last Sunday’s work was to remove all of the old silver trebles and gold basses, and put on the new brass trebles and silver basses according to the new scheme.
Continue reading Restringing the Queen Mary harp
I designed the stringing and tuning regime for the HHSI Student Trinity harps back in 2005, based on how I had previously set up my old copy of the Queen Mary harp. My aim then was to present what we knew of the 18th century Irish harp tradition – to have na comhluighe at g below middle c’, and to have a complete octave below na comhluige down to cronan G.
Continue reading Trinity College harp stringing and tuning
I just removed the old strings from the Dolmetsch harp.
Continue reading Archiving the old strings
I first got hold of one of the HHSI Student Otway harps back in 2007, as part of the very first batch of two, made by David Kortier for the Historical Harp Society of Ireland. I believe there may only have been three made in total – one is in the north of Ireland, one was sold to a private buyer, and I currently have at my house one that was made in 2009.
Continue reading Restringing the Otway harp
I have been preparing the harp for some work I am planning on it. Continue reading Preparing the harp
Last night one of my gold strings popped. It was the f below na comhluighe, one of the original strings I put on the harp when it was brand new in 2007, half-hard 18 carat gold from Blundells in London.
Seeing as one of the higher gold strings had gone, I have taken the chance to redo the stringing and tuning. I took off the two gold strings above the one that went, and replaced all three with silver (the upper na comhluighe with one of my own dust-strings). And I tuned the harp to a new pitch standard of approximately A495/370.
Continue reading A495/370
I have been making silver harp strings for five years. I buy in stock silver wire and draw it down to the size required, which makes it hard as well as thin.
Today I managed to take wire-making to a whole new level. I took 5 years worth of filings and silver dust, and melted them down into a little ingot which I forged into a rod, and drew down into wire. Starting with a pile of dust I finished with a piece of 0.48mm silver wire, about 32cm long.
Unfortunately there was a flaw in the wire exactly half way along, and of course it snapped there almost as soon as I started threading it into the harp.
Using a thin metal toggle I had just enough to put one half onto the highest string of my Queen Mary harp replica. It came right up to pitch and sounds great. Here it is, wound round one of the new iron split tuning pins:
I stopped annealing it at about 2mm diameter so I rekon on this being about 75% reduction – or “extra hard”. It was pretty brittle trying to wind the toggle, which I presume is from the minute flaws and inclusions from my casting, compared to the very pure metal that is produced by the big industrial producers we usually source wire from.
Now I need to repeat the process with more scrap, trying to produce a longer and thicker finished wire…
At the beginning of January I was fiddling with the setup of my harp, as part of an ill-fated New Years Resolution to change its tuning. For the last two months I have had 10 gold, 10 silver and 10 brass strings on (nominally), which I liked because of the neatness and symmetry of the counting.
Taking the silver 3 notes higher than it ever used to be, up to an octave above middle c, must have emboldened me. The silver I am using now, and the way I am drawing it hard, seems to work very well for thinner higher pitched strings.
Also I have been pondering the Ouseley quote about the silver strings on the Trinity College harp.
So the latest scheme (pictured below) takes the silver right up to the top of the harp. The only exception is the very highest string which still has Dan Tokar’s experimental super-hard-drawn gold wire from years back. I just can’t bring myself to remove it!
The sound of the high silver is nice, more creamy and fluid that the brass. I think I always felt that the high strings on this harp were a bit pingy; I swayed between thinking that the treble end of the soundbox is too thick, or thinking that it is meant to be pingy as a contrast with the singing midrange and the roaring bass, or thinking that if I could only get the right type of brass (red brass, yellow brass, hard-drawn, latten…) then it would become perfect.
Now I will watch how these high silver strings hold up for a couple of weeks. If they behave themselves then I’ll probably keep them going for a while.