Tag Archives: strings

Knowing about na comhluighe, but not using it?

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?

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Tactile cues in string feel

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.

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Restringing the Queen Mary harp

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.

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Trinity College harp stringing and tuning

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.

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