The word ursnaidhm (and variants) appears in Bunting’s 1840 book, where it is also translated “The wooden pegs to which the strings are fastened”. Today I was restringing my Student Downhill harp with only four gauges of wire, and I thought I would experiment with the toggle windings, following the historical evidence.
While working on something else I came across this from last year which I had meant to write up.
Understanding the tuning and stringing of an old harp requires knowledge of string lengths and angles. This basically means measuring between the tuning pin and the little hole in the soundboard where the string goes in. But Ann Heymann pointed out to me years ago that on the Castle Otway harp, you can’t see a lot of those holes, because the metal strap down the middle does not line up with the string holes in the wood.
I have been discussing stringing possibilities of a harp made by a French harp maker, supposedly as a copy of one of the old Gaelic harps. Analysing its string lengths I noted that its scaling was suspiciously slow.
(Scaling is the technical word used to describe the ratio of string lengths across the range of a harp or other stringed instrument; a slow scaling means the strings increase in length more gradually as you move from treble to bass.)
Then I remembered that I had come across this slow, even scaling before, on harps modelled after the “Bardic harp” of Gildas Jaffrennou.