In the early 1900s, the Belfast carpenter William Savage and his younger brother Robert made a very decorative copy of the medieval Brian Boru (Trinity College) harp. When the harp was finished, brass wire strings were fitted by George Jackson.
George Jackson had learned harp from Patrick Murney, in a lineage going back to the 18th century Irish harpers. I recently started to wonder if some of Jackson’s strings might still be on the harp.
Continue reading “…George Jackson when he was stringing my Harp…”
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.
Continue reading ursnaidhm ceangal – The pin or jack that fastens the wire of the harp
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