I think in 2017, I made a set of very basic harp plans on my old site. These got deleted when I archived the website, but I am recreating that page here in case anyone finds it useful.
My old harp plans were loosely based on the NMI Hollybrook harp. Since I made these drawings, they have been superseded by Karen Loomis’s very comprehensive report on the Hollybrook harp, which includes a high resolution 3D scan as well as a comprehensive set of templates, and extensive description and photography of the constructional details.
These old plans should ideally be read in conjunction with Karen’s work (or even better, ignore these old plans and just work straight from Karen’s templates).
Basic harp plans
for making an Irish harp, Gaelic harp, Clàrsach, Cláirseach, wire-strung harp…
The idea of these drawings is to show a harp that has a decent number of strings and a decent bass range suitable for everything from the first tunes up to Carolan or anything you can throw at it really. It has the string spacing, layout and overall ergonomics of the Hollybrook harp – a very elegant and handsome baroque Irish harp.
I have prepared these templates for making an 18th century Irish harp. You can download each image file by clicking on the tiny version here. Each one can be printed out at 100% (or 100dpi). Your computer and printer should have a setting to print out full size on more than one sheet of paper, which you can then tape or glue together to make up a full size template. These drawings are based on R.B. Armstrong’s 1904 book and are not guaranteed to be exactly the right size or shape, but they should give you a workable instrument. The soundbox is shown built up from pieces, as on the original. You should read pages 96 to 100 of Armstrong’s book in conjunction with these drawings. Any questions, please ask.
This drawing shows an overview of the assembly of the harp. Hopefully this will give you all the information you need to turn the individual templates below into a complete instrument.
Note that the neck-pillar assembly should be mounted slightly off centre to the right on the soundbox, but not so much that the strings run vertical. The strings are meant to be slightly fanned out and angled.
There are three metal strips which define the positions of the string ends. The two curved iron cheek bands fit one each side of the neck. The iron centre strip runs down the centre front of the soundboard. Make these iron strips first, and use them as your drilling templates to drill the holes in the neck and the soundboard. Fix them to the wood with little nails.
The old harps usually had a soundbox carved from a solid piece of timber, with the open back closed by a press-fit panel. You can do this, or you can copy the Hollybrook harp which has the soundbox glued up from planks to imitate the carved box by keeping the grain direction and orientation parallel. The Hollybrook harp has an arched soundboard, carved like a violin – you could make it flat if you wanted to simplify things. The soundboard should be very approximately 1/4 inch thick. I believe the back panel of the Hollybrook harp is just glued on to the back of the soundbox, and is not removeable – it has a big access hole cut in it. But you could make the back panel a press-fit into a recess in the back of the harp if you preferred. The Hollybrook harp does not have individual string shoes, to protect the wood around the string holes. It has a long iron strip that goes right from the top to the bottom of the soundboard. Smooth the holes in the iron strip, so they don’t have sharp edges to bite the strings. On the Hollybrook harp, the corners of the soundbox are fitted with little 3/4 round mouldings. You could leave these off, or include them, as you prefer.
The forepillar is pierced towards the top, and is carved into a subtle Y cross-section for strength and lightness. It has a very elegant scroll at the top. I don’t know how the bottom end of the forepillar attaches the the soundbox. Most likely it should have a projecting tenon, that fits into a rectangular mortice on the front of the soundbox.
The neck has two iron bands, one each side. Make the bands first, then make the neck and pillar, joint them together, and peg the joint with wooden pegs. Then use the iron bands as your template for drilling the holes in the neck for the tuning pins. The holes drill right through the joint. On the Hollybrook harp, the iron bands are recessed so they lie flush with the surface of the wood. You could put them on proud if you prefer. Fix the iron bands on with little iron nails. I have drawn the crude wooden crown that is on the top of the neck. I don’t know if this is original, or a later addition. You can include it, or leave it off, as you prefer. I have shown the neck simply sitting on top of the soundbox. Perhaps there should also be a tenon on the neck that slots into a rectangular mortice on the top of the soundbox.
Printed version of these plans
Can’t get these plans printed out full size? I can do it for you and post you the prints. Printed on multiple A4 sheets, pasted together, and folded. 5 large drawings: soundbox, neck, pillar, metal strips, and overall layout. £35 + postage.
Once you have the wooden components as shown in the drawings above, you need to add the metal hardware.
Tuning pins: you need 37 taper tuning pins. See my Tuning Pin page for more information and to order handmade pins from me. If you want to make your own you can. Proper Irish harp tuning pins are made from brass, and have the square drive the same width across the flats as the widest part of the tapering shaft, or a wee bit fatter even. You You will also need a matching taper reamer for making the tapered holes in the harp. Drill the holes from the left side of the neck, and ream from the right side – this will help keep everything in line. (left and right from a player’s point of view). The tuning pins are inserted from the right side, so that the player tunes with their right hand holding the tuning key applied to the square end of the pin, and the string is attached to the left end of the pin.