Edward Bunting made what looks to me like a live transcription notation of the tune of Casadh an tSúgáin, probably in Summer 1792. He writes 50 years later that he took this down from the harper Rose Mooney, but I don’t know if we can rely on his memory. Anyway, the transcription notation is very interesting and presents a very lovely version of the tune with a lot of what I assume is old Irish harp idiom and style in it.Continue reading Casadh an tSúgáin
In Edward Bunting’s notebooks from the 1790s, there is what looks like a live harp transcription version of the Carolan tune, Madge Malone (DOSC 98).
The transcription is on Queen’s University Belfast, Special Collections, MS4.29 page 234/232/241/f115v. It shows what seems to be a dots transcription expanded out with note stems and beams. Then Bunting has made a neat copy based on and derived from the transcription, on the facing page 235/233/242/f116r.
This is a lovely tune, and this transcription has lots of interesting harp idiom in it. But, it is the only source for the tune of Madge Malone as far as I am aware. Because we have three consecutive versions (the transcription, the neat copy, and the published piano arrangement), we can use the changes from one to the next to understand Edward Bunting’s working method, starting from him listening to a live performance by an old Irish harp tradition-bearer, and finishing with a very pianistic classical arrangement intended for wealthy piano amateurs.Continue reading Madge Malone
I made a video demonstration of a version of Pléaráca na Ruarcach, from Edward Bunting’s transcription notation in Queen’s University Belfast, Special Collections, MS4.29 page 107/103/112/f51r.Continue reading Pléaráca na Ruarcach
In 2011, Michael Billinge wrote an interesting observation on the layout of the tuning pins on the neck of the Downhill harp. Talking about the way the tuning pins become more spread along the cheek band, as the angle of the neck becomes higher in the bass, he writes: “instead of an even change across the range, as might normally be expected, he seems to have done this in a series of blocks or groupings”
In his footnote, Billinge gives a list of the gaps between adjacent pins, and the way that they increase in steps. My chart below gives a visual representation of his data:
What made me think of this was that I was doing the same work this week on the Carolan harp. I tagged points on the laser-scan corresponding to the cheek-band holes in the left side (string side) cheek band, and then calculated the distance between each one. Plotting a graph of these distances showed clear groups of similarly-sized spaces.
Billinge does not say what the error margin on his measurements are, and so it is difficult to analyse them further. On the Carolan harp, the error on the picked points is less than 0.1mm, but the selection of what points to pick is much less accurate than that, since the scan is quite messy around the tuning pin, with lots of scanning artefacts. I would estimate the accuracy of my measurements as perhaps ±1mm
You can see on my graph that there is a certain amount of zig-zagging, alternating around an average value. I saw this also on the spacing of the string shoes on the belly, but I explained that as an artefact of the alternating shoe design. I’m less sure how to understand this alternating spacing on the neck.I have not done such a detailed measurement of any of the other harps, but the point positions of the tuning pins as used to generate the string charts for the Kildare and the Mullaghmast harps can be used to analyse the pin spacing. The accuracy here is perhaps more like ±3mm. The Kildare seems to show some evidence of grouping, but the Mullaghmast pins are clearly spaced incrementally, with each pin a little further from its neighbour than the previous one.
We could follow Billinge by averaging each group on the Carolan harp, and calculating a standard deviation from the average:
Pins 1-3: 17±1.5mm
Pins 3-6: 14.5±6mm (too erratically placed to say much)
Pins 6-12: 13±1.5mm
Pins 12-19: 14.5±1.5mm
Pins 19-26: 18.5±1.5mm
Pins 26-30: 22±1mm
Pins 30-32: 26±1mm
Pin 32-33 crosses the opened neck-pillar joint.
Pins 33-36: 28.5±1mm
I think this kind of analysis can give us ideas about the working methods of the old harp makers. We can imagine the makers of the Downhill and the Carolan harp, working with dividers to lay out groups of pinholes on the metal cheek-band, as well as using dividers to lay out the string-shoes equally spaced on the soundboard.
What then of the Mullaghmast harp, with its progressive spacing? A different school of harpmaking?
My header photo shows a rendering from the laser-scan, showing two points picked for holes 9, 8, 7, 6, 5, and 4. The position of each hole was calculated as an average of the positions of the two points. The background grid is 1mm x 10mm. The messy damage around hole 3 and the break in the neck is visible in the top-right corner.
The bass end of the Carolan harp (which was sometimes called the Rose Mooney harp) is very damaged, and there has been a lot of movement inside the bass joint. However it’s not possible to measure this movement from the outside, because of the later repairs with iron straps and canvas bandages completely covering this part of the harp.
I had an idea to try and make stereo pair photographs of this part of the harp, to see if I could use them to measure the amount of movement both downwards (towards the bass end of the soundbox) and backwards (towards the back of the harp).