I thought it might be useful to do a photo-essay on how I go about making a tuning key. I think tuning keys are easy to make (they must be if I can manage!) and there is a lot of scope to adjust the design to make it work exactly how you want it to, in terms of appearance, ergonomics, and fit on the pin.Continue reading Making a tuning key
I was thinking for a while about the three-armed tuning key which is illustrated in Mersenne’s 1635 book, Harmonie Universelle. Joan Rimmer says in her article ‘The morphology of the triple harp’ (Galpin Society Journal XVIII, March 1965) “the three-armed tuning key still used in Wales is identical with that shown in Mersenne’s diagram”. I remember Tim Hampson showing me one, which fitted the three different sizes of tuning pin drives on a reproduction 18th century Welsh triple harp he had made.
I made my triple tuning key from brass, but instead of three close sizes to fit three types of pin on one harp, I used three very different sizes to fit all different kinds of harps. The huge socket will fit the Carolan harp replica; the middle sized socket will fit Student harps with standard American pedal-harp pins; and the tiny socket will fit modern minis such as the Dolmetsch harp or Ardival Kilcoys.
Now I have made it I am thinking it is a bit too small to be totally comfortable to use; the arms should be 1 or 2cm longer. But it makes a great keyring tuning key.
I’ve listed it on my tuning pins for sale page – if you want one you know where to come!
I recently made two items from Cumbrian bog oak, a tuning key and a pendant.
I made this key yesterday, for a colleague who has been waiting too long for it! Continue reading Gilded tuning key
The past week or two have continued the making things theme. I have done a series of tuning keys as test-runs; I have made a page advertising them which I will send out for my 1st May Emporium Update.
I also have made the set of pins for my HHSI Student Downhill harp, and today while it was here with my student who has it, I fitted the pins – pulling each of the old steel pins out in turn and then replacing it with a new brass pin. I had to shim all of the brass pins because for some reason they are marginally smaller than the steel pins, and I used thin brass sheet to make the shims. Plenty of the antique Gaelic harps have brass shims in their pin holes and I find it works well.
We instantly noticed how much better the harp worked to tune, with the new pins – the key fits much more snugly on the new pins with their tapering drives, giving a much more positive touch to the tuning. And the new pins look rather good with their decorated drives. I am very pleased with the result.
I have always thought that handmade pins with tapering drives work so much better than machine made steel pins with parallel drives, but inertia has meant I have not bothered doing anything about it until now. Hardly anyone has handmade pins on their harps, even top players with quality decorated instruments. I can only think of 3 or 4 off the top of my head.
I am going to make a few more pins and then I think I will make a page advertising them for sale for the 1st June update! I think that this would make a fantastic upgrade to anyone’s harp, to replace the pins!
I lost my tuning key in Edinburgh last weekend. At first I was rather irritated; the replica Queen Mary clarsach has handmade tuning key drives, copying the original, which are rectangular rather than the usual square. So the key is also custom-made with a rectangular socket, and also has a second socket in the end of the handle to fit the square drive of the 30th pin. Basically it is useless to anyone else! I did have a rather ill-fitting spare with me
However after a while I realised this was a great opportunity. I made this key not too long after the harp was new, and while it was comfortable to use with its roundwood quince handle from the garden here, the rectangular socket was always a bit oversized and was loose on all the pins. Also it was rather “rustic” in appearance.
So today I made a new key for the Queen Mary harp. This one builds on my experience making the first. The design is the same – a T shaped pin, with a brass socket made from a rod soldered inside a tube, the end of the rod slit with saw and files to fit the drives. The second socket, from a large clock key, fits in the end of the handle. Both sockets are fixed in with little brass pins running through the wood, and secured with glue to stop them shifting.
For the handle of this key I used a piece of ancient Irish bog oak which Davy Patton gave me years ago. I had thought of carving medieval West Highland designs into it, and even gilding the designs, but as the handle took shape it became very spare and elegant. The bog oak does not carve very cleanly anyway. So in the end the only decoration was a pair of parallel incised bands at each end of the handle and each end of the main socket shaft, echoing the pairs of incised bands on the Queen Mary harp tuning pins.
I have to make another soon as my student who has the Student Downhill harp has lost the key for it. It ought to have a brass socketed key anyway as the commercial steel-socketed key it used to have was starting to chew up the decorated brass pins I have started fitting to it. Which reminds me, I need to finish the set of brass pins for that harp. So many jobs lining up…