Folc harps are intended for a diatonic tradition of music. This is a positive assertion, no a condition to which the harps are
limited by their size and features. A peek at the history of musical instruments may give an insight into the spirit of these harps
and why they have a place among modern folk harps.
limited by their size and features. A peek at the history of musical instruments may give an insight into the spirit of these harps
and why they have a place among modern folk harps.
For example, during medieval times the lute was a modest instrument with
four and sometimes five courses of strings. In fact, much was made of
the notion that the four courses of strings corresponded to the four vital
humors or the four elements, earth, fire, air, and water. For hundreds of
years people enjoyed the music of the four course lute. They courted
lovers, sang laments and dirges, composed rousing political songs, sang
hymns, all, it seems, without feeling all too much limited or confined by
only the four courses of strings.
four and sometimes five courses of strings. In fact, much was made of
the notion that the four courses of strings corresponded to the four vital
humors or the four elements, earth, fire, air, and water. For hundreds of
years people enjoyed the music of the four course lute. They courted
lovers, sang laments and dirges, composed rousing political songs, sang
hymns, all, it seems, without feeling all too much limited or confined by
only the four courses of strings.
By the end of the seventeenth century the lute had evolved into what appears to the folk musician as a musical
monstrosity with extra pegs and outriggers protruding from every direction to hold a bewildering array of strings.
Then as time passed these theobros and cirratones fell out of use and today what is common is the modestly strung
guitar and mandolin and such as if the elaborateness of musical instruments has made a full circle and come back to its
simpler origins.
monstrosity with extra pegs and outriggers protruding from every direction to hold a bewildering array of strings.
Then as time passed these theobros and cirratones fell out of use and today what is common is the modestly strung
guitar and mandolin and such as if the elaborateness of musical instruments has made a full circle and come back to its
simpler origins.
Also consider the bowed instruments that in the middle
ages were the three stringed rebec and four stringed vielle.
They were in widespread enough use to be found depicted
in books, paintings, and stonework and were mentioned in
literature all of which bespeaks a thriving repertoire.
Apparently people found satisfaction in such music for
centuries.
Then by end of the sixteenth century we find bowed
instruments with six or seven strings and frets tied on the
fingerboard.
Now of days we are back to the four string violin being the
most popular bowed instrument, another full circle in
musical history.
ages were the three stringed rebec and four stringed vielle.
They were in widespread enough use to be found depicted
in books, paintings, and stonework and were mentioned in
literature all of which bespeaks a thriving repertoire.
Apparently people found satisfaction in such music for
centuries.
Then by end of the sixteenth century we find bowed
instruments with six or seven strings and frets tied on the
fingerboard.
Now of days we are back to the four string violin being the
most popular bowed instrument, another full circle in
musical history.
Now to be sure four string bowed instruments never died out completely nor were they ever completely replaced by the
viola di bracchio or the viola di gamba. Neither did guitar-like and mandolin-like instruments ever give way entirely to
lutes and theobros. But this is how it seems to me: An improvement in music being equated with an increase in range
and/or the number of notes, adding more strings other bits and pieces to the instrument in the end could not keep up with
wanting to add even more notes and embellishments. So eventually the lute was replaced by the harpsichord and the vioila
di gamba by the string quartet.
viola di bracchio or the viola di gamba. Neither did guitar-like and mandolin-like instruments ever give way entirely to
lutes and theobros. But this is how it seems to me: An improvement in music being equated with an increase in range
and/or the number of notes, adding more strings other bits and pieces to the instrument in the end could not keep up with
wanting to add even more notes and embellishments. So eventually the lute was replaced by the harpsichord and the vioila
di gamba by the string quartet.
The same thing happened in the history of the harp. Medieval gut strung harps typically had 21 strings with some examples,
references more than examples actually, having up to 24. Wire strung Gaelic harps had 24 to 30 strings. As time went by
and musical tastes changed, attempts were made to adapt the harp to the current musical environments. The range was
increased, a second and third row of strings was added. The harp could not keep up until the sharping and damping
mechanisms of the modern pedal harp changed it into a lofty orchestral instrument far beyond the reaches of the folk
musician.
references more than examples actually, having up to 24. Wire strung Gaelic harps had 24 to 30 strings. As time went by
and musical tastes changed, attempts were made to adapt the harp to the current musical environments. The range was
increased, a second and third row of strings was added. The harp could not keep up until the sharping and damping
mechanisms of the modern pedal harp changed it into a lofty orchestral instrument far beyond the reaches of the folk
musician.
The folk harp is a revived and resurrected instrument. It does not have an unbroken history. As it has reasserted its
existence in the 20th century, it has examined the musical biases of the day and largely manifest itself as an instrument not
quite content with its folk roots. It seems to feel itself limited. Its prototypes didn't have enough range and did not have the
capacity for enough semitones. So the modern folk harp has evolved toward five, six, and even seven octaves of range and
festooned itself with sharping mechanisms to make it fit for every musical change and chance.
existence in the 20th century, it has examined the musical biases of the day and largely manifest itself as an instrument not
quite content with its folk roots. It seems to feel itself limited. Its prototypes didn't have enough range and did not have the
capacity for enough semitones. So the modern folk harp has evolved toward five, six, and even seven octaves of range and
festooned itself with sharping mechanisms to make it fit for every musical change and chance.
Now I know it isn't fashionable to have too much bias toward one's musical preferences. But while reading some musical
history I came across the site of a harpsichord enthusiast who traced the history of harpsichords through history until he
arrived in his time line at the year 1800 and simply included this as conclusion for that century:
Essentially, use of the harpsichord ceased by 1800. The precision and clarity of the baroque had been replaced by mush
and bombast.
My kind of enthusiast!
history I came across the site of a harpsichord enthusiast who traced the history of harpsichords through history until he
arrived in his time line at the year 1800 and simply included this as conclusion for that century:
Essentially, use of the harpsichord ceased by 1800. The precision and clarity of the baroque had been replaced by mush
and bombast.
My kind of enthusiast!
So in that spirit, let me say about Folc harps: They are not historical reproductions. There is only the attempt to recapture
the spirit of the ancient instruments for modern times. To this end they are made to appeal to the musician of the diatonic
tradition, the folk musician who wants to stand in that heady space where there is nothing between the player and his listener
but the strings. No gizmos, no mechanisms, no props or aids. Just a string stretched between the tuning pin and the
soundboard and you stand and deliver or not.
the spirit of the ancient instruments for modern times. To this end they are made to appeal to the musician of the diatonic
tradition, the folk musician who wants to stand in that heady space where there is nothing between the player and his listener
but the strings. No gizmos, no mechanisms, no props or aids. Just a string stretched between the tuning pin and the
soundboard and you stand and deliver or not.
Folc harps do not accommodate sharping levers so they will play in only one key at a time. Is this a limitation? Well, the harp
doesn't play sustained legato notes as a violin does. Nor can it play a gliss like a trombone. You cannot "bend" the notes on a
harp as does a whistle player does to such good effect and the banjo player does by shoving the strings to the side while
plucking them. Are these limitations of the harp? Should we be devising mechanisms to sustain the sound of the string into a
true legato note and some sort of half sharping lever to "bend" the string? I think not.
doesn't play sustained legato notes as a violin does. Nor can it play a gliss like a trombone. You cannot "bend" the notes on a
harp as does a whistle player does to such good effect and the banjo player does by shoving the strings to the side while
plucking them. Are these limitations of the harp? Should we be devising mechanisms to sustain the sound of the string into a
true legato note and some sort of half sharping lever to "bend" the string? I think not.
The three octave Folc harps, Ancient Muse and Ancient Echo,have a range 22 diatonic notes. Is this a limitation? It is exactly
the same range as a violin or mandolin. Does one view those instruments as limited? Recently I had the treat of attending a
concert by The Boys of the Lough and as luck would have it, I had a front row seat only a few feet from the mandolin player,
Dave Richardson. It was quite an experience being close enough to watch his left hand as he played sometimes the melody,
sometimes a counter melody, sometimes a fill in of chords and runs .... all using an instrument with a range of notes the same
as on the smaller Folc harps.
the same range as a violin or mandolin. Does one view those instruments as limited? Recently I had the treat of attending a
concert by The Boys of the Lough and as luck would have it, I had a front row seat only a few feet from the mandolin player,
Dave Richardson. It was quite an experience being close enough to watch his left hand as he played sometimes the melody,
sometimes a counter melody, sometimes a fill in of chords and runs .... all using an instrument with a range of notes the same
as on the smaller Folc harps.
Our limiting factor on an instrument is our imagination and skill. Throwing a couple of extra octaves and some semitone
mechanisms on the harp won't change that.
mechanisms on the harp won't change that.
I don't see much profit in lingering too long on how the medieval harps were constructed or exactly what they played and how
they played it. But when that musician of long ago picked up that harp of 21 gut strings, what were they thinking? How did
they express those thoughts through those strings. When silence settled around the Gaelic harper and he put his hands to the 30
bronze strings, what was there that passed between harper and listener? That's the spirit I want to explore.
they played it. But when that musician of long ago picked up that harp of 21 gut strings, what were they thinking? How did
they express those thoughts through those strings. When silence settled around the Gaelic harper and he put his hands to the 30
bronze strings, what was there that passed between harper and listener? That's the spirit I want to explore.
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |