MATERIALS Read instructions enrefully botore basing roateriely Plans of buriwoad 13¢ wide, and abuse 10° Lore B/L8" te V4 shoet of fin plywood =p prosimstely 92" x 12" for suundbord 1/4" talck plaew of p's wood ta atch the taardmoad Gppraninaeuely 32" 00 12" for che beesk 29 monchinial taper ya or wiunw vida ot ther pine s=d caning wrench Beshage of at least 42 brass or sifver grommets Ralls of mune wine, Range: #1, a8, #5, 6, #7, #8, AIC ‘thick, 1" ASSEMBLY Fulluilse Pattora 3. Onn ere: piece of sosterbsard or hooey paper nies Roll kia draning of harp, ‘This en he mecumplaned anter eatily with eo opaque projectar or enlarging prjestor. ‘Ts the poster- board cata the wall and praject the im- rng of the bazp onto it. By moving the projector backwards of Forwards yuo 265 eveste ie metual sige of the he-p om the bored, Trace the uttline af the pee (Gor tate ths board, ‘Try the local ecto er commanity aggaigation for pr tons. If vor are unable tofind m penicetar ef tis sort you may have to trunsicr menarrementa fram Die bask two full sie, ‘The drawing ex page £31 will oe your template pattern for che neck ama fare- pillar nnd will guise yr 5x sidinting the mortise and tet fon the neck, farepillas, and t Bound-box 2. 'Pha siden of the socrd-bex mey ne conde from any hurtwoo: materiel de. pending om what Bia in your geevauh cider and Isiah willow have bees wacd ‘sueeseahully. Gpen-grained ar relaxively wuatable weds such aa.cak and olm axe ot ma aypropigce, | chose birch for tis suunpla cougeoecion, Nola Ansisut Celtie harps differ from mo neoGelto WATS Wt vevena) résvecla ssprcaliy in sound-ber eonutretier, ‘Taare are soveeal Way 1¢ mulke sot. Baas, The olcest etal is la ital ‘out @ well-seasorad log sothat the side, op, boctom, and.acunc board of the har are made frost 088 piece of ood. THe Lack of Ure roucubbax oe thee ine strormants was remevatle to factbtave stringing md wor ured by the hergints of oid e3 thex combined suleass and Junehpait na welt Tay the sound-bores of neofletle Jrupeore mavally built up fem separa pieces rather chan carved from pce Seon), Chava choeem to use the built ep seend-box in spite of tadislen bereuee pf the difficulty im ateaining seasons Yardocod loge ar thick planks and became a hollowedous bax hen e wendimay to doy and crack eestor then abiuotive uf woud Una 1 meget toro. Th. howeezr, yeu hve noose 12 a goad dry plank 4" 38" [oe (wo 2" x 42" pide whied lige] end wish 66 use the Following out techmigue, dzill ot whatever possible then elvan up Ebe Ss- sinks rosean with & chirel and. neraner, side niece meemures 20-12" x (2). These may be reawen oa. basa saat or tele ase from, a larger kof wood and thet sanded smogth,ee End Blocks 4, The end blocks are sawn from a 2” thick plank so that the lower end block measures 12” x 4° x 2" end the upper block 4" x 4" x 2" (2). A notch (or rabbet) is now cut along the aide edges of each block (A). Set up the end blocks an your bench in their respeetive positions and belance the sides on them so that you can pencil the configuration of the ares to be removed anto each end block. Double check your tracings carefully, then band saw out the notch. Sei it up ‘again, making sure that the two end ‘blocks are parallel to each other. Chisel and file the notches far a good ft (3). Apply glue and clamp (4). ‘Neck and Forepillar 5, Cut the templates from your fuli-size drawing pattern (nee p. 120) and place them on # 1-9/4" thick plank of herd- wood (5a, b). Maple, though a bit heavy, is an excellent wood because ofits hard ‘nets and stability. Pancit the outline ‘onto the wood and eut it euton the band ‘uw, [tis important not to out the tenons to exact size at this point, Leave extra ‘wood around the tanon areas until later @. Note The neck and foropillar of moet contemporary harps are made by bbuilding up three layers of wood to the specified dimenalons (B), 4 Olas sad clamp sas 10 endl Bleeha‘The middle layer i usually maple end lightly wider than the outside pieces which are made from the same material ts the sound-bon. This keeps the wood ‘olor unified and lso confuses the iain patterns thus strengthening the neck and forepillar as awhole unit. This js an optional construction that works well but {s not an essential building practice. 6. After rough cutting the neck and fore. pillar, begin. sanding and smoothing ‘ome of the ridges and marks that were Toft by the band saw. ‘Sound-box/Neck Junction 1, Ponell the outline of the mortise ac- eurately on the top end block of the tound:box (1).Draw the center line first, then arzange the morte outline a shown (C). Most of the mortive, which ie 1/4" deep, may be drilled with a twist it (8) ‘or 1" self-centering bit, Try to dill straight and ccourately. Wrap a little ‘masking tape around the drill bit to act ‘es a depth gauge. Noxt carefully chisel ‘out the remaining wood until you have a claan sraight-sided mortiae (9).‘Neck Tenon 8, Use the neck template to check the position of the neck to the eund-box and meke any adjustments necessary fo ingure a good fit. 9, Draw the neck tenon onto the nec ‘and cat the end to match the depth of the raattise (D) (B). Pencil the outline of the tenot on the neck and double cheek your measurements as you proceed. The tenca should be cut just slightly larger than the mortise and adjusted Inter. ‘A dovetail saw or back saw may be used to cut away excess wood from the neck (20) leaving the tenon which should now be painstakingly fitted to the mortise on the sound-box (11): Pile, chisel, and sandpaper the components carefully, ‘constantly fitting them until the {it is fairly accurate, Final fitting is done after the forepillar is in place. Soundboard 10. Ancient harps, since they were bol- lowed out of « single block of weed, did not have to worry about a separate soundboard, Theeo early sound:bores ‘were originally carved so that theeound= hoard wan fat. Later, the tension of th strings and some stylistic changes in- troduced the chazactaritic “belly” or curve from top to bottom and from side 40 side, Most eoundboards were about Ve" thick with some variance between Be Nigh sd low ating porns ‘Te disadvantage 6 teebique omen Sa nsand the tendency of the instrument to crack after a period of time. Of caurae, ‘the instrament ean. be repaired and if you do have access tothis wood you can use this method quite succesfully, Another method is to laminate hard ‘wood pieces to got a suitable width, This is more difficult to do and the product i smple model. plywood. because of ite strength and because i oliminntes having to laminate. pisces to achove the length and width hecessary for 9 separate soundboard, Plywood has reasonable sound qualities and will suppart the great string tension ‘without too much cracking ot distortion. Note A 1/4 hardwood soundboard may be substituted for both the kollow- box method or the plywood type. Simply ceut the soundboard to the shape of the sound-box (12), String Band 1. A hardwood strip about 1/8" thick sand 1-7 across at the bottom with ‘taper to 1" atthe top is fashioned in con- jimetion with the protrusion at the base ‘of the harp. Draw the pattern onto s 1- 1 Fit neck to soundsbar A" to 2" thick plank of berdwood (anapie is again 1 good choice), cut out the pattem (13) on the band saw, and smooth and true up the surfaces 60 that they ft the soundboard and the sound- Dox as shown (14), Glue the atring bend ‘onto the soundbeard using enough clamps or weights to get even pressure all aloag the length of the soundboard 08) 12, Another reinforcing band, « band ‘matching the approximate dimensions of the firt, is now ent and glued to the ‘underside of the soundboerd to provide stability agninat the great string ull that will later be exerted