13, Four sound-holes may now bedrilled and annded (F), The upper holes meaa- ure 3/4"; the lower holes are 1”. Sound- holes on neolrish harps ere usually placed in the back of the instrument and cere oblong and large enough for the hand to enter. This pravides access to the in- terior of the instrument to service the strings. Ancient harps, however, usually (or Soins oes ton eve cea carving. Neck Mortise 34. Clamp (no glue yet) the string band/eoundboard combination secutely onto the sound-box (16), Put the heck es a Na ‘Take your original focopillar pattern (template) and hold it n ‘een ps check the alignment and position of the prospec. tive mortises and tenons (17). Draw the mortise pettern accurately onto the un- ide of the neck where the forepillar it and, using the procedure es. tablished before, drill and chisel a neat recess into the nock (18). Mortise at the Base of the String Band 15. Assemble fee. Hold the forepillar ‘template in piace and check the relative Placement of the fing) mortise at the ‘cut and proceed to drill and chisel in the seme fashicm as before (18).Forepillar 16, When you are sutistied that your {orepilar template (especially the tenon, regions) fits the existing martice positions in both neck: and sound-box, cdeaw it onto the roughed out forpillar fiaelf and painstakingly fiuhion the ‘exon on each end ta an. accurate fit (a, b). Take enough time to dothe job carefully. There is no need to do al! the fitting at once. True up each part a lit- fle aba time and proceed fram step to13 Glue and clamp linings on soundboard bie tha shoulder of the neck ex shown (21) 1/4” lengths to ft around the interior of ‘and bring the remaining curve of the the box thus providing more gluing sur- ‘eck to a roof top configuration. This face for the soundboard (23). The lining ‘2 ‘adds to ite grace and general appear- will be perfectly flush with the level of ‘ance. The foropillar traditionally has a the box on the soundboard side since the ‘structural “T°” formation or twe-headed soundboard will be glued on top of the ret carved onthe nt cave toy bor. ‘The bash, however, remains omamentation and a#tability. removable and will be inset into the back of the sound-box (24). The back ‘must be removable to provide access to the strings as they enter the bor through the soundboard, Cut the back from 1/<" plywood and carefully fit it to the backGf tho bor (). Cut a Lnng to auppert te back acd gue the Lining in the seund-bor. 40 that heh the back i in ploce tho back af the barp ill eppear Pactcly Bae, Mok. WE. Mock-up all the compenesee and true any poor faint (28) I you te: Gently remove too me weed frac 8 rmoriayenen combination, shim any expe cart with veneer ox bis the sim wed." babar Os a longer Ge harp wil eaoain stable unde 00, ‘Tuning Pins 3. Tapnced pine that went completely Hicough dhe neck weru wed alenant x usively an the ansimt harp, We can approximate this tuning appara Ty buying mechinit taper pina (Uaat mre UU at the large end) and « matching rarer, The Linge ond ofthe pin ment he fpocnd ot Ged co fe a skher toning ‘srench, That will give atrvioe for along time but are dificalt to make becanse the four faces ete tapered rather than square. You could also grind a fat 950- ‘guration of four ar tee siden end, for fuaing, une either & special tuning wrench wade by ¢ muchinis: or « emi woechanie’e wrmeh, Clock heye are gat another aleemative, Plane pis of aither pine we wed om ‘wont maorish barae ane thane is uo pra: ‘eal reamon why they can't be ured 00 aed style hace at wll. UF they are more acvoalsle and you doc: mind investing in a plano tuning srwnch (or ‘thar wrench) thoes pina work vy ell. Plano pie come in different gauge sires; the ment vauel sive ane #2, 43, and # Din. [sagen using mm bor 2 pina thet _ ‘are. beng. The gage in nl ercieal- 1p tmpertane on long ex you ave & dell bit wnle than the nin alae, The bit you tue in sett hardods will have to be aller than & bit weed for very bard srs is are to ald the abaesnder tention, Be sure t experimast on & scrap giace of weed before putting holes into your here. 21. Thotepered-pin hole may be drilled all the way through the neck with a epular Bit, shen enlarged tom taper‘Ero rigbt eo iréeecletove rn ployer mn tee perchiy commer Pipa er ‘Tite a deb geno gupta. Pamive t Ue PRE Pla Placerment EX Trae the min line fom cae ae: rally tobe om 4 ahlleg afienrotion, Biers waundhcesd Yo weck us te ving et thevtar, Nee'rich harpo atlas the Seok and foverift ta schitce « ances Vertiea! aliermene. Sar soation th Steed moh eo healer |e then ‘The Bybee mene, The nove js npmiPa, Whac the adangn rks fae ell wot sscaileble lece Anzerde ©) BE. Dull leo dni the eteing Lonel ax Ee emapiy ints them Pin Hates Bin Duchls clack goor pin ylatervent, {hen dd lore th second -prmde ‘Eling she uack to aoceise be pram (28) 98 Dn ane oo aGee Tap 37, Foution and glue the ecundboend 1 the soaicbor. Try ta make & goed bert sslth even prennirr nf anand. Hewny rile Imai oc rape sau, be uae! lange S26 nist anakinale ‘Tecktng the aledbjentdown with ser tela bo socaptabe ast Filting. BB, Proceed. wl! Riing s teovming a eniz, ‘aisine ae Apply & alow drying ghar {Vhiquie Hide Glas ie cead trovtvn'p pce) i al 5 ine eink Deh, 2288 seven or arian tend lary (28h Check all joints fre Fen inc Let dey emplitaly Cleanup 1 Clean sup alos ri er masicy i ‘hiss candjanpur aut a cap rag, Te secves eoupdeqacd Sor awond the peandioor and sound ell oe thaws ta glve the harp m serra fis: a ah nzpaizeaa 8 Ur hand alam ane senza shaming suc LeadiLivaul Bis wa fis Finiebime aa Proves’ sith sanding steer, (Xe Pinuenceg Suggestions, ppardia A.) A. dark wana ehsin i am npproceiete pig: Cour thie chotue depend on. 2 cerumentallon. Bgerl. mew sn a se-up pier ef nocd fase Ape ily sealer ecior & Ent, Beith a, or uyuKe. Auli luli pillow de tuna pte asog Exe tock (WU), E panne or BAA piace ate, leeve # fas Curse for ine are 1) Maing gen wil gua HeGrommets 34, Put grommets clong the string bard, ouside and inside (H), ‘Musle Wire 35. Steel music wire is probably the feasiost to find and wae used on many early harps. Brass or phosphor bronze are preferred by most makers today. In ofits relative softness the sound of ‘or bronze string is superior to the steel one, Some experimentation may be necestary depending on which string you choose. I have used steel strings and have distributed the gauges ac in diagram (1). Wice strung in thi fashion eliminates the need to tie off ech string (H). Tuning Up 86, The harp will tune to approximately ‘aC or D diatonic seale spanning four oc taves. Work from the extremes of the string range in towards the middle pull- ing the strings up to pitch gradually. 7¢ isnot good idea to tune the harp up to piteh all at once; rather lot it gradually {get used to the tension and settle for & day before you tune again (62). Several ‘tunings will be required before it will stabilize. Do thie patiently using # piano or pitch pipe to aid you. 37. As the harp is pulled up to piteh ‘heck for eny movernent at the joints. If a particular joint begins to move, release the tension immediately. The neck fore- pillar joint is probebly the most suscep- {ible to movement. Ancient harps often hhave « metal plate or asteel band or two bridging this joint to counteract the great poll of the strings. This may be decorative as well as functional. If necessary, attach the plate on the side ‘opposite the strings.Back 38. Put the back in place (G8). fit Gta tightly by itself there is no need for furthar fasteners. If, however, it is loowe cr rattles, some small serews or other Gevice will be mecomary to bold it in place. PLAYING THE HARP * ‘Pick out chords and melodies by ear-and ake up your own tunes and com- positions. Rafer also to the Appendix C for Sylvia Wood's book and by all means suierbe to tho Folk Hazy door (p, 157). {8 Place Back on hap a fra wep