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I would say the left hand chording is more tiring than traditional one button play, mainly because to play a chord you have to press and hold down all the note bars for the strings you wish to sound. It’s more like playing a chord on a piano, or playing a chord on a guitar where you have to hold down multiple strings on the correct fret positions with multiple fingers simultaneously to get the chord you want. Of course, in all cases, you do keep your fingers moving and transitioning between chords and melody notes, so it is no more tiring than playing a piano keyboard or a fretted guitar. But it can be more tiring than playing a standard one button press autoharp. That is one reason former guitar players turn to the autoharp, because it can be easier on arthritic hands and fingers. So I would say a lot depends on the hand health and experience of the individual player. And all instruments require attention to good ergonomic practice and exercise, especially as one plays a lot and grows older.

All I know is that this material is superior to traditional felt for the under the string bed muting system of the keyboard ‘harp. The material must be thinner to fit underneath the strings and leave room for the action to release without clacking on the surface of the ‘harp, and it must be durable and have enough spring and elasticity for the constant upward pressure against the string when at rest. It also must be at least as quiet as traditional felt so as to minimize playing noise. The neoprene and nylon velcro “felt” I use is only 1/8 inch thick, so it works far better than anything else I tried. The material can also be ordered in other thicknesses such as 1/4 inch, and it might work equally well on a standard autoharp chord bar. Someone else would need to experiment and see what they think when compared to traditional felt on a traditional chord bar.

​@@keyboardharper Thanks Steve -- it would seem that someone else may be interested in pursuing that. I suppose one difference would be the amount of force applied to hold the bars to the strings. I.e. in the keyboard action, how does the force of the springs holding the bars to the strings compare with the force typically required to press down a traditional felted chord bar. Also, the "leveling" across the bar, since the traditional chord bar has to equally silence all the strings while they're being plucked, will this material have sufficient flex to allow all the strings to be adequadetly silenced seeing as it is covering many more than one string and is not perhaps as "giving"as felt; also what is the optimal or required width of the material, and how does the noise of landing on the strings when pressed compare with felts. I suppose one could put together a single traditional chord bar with this material and get a few answers to some of the above, but I can understand that your interest may not be in that direction seeing as you are deeply invested in, and have arrived at a most excellent keyboard solution!

@@aBachwardsfellow Most ‘harpers with traditional chord bar sets try to set the action so that they don’t have to press down too hard to mute the strings. But even with that eventually you can get wear and grooving in the felt, at which point you have to replace the felt. My guess is that the neoprene velcro felt I use would perform at least as well with less wear and grooving if substituted for traditional felt. Also the neoprene velcro is a fabric ordered by the yard, and with a good pair of scissors can be cut to the width and length you desire. For the sticky backing I use Scotch double-sided removable poster tape, 3/4 inch wide tape, applied in foot long strips along the plain nylon backing side of the fabric (not, of course, to the fuzzy velcro side. I attach the tape strips first before cutting the actual strips, and then cut the strips to the desired width. Then, with a straight edge razor blade or a pair of good scissors, you cut the strip into the length you desire, remove the sticky tape backing, and attach where you want. My pads are small, about 3/16th by 2/16th inches, and fit under each individual string of the chromatic scale, all the C’s on the C bar, etc. That means I can refelt the whole ‘harp with a single 12 inch or less long strip. On a traditional chord bar the strip would have to run the whole length of each chord bar, cutting out only the small 3 or 4 sections for those strings you wish to sound to make what ever chord and melody notes you want to play. As to “leveling” across the bar, the top of the string bed is fairly level, and so long as the chord bar itself is adjusted correctly either traditional felt or the neoprene velcro should work well. If anything I think the neoprene foam backing has more flex to allow better control with less force, and yet resist grooving because the nylon velcro fuzz is thin and durable and the neoprene foam stays “springy” and resists grooving. If you used a “softer” traditional felt, you would get more grooving not less. Luthiers have managed to figure out the correct “hardness” of traditional felt to mute softly without ringing and yet to resist the grooving of a softer felt.

​@@keyboardharper All of that would seem to make the neoprene velcro felt -- or some similar variant -- an attractive alternative for the standard chord bars; perhaps it will be tested out at some point . . . (I'm bettin' you won't be able to leave the idea alone completely -- having conquered the keyboard domain, you'll be looking for the next challenge someday -- the optimum/ideal chord bar muting material - ;-)

@@aBachwardsfellow Except for the fact that I no longer have a traditional ‘harp and chord bar set on which to experiment. If I did It would be a simple matter to swap out the felt type on one chord bar to try and compare. It might be that at the upcoming MLAG festival in June I can persuade a luthier to try it out. Or if someday I were to win a ‘harp at the competition I might choose a diatonic traditional ‘harp on which to experiment and use in certain limited situations.

I am well aware of the long history of keyboard and other chord bar approaches to increasing chording possibilities and key shifts in more keys on a single chromatic ‘harp, and aware of Phil’s website and his particular-and much larger, costly, complicated and difficult to maintain and minimize noise-approach to keyboard ‘harps. In fact I published an article “Evolution of the Chromatic Autoharp” in the Winter 2016 issue of Autoharp Quarterly, which included a reference to Phil’s website and approach, along with many others. I also share your perspective that, as with any instrument, there are trade-offs in the approach one takes. The chromatic single string “cllunkiness” you describe can in part be mitigated by playing technique and style, but the double string diatonic richness is simply more pleasing to some players, who are then willing to give up the full chromatic range of tunes they can play for that more limited but diatonic tonal depth and richness. Jo Anne Smith is indeed a master of the diatonic ‘harp, plays only diatonic ‘harps, and has many in different keys. As you say a chromatic keyboard ‘harp is not a “clear win”, to which I would add neither is a diatonic or any other approach to autoharp. It’s largely a matter of personal taste and temperament and the type of music one chooses to play.

@@keyboardharper Thank you Steve -- I would be interested read your article "“Evolution of the Chromatic Autoharp". I agree that Phil's mechanism is considerably more complex than what you have refined here. This really seems to be THE consummate autoharp keyboard action! Congratulations on your collaborative work. I'm not sure it can get much better than this - :-)

@@aBachwardsfellow Yup, deleted and gone.

EXCELLENT article -- thanks. Unless I've missed it, the one thing I have not seen is any attempts to improve the sound and playability of the 'harp by a significant lengthening of the instrument. Coming from the world of pianos, I'm aware that string length -- and concomitant requirements of string diameters -- produce different tonalities due to balances of overtones, the strike point, etc. One thing I've noticed just playing my standard OS 21-key (not in very good shape at the moment) is that chord bars near the ends of the strings seem less effective at muting the strings than those more towards the middle. Also the playing area is more cramped -- especially on the upper strings (an issue that is resolved to some degree on diatonc 'harps with less chord bars). Also I'm given to wonder as to the "strike point" (in piano - where the felt strikes the strings) regarding where the strings are plucked. I'm sure there are some 'harp players who utilize plucking the strings in different areas to alter the harmonics (overtones), as there are different overtones produced when plucking on a major-length node (1/2 length, 1/3 length, 1/4 length) than when plucking between a node. So -- disregarding the convenience in size of current conventional 'harps -- what would be the length of a "concert grand" autoharp that would produce a significantly richer sound due to longer/different scaling of strings, placement and width of chord bars for muting (longer strings may require more resistance to effectively mute?), and offering of the playing area in terms of where the nodes are struck. For example, what would a harp sound like if all of the strings were played nearer to the middle of the string instead of the upper third/fourth of the string as is done now? Probably they would have less strength of the upper overtones and sound "fuller" in the fundamental speaking length of the strings. Has an elongated instrument been tried? I have a feeling that the additional string length would require additional string tension to tune, and would therefore add to the overall tension which would need to be countered with a stronger build -- and therefor more weight. What is the length of the longest autoharp ?

Once set up it the action is responsive, quiet, dependable, and requires little to no maintenance. See my video which looks under the hood and explains the design and how it works, and where you can get one if interested. New 37 String Keyboard Autoharp Demo, and how you can get one ruclips.net/video/G7ut0SB2g0Y/видео.html

You can order and purchase one from luthier Ken Ellis at www.whippoorwillacoustics.com

Yes, to all of your questions. All of those techniques can be used. Watch some of the vids on my website to see how it works. You can order one from luthier Ken Ellis at whippoorwillacoustics.com/

You can order one from luthier Ken Ellis at www.whippoorwillacoustics.com/

well yes -- sorta - kinda . . . such as it turns out. There's some Bach and Debussy on one (not the same 'harp) on Phil Brissenden's sound cloud

Thanks, Harvey. You always have such positive things to say. I suppose one could adapt the keyboard to a diatonic, but not sure what benefit one would gain, particularly if you’re talking about a single key diatonic, which has only a seven note scale. You could use just the seven white notes of the keyboard I suppose, but on a single key diatonic with 15, 18, 21 standard bars you can get pretty much any basic and color single press chords you would want for single key play. Now on a 2 or 3 key diatonic, it might open up a number of possibilities, though you would need to be sure which of the 5 black key sharps and flats were active or inactive in your particular configuration. I too hope we can catch up and compare notes in person at MLAG 2022.

@@keyboardharper I was actually thinking that with a single key diatonic, if one stops thinking in terms of chords, then runs I currently do with open noting, or stepping through a transition with open chording might be much more accurate and better defined. Oh well. I doubt there is enough time for me to explore each and every exciting possibility that is open in front of us. I'm looking forward to MLAG 2022 so we can get all caught up.

@@h.wagner Open-noting would be possible, but definitely a challenge requiring several chord bars to be depressed simultaneously, and kept depressed to allow the the underlying chord to keep ringing through while plucking the individual notes outside the chord. I play single-key diatonics exclusively these days, and have used Steve’s bracket system on occasion to create a hybrid bar that keeps a single ‘out-of-scale’ note (string) muted until I press the one chord bar that contains it. It let’s me play songs like “Somewhere Over the Rainbow” without committing to a two-key autoharp with lock bars.

@@autoharpist - you have piqued my curiosity! Could you please help me understand what is meant by "open noting" -- does that mean playing strings with no chord bars down? For example, in your interview with Hal Weeks - at 32:00 - 32:02 in Loretta's waltz you play a little 3-note descending triplet -- G# F# E -- were they played "open-note" (I can't see your left hand to see if any bars were pressed). In your YT video of Loretta's Waltz it looks like you play the G# with the E bar down, lift the E bar to play the F# note, then press the E bar to play the E -- is the F# being played using "open note" ? Also, what is Steve's bracket system, and what is a lock bar? Thank you SO much!

Yeah, I know, and wondered if anyone would catch that. But I figured most folks would understand the big picture, and didn’t think it was worth it to redo the whole video because of that one minor slip. Between turning and positioning the ‘harp for the best camera angle, positioning my hands and fingers to stabilize the ‘harp and point to the pads, it was a little tricky to be sure “which end was up”!

Most of my harps have some kind of extended chording on them, but this opens it up somewhat. There's no particular reason to stick with 12EDO for the tuning... a Bohlen Pierce tuned harp, for example (a 13 note scale)

@@jhhl Yes, this type of ‘harp allows one to play any and all keys, chords, and scales one could play on a piano keyboard. And while one could tune the strings to a 13 note or other scale, on an acoustic rather than electronic autoharp , you would most likely have to add a bar for that 13th note. Plus, as most autoharpists, my interest is in playing acoustic rather than electronic instruments, and tuning so as to “play well with others”. As you know, most diatonic ‘harp players like to use various sweet tunings for particular keys, but those sweetened tunings work well only when playing solo or when playing with others in the same key. And those of us who are mainly interested in playing chromatic autoharp in as many keys as possible on a single instrument usually tune to the standard Equal Temperament. And even one of our best diatonic players, Joanne Smith, although she has many single key diatonic ‘harps, prefers to tune to ET, because it sounds better to her ear and better for playing with other instruments in a band.

Short answer is no. Most of us autoharpers try a wide variety of picks, plastic, metal, acrylic fingernails, and even bare fingers. This is an old video when I was still learning and experimenting, and I have come a long way since then. Furthermore, I no longer have this particular 'harp since I sold it to a Nashville musician some years back. Check out some of my other more recent videos on my RUclips site for a better idea of sound quality.

You can order one from luthier Pete d'Aigle at www.daigleharp.com

Just like it shows in the video, you must press down one button for each note you wish to sound. For example, to play a C Maj chord you press down the C, E, and G bars at the same time. To play a C7, you press down four bars at the same time, the C, E, G, and Bb. To play a Cdim7, to press down the C, Eb, Gb, and A bars. You can play any and all chord and note combinations you can play on a piano keyboard, but must press down at the same time all the bars which contain the notes which you wish to sound.

oh.. i thought this was the modern version of the instrument.. this one seems to have more chord posibilities.. i dont know, im gonna research more but thank you anyway

Hey Doug. Probably start with me to refine exactly what you are looking for, and then contact Pete. Usually when folks contact Pete, he asks them to talk to me first to be sure about what features they want, etc. Also, if you are interested in a 37 string version, rather than the 46 or 49 string versions, I still have my older 37 string B2 to B5 'harp, the first one Pete built for me, that I would be willing to sell to an interested party. You can see that 'harp in the Singin' In the Rain vid on my youtube site. Send me your email address and we can continue any other conversations in a more direct way.

OK; this isn't an immediate situation (as I don't have the $$ right now for a new 'harp). However, I'm interested in a very full sound in a variety of keys, plus, of course, the chromatic possibilities for all the 4- & 5-note chords, so I like the idea of the 46 or, even better, 49 strings. So, I would like to talk with you to understand the variety of models. Is there a time we could talk, evenings or Fri, Sat, Sundays?

Almost any of those times could work, given my particular schedule in any given week. Tomorrow night (Tuesday), or Wednesday night , or Thursday night, could be good this week. But rather than continuing to post this info to my public RUclips comments section, give me your personal email address, to which I will email you back from my personal email address to exchange phone numbers and continue the conversation.

+Doree Stone Not a job you can easily do yourself. Your best met would be to try luthier Pete Daigle at daigleharp.com, but Pete usually will make a set only for a 'harp body also ordered from him. I might be willing to sell my older 37 string Pete made for me to you or any other interested party. You can see and hear that 'harp on several vids on my youtube site. If you're interested, send me you remail address and we can talk direct via email rather than publically here on my youtube site. BUT, in either case, I suggest you try such a 'harp first. to be sure it will let you do what you want do with it. If you come to the Mountain Laurel Autoharp Festival the last week of June, near Newport, PA, I will have my keyboard 'harps there and would be glad to let you try one out. You can find out more and register for the festival at mlag.org .

+Steve Brown I did call them after I commented here. Yes, please feel free to contact me via my Facebook page or via doree.stone@gmail.com. Thank you.

+mcneillmama50 Actually all the 'harps on my web site, the 37 string, the 46 string, and he 49 string, are all chromatic, strung on a 12 note full chromatic scale, with no doubled strings. This is required for the keyboard chord bar set to work correctly, plus it fills in those missing low octave and bass notes missing on a conventional 36 or 37 string chromatic 'harp for a much richer sound. Luthier Pete D'Aigle at daigleharp.com custom made all my 'harps for me, and also is an Oscar Schmidt dealer as well as making a wide variety of superior autoharps of his own design in a variety of price ranges.

+David Russell Nope, not too complicated, but adjustment is critical. There are metal brackets which descend between the strings from the bottom of the chord bar ending in a small damping pad which damps the strings FROM UNDERNEATH by the upward pressure of the chord bar springs, all the C notes for the C bar, all the C# notes for the C# bar, etc. To play a chord you press down all the note bars for that chord as shown in the video to release those notes to sound. As for the pics I use, they are ACRI metal picks, available in either brass or stainless steel from elderly.com and other good music stores. They must be sized, bended, and fitted carefully to your own particular fingers to work at their best, but then stay on securely but comfortably simply by licking or damping your fingers to first slide them in place on each finger. The stainless steel ones also last forever with little to no pitting or wear. ACRI also makes a metal thumb pick, which is good for many people, but for my playing style I now prefer to bend and modify one of the large finger picks to use on my thumb, which allows me to thumb stroke both up and down with security and speed. You can see my current thumb pick on either the Sleigh Ride or Maple Leaf Rag videos.

Thanks, Steve! I'm grateful for the information.