Harp Guitars Harp Guitars: An American Lutherie Anthology$18.00 – $25.00 Harp Guitars, the sixth book in our American Lutherie Anthology series. It’s a full-color, soft cover, 100-page book with articles selected from the 1984-2010 issues of American Lutherie on the topic of Harp guitars. Unlike the original issues of AL, this book is printed in full color. Choose Membership Status Choose an optionMemberNon-memberClear Harp Guitars: An American Lutherie Anthology quantity Add to cart SKU: N/A Category: Books Additional information Additional information Choose Membership Status Member, Non-member Related products The Big Red Book of American Lutherie Volume Three, 1991-1993 $45.00 – $50.00 Select options The Big Red Book of American Lutherie Volume Six, 2000-2002 $50.00 – $55.00 Select options Flattop Guitars 2: An American Lutherie Anthology $20.00 – $25.00 Select options Restoring a Martin Harp Guitar by Ted Davis This book says a lot about how the harp guitar has gone from zero to hero during the Golden Age of American Lutherie. The late Ted Davis was one of our early authors, and his 1984 article about restoring a badly abused Martin harp guitar was the first thing we published about making or fixing these wonderful contraptions. GAL Instrument Plan #7: 1912 Martin® Harp Guitar #11495 by Ted Davis The instrument is an astonishing piece of work, and so is Ted Davis’ plan, presented in his old-school mid-century drafting style. Premiata Liuteria from a talk in 1985 by Mario Maccaferri Maccaferri speaks about his life as a musician, luthier, and inventor. This was in pre-war Europe, and the harp guitar was still used in popular music. Mario designed extra-string instruments that were built by the Selmer company along with his widely accepted 6-string models. Harp Guitar: That Extra-String Thing by Jonathon Peterson Most Americans who even knew what a harp guitar was thought of it as a less-than-useless dinosaur. Then came Michael Hedges. Jon Peterson’s look back at a strange instrument seems prescient in light of all that has happened in the thirty years since then. We look at instruments by Torres, Hauser I, Scherzer, Staufer, Mozzani, Gibson, Knutsen, Martin, and others. Turns out the harp guitar has deep and strong roots. Meet the Maker: Michael Sandén by Jonathon Peterson A Swedish guitar maker comes to America. This was a long time ago, but Michael had already made a lot of different kinds of extended guitars, starting with the ones he built with his mentor, Georg Bolin. Dyer Harp Guitar by Todd Brotherton When Michael Hedges brought the harp guitar to the progressive music scene, he was using a Dyer instrument very similar to this one built by the Larson Brothers. GAL Instrument Plan #32: Dyer Harp Guitar by Todd Brotherton Note that the large bridge patch in this instrument was not original, but added during a restoration by Bay Area luthier Mario Martello. Mario got it right; the modified guitar is stable, it plays well, and it sounds great. A New Look at Harp Guitars by Jonathon Peterson Having looked back at the roots of the harp guitar, Peterson next looked forward. A number of luthiers were finding fascination and great potential in the big beast, and were laying a foundation for its modern era. Meet the Maker: Tom Shinness by Jonathon Peterson Shinness is a harp guitarist who builds his guitars by cutting and pasting parts of real instruments together into new configurations. He’s a proponent of whole foods, exercise, and positive mentality as a means of achieving greater musical creativity. Meet the Maker: Stephen Sedgwick by Jonathon Peterson Harp guitars fascinate a lot more people than actually play them, so it takes a brave luthier to jump into the field. Sedgwick is a delightfully modest man who is determined to make harp guitars or bust. Meet the Maker: Benoît Meulle-Stef by Jonathon Peterson Meulle-Stef is a French harp guitar luthier who lives and works in Belgium. The harp guitar has deep roots in Europe and he is familiar with all of them. His own instruments have a grace that harp guitars often lack. Harp Guitars: Past, Present, and Future A Discussion of Extra-String Theory from their 2006 GAL Convention panel with Mike Doolin, Kerry Char, Gary Southwell, and Fred Carlson By the time this article was written seventeen years ago, the harp guitar was already well into its modern renaissance. Players wanted banks of super-treble strings as well as an extended bass range. Luthiers responded with new designs and different string configurations that made their instruments more user friendly, more graceful, and musically more pertinent. Developing the Modern 20-String Concert Harp Guitar by Jeffrey R. Elliott Even if you don’t care much about harp guitars you’ll enjoy the thought processes that went into the progression of instruments documented in this article. If you are into harp guitars this is a must-read. The fresh and thoughtful design developed by John Sullivan, John Doan, and Jeffrey Elliott owed little to similar instruments of the past. GAL Instrument Plan #61: 1986 Sullivan/Elliott Harp Guitar by Jeffrey R. Elliott If you want to build a harp guitar, you can’t go wrong with this time-tested and well accepted design. You might say it is the standard modern harp guitar. Meet the Collector: Gregg Miner by Kathy Wingert Gregg Miner is dedicated to collecting instruments and restoring them to playing condition. Through his research he has acquired a wide network of historians, repairmen, and luthiers. He’s often called the Harp Guitar Pope for his extensive work in collecting, cataloging, documenting, demonstrating, and promoting the many varieties of harp guitars and other extended guitars. What a blessing.