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Making a Gothic Harp

Making a Gothic Harp

by Shaun Newman

Originally published in American Lutherie #103, 2010



When my daughter asked me to build a harp, “the sort that angels play,” how could I resist? As a maker of guitars, I knew little of the Gothic or Renaissance harp, but became fascinated as I learned more. The original would have had a soundbox hollowed from a tree trunk, two sides of solid wood, and gut strings — simple but practical. These harps were common in 12th-century Europe onward, but sadly, no original instruments survive.

My first task was to find a drawing of the proper size. Mine came from Luthiers’ Supplies, an English firm, and though it provided a guide for construction, it contained critical errors that forced me to remake my first effort. It is not difficult to design your own, but beware of making the top string too short; if you keep that string at least 5 1/2" long, all should go well. Gothic harps can have sixteen to thirty-two strings, with an appropriately sized frame. The one I built, shown in Photo 1, is 32" tall with twenty-six strings. A larger harp is more versatile, but less portable and more costly. Since the instrument is not chromatic and many of the strings are used as drones, much of the upper range is seldom used; some players prefer no more than nineteen strings.

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Questions: Charango Plans

Questions: Charango Plans

by C.F. Casey

Originally published in American Lutherie #104, 2010

 

Gerald Mercer from Angels Camp, California asks:

I am looking for plans for a South American charango. These are often 10-string, 5-course instruments and made using the shells of armadillos.


C.F. Casey from Winnipeg Beach, Canada
answers:

The website below will get you going on building a charango. The title calls it a ronroco, but it’s the same thing. They even use the two terms interchangeably in the site.

http://jlfeijooi.en.eresmas.com/Construccion_de_un_ronroco.htm

Here we’re dealing with a charango that’s carved out of solid wood, rather than using an armadillo shell for the bowl. Most charangos I’ve seen lately have been the carved variety, and the last few times I’ve visited my friendly neighborhood wood-pusher, they’ve been fresh out of armadillos. The site is in Spanish, but Google’s translation is no more horrible than such things usually are. In any case, the sketches have the main dimensions, which is the most important thing. ◆

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Questions: Martin Style 5-18

Questions: Martin Style 5-18

by R.J. Klimpert

Originally published in American Lutherie #103, 2010

 

Larry Crozier from the Internet asks:

A customer wants a Martin-style 5-18 guitar built. I was wondering if GAL Plan #8 for the Martin 1-18 is the same or close enough. If not, could you recommend somewhere to get a 5-18 plan?


R.J. Klimpert of Barrington, Rhode Island
responds:

The chief reason that the 1-18 pattern won’t work to build a 5-18 is that the Martin 5-18 is a “terz” guitar, meaning that the neck and scale length are considerably shorter than that of a regular Martin, allowing for the higher-than-standard tuning that terz guitars are known for. The 1-18’s body, while narrow and seemingly similar in size to a 5-18, is too long to allow for a terz short-scale neck. The 5-18 is actually closer to a Martin Style 51 baritone uke in body size and scale. In fact, Martin reportedly reused an old terz guitar pattern when they started producing the 10-string tiple in the late ’teens. As for finding a pattern that would work for building a 5-18, it might be possible to reduce the dimensions of a 000-18 — all except the width of the neck — to approximate the correct size and shape. Or conversely, scale UP the dimensions of a Martin tiple (GAL Plan #37), since the 5-18 terz guitar lies somewhere between the two. ◆

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Questions: J-45 Body

Questions: J-45 Body

by Joe Veillette

Originally published in American Lutherie #102, 2010



David Brooks from Tucson, Arizona asks:

I want to build a 12-string guitar based on a J-45 body or similar. What changes to the 6-string version of the J-45 do I need to make to handle the additional tension?


Joe Veillette from Woodstock, New York responds:

In my experience there are two ways to go. If your idea of a 12-string is what most people are used to (25"–25 5/8" scale), I feel that all you have to do is add about 10% to the cross-sectional dimensions of what you’d use for normal 6-string top bracing. The top thickness as well as the back and sides can remain unchanged. This “normal” 12-string should be tuned down a step to D (many old Guilds came that way), or strung with extra-light strings due to the high tension of the octave strings which otherwise tend to be harder to play, more finicky in terms of intonation, and can often deform the top. Of course this isn’t always the case, but it’s close. In my opinion, both detuning and the use of really light strings are unfortunate compromises. But some people prefer the lower tuning and there’s nothing wrong with it if that’s what you like.

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This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 3 annual issues of American Lutherie and get discounts on products. For details, visit the membership page.

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