At the moment I’m revisiting my harp technique, not for the first time.

I’ve already done surveys in harp forums, whether to rest the right arm on the soundboard or not while playing. The reactions of my colleagues (classical and trad) were very mixed.

I’ve even already written about it in my blog on www.harpmusic.ie, so I might just be repeating myself here…

To recapitulate, I was used to resting my right arm while playing. Which meant that I literally rounded off any edge on a new harp, if it was too sharp angled (I’ve seen this rounded-off edge on pedal harps). It also meant I was using wrist “socks” for extra padding when playing. Doesn’t look that elegant!

Furthermore, especially when the soundboard is narrow (small harps), I found that this would angle my wrist upwards, which had consequences for the smooth movement of tendons over my knuckles (back of the hand), and create blockages, especially with the right middle finger!

Another issue I had was the angle described by the strings and the soundboard (description & drawing see earlier blog). I had to turn my wrist anticlockwise to get the thumb behind the strings.

Another issue – classical technique with 45 degres fingers / strings or trad technique with nearly 90 degres? With the classical technique, there seems to be a lot of sideways pressure on the fingers (and more friction). It’s not a movement that anyone would naturally perform. It surely has its place with high string tension of the pedal harp. As for the Irish harp, and I’m probably stating the obvious here, I see players gaining more speed with a more “right angled” approach – more natural from an ergonomics point of view, no sideways pressure.

Conclusion and consequences?

The angle of the strings towards the soundboard is crucial, not only for a straight wrist and comfortable thumb action, but also for a good balance of the whole instrument towards the upper body! So, I did actually change instrument for more comfort.

As for resting the right arm on the soundboard – it gives a (false) sense of security and control. The wrist acts as a lever when it comes to pulling the strings, which prevents developing actual finger strength. When working on my pieces with my arm off the soundboard, I can feel my muscles develop (like a good workout). I’m sure this is a good thing! This would make my playing more independent of soundboard widths and angles, and most of all, it will come in handy on the chromatic harp! On the cross strung harp I never rest my right arm, but I never developed any speed either!

Another issue arises with small harps, when working on this new “technique”, and I’m sure I’ve already written about it: how to keep the harp in a stable position? This shows that part of having the right hand on the soundboard was actually to… keep the harp from jumping around! I’m sure this was detrimental to smooth and relaxed playing and progress!

So the next step on this journey is to play “hands free” without pulling up my shoulder to secure the harp in place…

Which goes to show that there is an advantage to a heavier (well balanced) harp, especially a harp, where the main weight isn’t concentrated on the neck alone!

Ultimately, when the ideal technique is found and adopted, and when finger strength is developed, it shouldn’t matter that much anymore. Like the classical flute. For the first year, it seems impossible to simply hold the instrument without pain and struggle. Eventually the playing gets natural and flowing.

tbc.

 

If you’re a harpist you know what I’m talking about…

The problem here is that there isn’t just some “natural talent” that I can watch and copy (well there is when one knows what to look for).

It’s like trying to play electric guitar with a classical guitar technique, to give a good comparison.

In a way even with the more well-known “celtic” harp there’s no unified technique that everyone is following. We were inspired by the classical harp technique, but for traditional music, we need to change the approach radically. I’m looking at the professionals who get the results (speed, fluency) as well as new (beginner) students who haven’t been brainwashed into classical positions yet. They naturally have a different approach – right angles, elbows down… I’m taking it all into consideration, instead of just repeating what I learnt 30 years ago…

……………………………………………………..

The picture shows my “office” at the time of writing this article, in the South of Spain.

Even on “holidays”, I bring along a travel harp, and work… This time it was to prepare for the concert on 14th June 2025 at Muckross House in Killarney, where Amala was presenting a set of traditional pieces and own compositions (by Paul de Grae), as well as the “Muckross Suite” by JJ O’Shea from Radio Kerry. Muckross House was celebreting its 60 years anniversary of opening to the public; the Suite was commissioned for this occasion, and arranged by the talented and hard working Paul de Grae.

Travel harp model “Ivy” by Karsten Stielow.