FOLK HARP - International Society Of Folk Harpers And Craftsmen

Winter 2010 • Issue no. 149
FOLK HARP
r Journal
e
l
p
m
a
S
inside this issue:
■ Learning how to play well with others
■ An interview with AnnaLee Foster
■ Why do strings buzz?
■ How to start a harp circle
■ And much, much more
Promoting the tradition, beauty, and joy of the folk harp in all aspects, and to all ages.
Folk Harp Journal contents
IN EACH ISSUE:
2� President’s Note
7� Membership Form
24� Music
Noel Nouvelet
32 � CD Reviews
by Rhett Barnwell
28� Starting a Harp Circle
by Barbra Bailey Bradley
48� New Music Reviews
by Denise Grupp-Verbon
72� What’s the Reason?
by Laurie Riley
All abuzz about strings
12
78� Classifieds
80� Advertisers’ Index
Contributors and How to
Advertise in the FHJ
9
IN THIS ISSUE:
4� Campaign Donors
50
22
32
22� Harp Maintenance
by Sharon Thormahlen
8� Music
Here Comes Santa Claus
9� The Harping Business
by Anne Roos
12 � Cover Story:
AnnaLee Foster
by Sharon Thormahlen
The story behind an amazing, prize winning harper
16� Music
Angels We Have Heard on
High
30 � Playing Well With Others
by Robin Freed
38� Children’s Wings
by Barbra Bailey Bradley
40� Music
Fairy Danse
WINTER 2010
FOLK HARP JOURNAL STAFF
Editor-in-Chief
Tammy Feil
Editorial Assistant
Mark Feil
Regular Contributors
Cynthia Cathcart
Rhett Barnwell
Laurie Riley
Denise Grupp-Verbon
Ad Coordinator
Beth Stockdell
Back Issues
Jerry Brown
Website
Sharon Thormahlen
Marg Chauvin
43� Harper’s Hall at Christmas
by Verlene Schermer
ISFHC OFFICERS
44� Music
Ding Dong Merrily (trio)
First Vice President
50� Success in The Studio
by Joanna Mell
Second Vice President
52� Music
Ding Dong Merrily (solo)
59� Music
Aura Lee
60� Music
Jingle Bells
66� Music
Fantasy on We Three Kings
Official Publication of the International Society of Folk Harpers and Craftsmen, Inc. ISSN: 0094-8934
The Folk Harp Journal is published four times yearly, in Spring, Summer, Fall, and Winter, by the International Society of Folk Harpers and
Craftsmen, Inc. (ISFHC). One year of the journal (four issues) is included in ISFHC membership, obtained by a minimum contribution to the
society of $30.00. Send all membership inquiries and changes of address to ISFHC, 1614 Pitman Drive, Missoula, MT 59803. Tel. (406) 5421976. E-mail to clem@in-tch.com.
The purpose of the Folk Harp Journal is to assemble and distribute all information pertaining to the folk harp, its music, and techniques of its
use. Unless otherwise noted, all information contained herein may be copied and used freely, provided the source is given. All services and
contributions of articles to the journal must be on a voluntary basis. Direct all materials to the Editor: Tammy Feil, 2501 St. James Church Rd.,
Wilmington, DE, 19808, fhj@wideopenminds.com. All materials must be submitted in electronic format.
Articles submitted to the Folk Harp Journal may be edited for purposes of clarity or space. Publication of all materials shall be at the sole
discretion of the Editor-in-Chief. Opinions expressed by the authors in their articles are not necessarily those of the FHJ staff or of the ISFHC.
The officers and members of the Board of Directors of the ISFHC and the editorial staff of the Folk Harp Journal assume no responsibility for
claims made by advertisers.
President
David Woodworth
Dave Kolacny
Verlene Schermer
Treasurer
Barbra Bradley Bailey
Secretary/Membership Director
Alice Williams
Directors
Sharon Thormahlen
Sylvia Fellows
Mark Feil
Chapter Coordinator
Sharon Thormahlen
ISFHC Founders
Roland L. and Phyllis Robinson
Founding Directors
Sylvia Woods
Linda Bruce
International Society of Folk
Harpers and Craftsmen (ISFHC)
1614 Pittman Drive
Missoula, MT 59803
On the cover
AnnaLee Foster is an Oregon harper
who records, teaches, performs, and
competes on the Celtic Harp. She
recently rocked Ireland by winning
the Fleadh competition, one of the
few Americans to do so. Read an
interview with her on page 12.
President’s note
From the President
WELCOME TO THE NEW FOLK HARP JOURNAL!!
2010 has been an eventful year for the Society. We had a great HarpCon in August in St. Louis. The workshops,
the concerts, and the exhibit hall were all excellent and very well received. While we didn’t have quite the
attendance that we’d hoped for, attendees had a great time, and comments were overwhelmingly positive. We’ve
been asked repeatedly when the next HarpCon will be, but no decision has been made on that at this point, except
that it won’t be in 2011. We’ll let you know here, in the Folk Harp Journal, when a decision is made about what’s
next for HarpCon.
In our efforts to keep the new high standards that we’ve set for the Journal in the last two years, we’ve had some
successes and some challenges in our editorial staff. I’m happy to announce that Tammy and Mark Feil have
stepped in to be our editors for this issue. The Board has a commitment to keep the FHJ up to the level of quality
that you, and we, have come to expect. It’s important that it have the best articles, music, ads, and all the other
great things that you’re used to seeing. In addition to enjoying the Journal, if you’d like to contribute articles,
music, or other content to it, please let us know by emailing to fhj@wideopenminds.com.
Our next project is to focus on increasing the membership in the Society. We’re at about 1,100 members now,
which is up from just under 800 about 2 years ago, and we’re thrilled by that! With all the harp players out there,
and all the harps that are sold every year, we’d like to see the Society approaching 2,000 members by the end of
2011. You can help in the following ways: 1) ask 3 of your harp-playing friends to join the society, and 2) send
your ideas or suggestions on ways to increase our membership to the Board by emailing FolkHarpPresident@
gmail.com.
Thanks for being a member of the ISFHC, and I hope you enjoy the new issue!
Dave Woodworth
Dave Woodworth
ISFHC, President
2 FOLK HARP JOURNAL • www.FolkHarpSociety.org
:
If you love
If you enjoy
Please join us!
the folk harp in any of its various types and styles...
the challenge of building harps, performing, teaching,
playing for yourself on a winter day, or all of the above...
Membership involves a donation in
support of folk harping worldwide.
Please join or renew by mailing in a
membership form, or join online
at: www.FolkHarpSociety.org
Your Place to Connect with the Folk Harp Community
FOLK HARP JOURNAL IS A PUBLICATION OF THE INTERNATIONAL SOCIETY OF FOLK HARPERS AND CRAFTSMEN
6 FOLK HARP JOURNAL • www.FolkHarpSociety.org
MEMBERSHIP FORM
Our Mission
• To promote the playing and enjoyment of the folk harp by all
• To promote education, creation, and development in the building of the folk harp
• To increase awareness of professional folk harpers
• To increase public awareness of the music and joys of the folk harp
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Please check any of the categories below that apply to you:
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Please make your check or money order payable to ISFHC, and mail to: ISFHC • 1614 Pittman Drive • Missoula, MT 59803
You may also submit payment online using PayPal at www.FolkHarpSociety.org
Upon joining the ISFHC you will receive the upcoming issue and three more issues of the Folk Harp Journal, until your membership is up for renewal.
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ADDRESSES OF THE SOCIETY
Editor
Tammy Feil
2501 St. James Church Rd.
Wilmington, DE 19808
302-633-6391
fhj@wideopenminds.com
Membership &
Subscriptions
Alice Williams
Back Issues
Jerry Brown
Chapter Coordinator
Sharon Thormahlen
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 7
Nobody Doesn't Like
AnnaLee
She’s a mystery and an open book. She likes Japanese freshwater
eel, and when she was younger wanted to be the next Shirley
Temple. She tours and teaches and loves playing the harp.
I guess a good first question is what
got you started on the harp and
when?
When I was a senior in high school, a
family friend invited my family to go to
a Christmas concert by a Seattle pedal
harpist, Bronn Journey. As I watched
him play Irish tunes on a lever harp I
just sort of had a flash, ‘hmmm, I can
do that’. I expressed my interest to my
parents about wanting to learn how to
play the harp. So for my graduation
present from high school they found
a teacher, rented me a William Rees
Glenn Aulen harp, and said, “OK, let’s
see how you do.” I took my first harp
lesson with Jewel Shield and that was
the beginning to the end of the story.
My current harp is a Thormahlen CeiliMor, which is what I used to win the
Fleadh Competition.
Do you play other instruments?
My mom always said that I was singing
and dancing before I could talk or walk.
When I was 8, I convinced my parents
that I needed to learn to play the piano.
I had some pretty iffy teachers back
then. The first teacher didn’t seem to
be much farther ahead of me in playing
skills. She moved away and I got
another teacher at 12 who said I was
too old to start learning Mozart, which
was what I wanted to learn. So, instead,
I learned a lot of American folk tunes,
but those lessons were nothing serious.
I played clarinet in elementary and
middle school band, and was active in
ensemble, choir, and drama. I’ve always
been around music and I’ve always
loved Irish music, but not until I was
in high school did I get serious about
it. It took me awhile to find the right
instrument.
How did you get interested in Irish
music?
I’ve always loved Irish music and have
been interested in it since I was 5 years
old. In fact I listened to Thistle and
Shamrock on OPB radio with Fiona
Ritchie every Saturday night at 6:00.
I made a pact with myself when I was
5 that I would go to Ireland and learn
to speak Irish. I’ve gone to Ireland
but haven’t learned how to speak the
language, yet.
You attended the Irish Harp Center
studying with Janet Harbison. Tell us
about your experience there.
I got involved with Irish music on
the harp and it became my passion.
I learned about the
Irish Harp Center in
a roundabout way by
attending a workshop with
Grainne Hambly on one
of her Northwest tours.
It opened my eyes to the
possibilities of the harp
and I absolutely loved it. I
went on- line and learned
about a workshop on the
east coast of Ireland called
Cairde Na Cruite, which
means The Friends of
12 FOLK HARP JOURNAL • www.FolkHarpSociety.org
the Harp. (http://www.cairdenacruite.
com/Home.html ) I went there for a
weeklong workshop at the end of June/
beginning of July where I had my first
real immersion in learning by ear. It was
a complete shock that I was learning
mostly by sheet music and a little bit
by listening. At this workshop, there
was no such thing as sheet music until
the end of the day after you already
had your head crammed with 10 tunes.
Coming away from that experience, I
knew that I really wanted to study the
harp and get serious about Irish music.
I was 23 in 2005 when I went
online again to see where the best place
to study would be and we came upon
the website for Janet Harbison (http://
www.irishharpcentre.com/). That name
sounded really familiar. By coincidence
later that week, I was listening to one
of Grainne’s CDs and in her liner notes
she happened to thank her teacher,
Janet Harbison. From there I was able
to connect that Janet Harbison was the
director of the Belfast Harp Orchestra
which was on one of my favorite CDs,
Celtic Harpestry, and that she was the
composer of my absolute favorite harp
compositions, Earth, Water, Wind and
An Interview with AnnaLee Foster by Sharon Thormahlen
But this American rocked Ireland recently when she won the Fleadh competition. Her
teacher, Janet Harbison, was proud, as were her parents. Sharon Thormahlen sat down
with AnnaLee, now 28, to talk about the harp.
Fire. It was a big circle. The person who
started me on my serious quest for Irish
music, Grainne, brought me back to her
teacher, Janet, and when I realized that
this person taught Grainne how to play
like she does, I said, “I have to go to
that person.”
Being at the Irish Harp Center was
hardest 2 years of my life, but also the
best. Basically you ate, drank, and slept
harp. It was very intense and other
students have complained about not
being able to have a life. When I hear
that, I think, ‘Don’t you realize what
you signed up for? This is your life for
however long that you’re here. This is
your life!’
Not only do you get private lessons
with Janet, you also get instructed with
Irish Harp History, which is tied in with
Irish history, which is tied in with Irish
political history. So basically, you’re
learning a lot about the sociology
of Irish traditional music and how it
fits in with Irish culture. You’re sort
of becoming a little bit of an ethno
musicologist. It’s very comprehensive.
You’re also being taught how to
teach. I would observe Janet teaching
students and I would
also teach my own
students, assist with
group teaching,
3-4 year old music
appreciation classes,
and it was just so
much fun.
Also, we
would also go once
a week to the local
children’s school
for the handicapped
to do palliative
music. Then there
were rehearsals for
the Irish Harp Orchestra which was
the professional orchestra and the
National Harp Orchestra which was a
training orchestra where some of the
members were as young as 8 years
old. These girls really knew how to
play. There were a couple of boys, too,
who were very, very talented. Always
more girls than boys because of the
way the history of the harp evolved
and survived. In the ancient days, the
professionals in the Irish Harp World
were mostly men. There were a couple
of female professionals that we know
of. I’m sure there were more, but of
the recorded history that we have, we
know of two. After the ancient Irish
wire strung harp died out and the rise
of the gut-strung harp took over in
the Egan era of the1800s, there were
many unsuccessful tries to revive the
old style of Irish harping. The nuns in
the convent preserved the harps that
they had, and learning to play the harp
became one of the accomplishments for
young, refined, marriageable women.
That’s actually where Janet learned to
play the harp, in a Catholic Church run
school in Dublin. They had a harp room
and a harp class. At that time they were
mostly taught to sing and accompany
their voice with the harp. Her teacher,
Máirín Ní Shea, taught people like
Mary O’Hara (http://www.maryohara.
co.uk/) and some of the other ‘50s and
‘60s Irish Cabaret singers.
When I was in the Irish Harp
Orchestra, I traveled to Belgium,
France, Germany Austria, Cypress,
Tennessee, and Ireland with the
orchestra. We also played at wedding
events. So there was plenty of practical
experience as well as learning. It was
like an apprenticeship.
I have heard you talk about the
vision you have of a harp school in
Portland. Tell us about that.
My goal is to build, in America,
something similar to what Janet has in
Ireland. People from all over Ireland
come to study with Janet. She’s one
of the best teachers! I would one day
like to aspire to be as good a teacher as
Janet. I would love to foster a school of
Irish traditional music, playing music
on the lever harp, at such a standard
that people really realize how versatile
it is. I want us to be just as numerous as
guitar players.
Your time at the Harp Center was
part of preparing for the All Ireland
Championship, what did you do more
currently to prepare?
First of all, I had to decide what I
wanted to play because unlike a lot of
other competitions, they don’t dictate
what your repertoire is supposed to
be. They don’t tell you what to play.
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 13
Harp Maintenance
It’s more than an oil change
T
he dream of many beginning, and
even seasoned harpers, is to have
a new harp, But just having one brings
with it a slew of responsibilities. Like
a new puppy, harps must be cared for,
paid attention to, and their needs must
be met. Non-harpers may refer to this
instrument as a piece of furniture, but
we know it as much more than that.
A dusting and spritz of Pledge are just
not going to cut it. However, unlike a
puppy, taking care of this instrument
need not be a part time job.
Cleaning your Harp It is always best to consult your
harpmaker on this topic just to make
sure that whatever you might use on
your harp doesn’t combine chemically
with the harp’s finish. One of the
reasons that we prefer not using any
product on a harp is because if your
harp ever needs repair or refinishing
(say if it gets a ding), the product may
inhibit the harpmakers finish from being
able to bind to the harp. We recommend
a damp cloth followed immediately by a
dry one. An old cotton diaper, T-shirt or
flannel works great. If you must, a tiny
dab of dish soap can be OK. If in doubt
check with your harpmaker.
Weather and Humidity
Keeping your harp from drying out
is very important. If this happens the
wood could crack. Harpmakers do not
include this in their warranty. Optimally
the humidity should be between 4060%. Besides living in a dry climate
like New Mexico or Arizona, air
conditioners, wood stoves and heaters
can also cause your home (and harp)
to dry out. Humidifiers are one of the
best methods for putting moisture back
into the air. Pots of water on your wood
stove or heaters, and dampits you put
by Sharon Thormahlen
inside your harp will also help if you
keep your harp in the case. Some folks
put a wet sponge in a zip lock bag with
holes in one side. Just remember to keep
the sponge wet. Keep your harp away
from direct sunlight, heaters and drafts.
All of these things will help your harp
stay in tune as well as prevent cracks.
If you live in an extremely moist
climate like Florida or Belize, you
might need to take moisture out of the
air with a dehumidifier.
With the use of a Hygrometer, you
can measure the moisture of the air in
your home. These cost about $50 at the
hardware store. You can also get one
where cigars are sold.
When traveling, make sure your
harp does not get too hot. Never leave
your harp in a car that you wouldn’t
leave your child or your dog in. If the
harp gets too hot, the glue that holds the
harp together can melt or the lacquer
can melt causing the case lining to
leave an imprint on the surface of your
harp. Reflective solar blankets can help
keep direct sun off of your harp in the
car, assuming you’ve got the windows
cracked.
Changing Strings
There are a lot of differing opinions
on this. Some harpists change their
strings once a year; others have left their
harp strung for 10 years without ever
changing them. If you think the sound
quality of your harp has diminished, it
could be time to change the strings.
If you have a string that won’t hold
it’s tuning, that can be an indication that
the string is about ready to break. Some
levers will degrade the strings at their
point of contact so if you notice this,
you should change them.
I recommend that when you do
22 FOLK HARP JOURNAL • www.FolkHarpSociety.org
change your strings, buy a new set to
put on the harp. Keep your old strings
for replacements. There’s no advantage
to using your old string set, buying a
new set and then letting the new ones
get old.
If you have threaded tuning pins,
you should unwind your tuning pins at
least 3-4 revolutions before replacing
the string. This keeps the string in line
with the others.
Tuning Pins
Most, but not all, tuning pins are
tapered. If they slip, it is generally due
to low humidity causing the pin holes to
dry out and thus get bigger. This is not
a big problem, but one that definitely
needs to be dealt with. Back the string
off 1/2 to a full turn to avoid breaking
the string upon retuning. Now retune
the string while pushing in until it feels
right. It is a push and turn action. You
should be able to see the tuning pin go
further thru the neck. If this doesn’t
correct the situation, you may have to
take the string off the pin, take the pin
(Continued on p.62)
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 23
Playing Well With Others
by Robin Freed
W
hat could be more wonderful than
listening to a huge stage full of
harps playing music together? Being
in the middle of the forest and joining
in by playing your own harp! My first
experience to play in a harp ensemble
was a few years ago with the Southwest
Florida Chapter of the American Harp
Society. The local group sponsored
a weekend of workshops, ensemble
rehearsal and concert under the
direction of Dickie Fleisher, harpist with
Naples Philharmonic Orchestra. The
music was received only a week before
the gathering with a note encouraging
me to play as many notes as I can. It
was an exhilarating experience to be in
the middle of about 20 harps, half being
pedal harps and the rest a mixture of all
sizes and types of folk harps. I had the
only cross strung harp there, and was
curious to see if my harp could fit in and
“keep up” with the others.
What I learned was that it didn’t
really matter if I found all the right
notes, or even missed playing a few
all together as the combined voices of
all the harps more than made up for
my own inadequacy. The concert was
to a packed house, and I truly think
that those of us who played enjoyed
it even more than the audience. This
experience gave me courage to try
playing with the ensemble a few months
later at the Beginning in the Middle
Weekend seminar held each Spring in
Williamsburg, Virginia.
For two previous years I attended
this excellent long weekend of
workshops, group and private lessons,
and concerts geared all to adult
beginners. I was especially enthralled
in hearing the ensembles play...first
the teachers’ ensemble on the Friday
evening concert to inspire us all,
followed by student ensembles (one
group for beginners and another for
those who had played in an ensemble
before), with both ensembles combined
for the final piece, including dozens of
harps in every shape and size on the
next evening. There is a YouTube clip
of the world’s largest harp ensemble
with over 200 harps that played together
at a recent World Harp Congress
Concert.
Playing in ensembles teaches new
skills such as learning to watch the
director also while watching the music,
and the harp strings and counting all
at the same time. The most important
thing is for everyone to start and end at
the same time. The music was available
to purchase a few months ahead of time
giving everyone plenty of practice and
we each could choose which of the three
parts we wished to play. Being unable
to hear all three parts together until the
rehearsal, I had no idea how wonderful
it would all sound as a group. I think I
enjoyed the rehearsal even more than
the concert for this reason, plus there
was no pressure to sound “Perfect”. In
each ensemble adventure, no one was
made to feel stupid or inadequate if
mistakes were made. Rather it is a very
affirming and encouraging experience
that all would benefit greatly from.
Another way to play with others
is in an organized harp circle. In the
membership directory for the Folk
Harp Society, there is a listing of local
chapters. Many have regular gatherings
to get together. I joined the Harpers Hall
chapter in California, which has over
70 members, many out of state, even
though I have only been able to attend
one of the monthly meetings which
includes time to play the harp with a
room full of others. I first met this group
while attending Highland Games, where
they set up a large tent to introduce the
harp to anyone walking by. A group
ensemble plays several mini-concerts on
30 FOLK HARP JOURNAL • www.FolkHarpSociety.org
a stage at the Games, and I have had the
fun to join them a few times. Verlene
Schermer does an excellent job of
directing the Ensemble, and my favorite
part is feeling the vibration under my
feet as about 20 of us play together on
a wood stage. The music is available
ahead of time via downloads from the
internet, so preparing is easy to do, and
everyone plays at their own level.
The first harp orchestra concert
I attended was the Harrisburg Harp
Orchestra playing their “Harp Felt
Christmas”, directed by Louis Lynch.
There were over 30 harps on the stage
in a large auditorium, from small lap
harps, to the concert pedal harps. Some
played advanced solos... while others
played one finger at a time with the
group ensemble. All the songs were
splendid. I was encouraged to see how
everyone regardless of playing ability
was included in the concert ensemble
experience.
Perhaps the easiest and most
available way to play the harp with
others is to get with one other harper
to play a duet. Last Thanksgiving was
my first time to try this with an uncle
(in his eighties) who started the harp a
year before I did. He arranged a duet
for harps of Angels We Have Heard
On High, and sent me a copy a few
months before our twice a year visit. We
each practiced separately our chosen
part and practiced together for about
90 minutes while the Thanksgiving
turkey was roasting in the oven, then
recorded the video that is posted on
You Tube (http://www.youtube.com/
watch?v=fDBjjzaT4rg ).
You can view the results and hear
the arrangement as written. It was
tremendously fun and challenging.
Having numbers written on measures
periodically helped to reference where
we were when we needed to start again
Playing Well (continued on pg. 42)
CD Reviews
by Rhett Barnwell
Seána – Traditional Irish Harp – Seána Davey, Celtic harp
Seána Davey is one of Ireland’s most accomplished and
versatile young harpists. She has studied both the harp
and piano with the Royal Irish Academy, holds a B.A in
Music and Irish, and an M.Sc in Music Technology. She has
today, this recording is essential listening for anyone with an
interest in modern Irish harp playing”. I couldn’t say it any
better myself! I particularly like her rendition of “Carolan’s
Concerto” as well as the original composition “B’fhéidir”,
which displays an incredible amount of creativity. She has
enviable technique and complete control of ornamentation
and style. I have a feeling we will be hearing a lot more
from this talented young harpist in the future. For more
information, go to www.seanadavey.com.
Table For Two – Louise Trotter
Louise Trotter is certainly one of the most well known and
respected harpists and arrangers alive today. Her career has
spanned several generations and she is equally at home with
the lever and the pedal harp. Her work as an arranger has
encompassed sacred, popular and folk music in different
genres. She travels regularly to perform and present
workshops around the country and is overall a fascinating
and uniquely gifted lady! I was delighted to receive her new
CD, entitled, Table for Two, as it contains many of my own
personal favorites. Even though it is played on the pedal
harp, we felt it should be included here, as Louise has made
many contributions to the folk harp world, and this album
will definitely be of interest to harpers of any persuasion!
performed in Áras an Uachtarán, Dublin Castle, RDS, the
National Concert Hall and all over Ireland and Northern
Ireland in the main theatres. Seána plays both as a soloist and
an accompanying artist for singers/other musicians.
In this, her debut recording, Seána is joined by several
other top Irish musicians playing flute, whistle, bodhran,
piano, bass and guitar. She plays a bright and sparkly
sounding Celtic harp made by Colm Ó Meachair, and also
plays piano on a couple of the tracks. The CD contains
12 titles altogether, covering the gamut of Irish repertoire,
from traditional O’ Carolan, to jigs, reels and airs, to an
original composition, “B’fhéidir”, which loosely translated,
means, “Maybe I will, maybe I won’t”. There is an immense
amount of variety in this recording, and is not your run-ofthe-mill Celtic music CD. Gráinne Hambly, one of Ireland’s
top harpists, said of Seána’s new recording, “From the first
time I heard Seána play, some years ago as a young student
and competitor at various festivals, I was struck by the
individuality and precision of her playing. These features
are clearly apparent on this, her debut recording. Illustrating
the range of music being played on the harp in Ireland
32 FOLK HARP JOURNAL • www.FolkHarpSociety.org
This CD contains 16 tracks of some of the most popular
standards from Broadway, movies, and the Swing Era, with
a touch of Latin thrown in to spice things up. These are
selections that might be heard at a fine dining establishment,
hence the title, Table For Two. It is subtitled, “Romantic
Favorites for Solo Harp”, and features such songs as “Tara’s
Theme”, “Phantom of the Opera Medley”, “Return to
Sorrento”, “Just the Way You Look Tonight”, “Days of
Wine and Roses”, “Moonlight Serenade” and other timeless
classics. Granted, some of these pieces may be viewed as
being from an older era, but they have stood the test of time,
and are still popular with many people today. I would argue
that much contemporary music played today cannot hold a
candle to some of these pieces from an earlier generation,
but that’s a subject outside the scope of this review! The
arrangements on this CD are all Louise’s own, and they
are excellent settings, allowing the harp to really sound
like a harp, with unabashed glissandi and other harpistic
techniques. Louise plays extremely well, as always, and it is
obvious that she knows and loves the music she is playing. I
would highly recommend this CD to anyone who wants to
take a nostalgic and romantic trip to an earlier era. It is great
for general listening as well as setting the mood for a special
dinner or other event. For more information, go to www.
louisetrotter.com
Celestial – Frank Voltz
Frank Voltz is known primarily for his arrangements
and performances of jazz and gospel music for the
harp, although he is also a very accomplished organist,
pianist, conductor and composer. To say he has a wealth
of talents would be an understatement. He is in demand
giving workshops around the country and is a gifted and
entertaining teacher. We had the privilege of hosting him
at the Atlanta Harp Center last year for several workshops
and a concert. I was expecting a program of jazz and gospel
music, and was pleasantly surprised when he introduced the
audience to an entirely different style of music by playing
selections from his new CD, Celestial. He had begun the
program by playing more jazzy pieces on his Camac Big Blue
pedal harp, but switched over to his Steen lever harp for the
“Celestial” pieces. Now, I am quite fond of jazz, but I also
very much love more quiet, meditative music on the harp.
These are all original compositions by Frank and are quite
different than most of his previous output. There are 13
tracks on the CD, with titles such as “Sunday Afternoon”,
“Sapphire Nocturne”, “Celestial”, “Summer Rain”, and
his previously published “Strolling Through the Strings”,
in a solo harp and ensemble version. The pieces all have
descriptive titles, such as “Abby’s Song”, which he wrote for
his best friend’s first grandchild. In the liner notes, he writes,
“I think of Abby on the beach, playing in the sand, building
her first sand castle, smiling at the ocean, and falling asleep
on a beach towel.” All of the pieces are very evocative and
reading the notes helps the listener to fully appreciate the
music.
Overall, this CD is really beautiful, and the music is
ethereal and contemplative. All of the music is available in
print and is quite accessible for the intermediate lever harp
player. Frank’s playing is very sensitive, and there is nothing
better than hearing a composer play his own music. The
Steen lever harp has a gorgeous, warm, rich sound that
almost sounds like a pedal harp, which is perfect for this kind
of music. This CD would be a great addition to any music
library, and gives listeners a chance to hear a completely
different side of Frank Voltz. For more information, go to
www.FrankVoltz.com.
Rhett Barnwell is the founder of Seraphim Music, which
publishes and distributes music for lever and pedal harp
and sponsors the biannual Liturgical Harp Conferences.
He has performed as a harpist, cellist and French horn
player throughout the United States, Italy, Austria and
Spain. He holds a Master of Music degree from St. Louis
Conservatory and is the General Manager of the Atlanta
Harp Center. Website: www.SeraphimMusic.com
Email: seraphmus@aol.com
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 33
Harpcon 2010
Lasting Memories
by Barbra Bailey Bradley
34 FOLK HARP JOURNAL • www.FolkHarpSociety.org
Harp Strings
For Children’s Wings
S
by Barbra Bailey Bradley
aturday night, November 20th,
2010, at the First Baptist Church
of Gaithersburg, Maryland, a group of
harpists presented a concert to raise
money for The Children’s Inn at the
National Institutes of Health. The
Children’s Inn at NIH is the facility
where children and their parents stay
for the duration of treatment while at
the NIH in Bethesda, Maryland. The
facility is always busy. The heartwarming response to the concert raised
close to $1,000.00 for the work at The
Children’s Inn.
The harpists consisted of the
Heatherwood Harp Ensemble, the Harp
Happy! Harp Ensemble, Celtic Harper
Jo Morrison, and Harpist Barbra Bailey
Bradley with Pianist Rosanne Conway.
Also featured was recently-turned 10
year old harpist Phoebe Suh, who gave
a solo pre-concert performance. She
then played with the Heatherwood Harp
Ensemble and the PBJ Trio, a group
that began as a way of introducing her
to ensemble playing. Everyone came
together for the finale.
The concert included Ray Pool’s
Virginia Sampler, Beth Kolle’s
Lass of Aughrim, Alfredo Rolando
Ortiz’ Habanera Gris, Barbra Bailey
Bradley’s Fantasy for Harp for harp
and piano, Vignettes for harp ensemble,
and Jan Jennings’ beautiful Pop
Standards. In addition, two arrangers
from the Heatherwood Harp Ensemble,
Walt Lazear and Judith Mostyn White,
presented works from many different
musical genres arranged for harp: a
Joplin Rag, a Bach Fugue, a Praetorius
ballet excerpt, an Argentine tango,
a Latvian folk tune, a Russian folk
tune, and the theme from Prairie
Home Companion. The finale featured
one tune especially for the children
at the Inn, Eency Weency Spider and
Variations on Heart and Soul to thank
the attendees for their kind and heartfelt donations to the Inn.
The enthusiastic audience gave the
group a standing ovation at the end of
a rather long night of harp music, and
38 FOLK HARP JOURNAL • www.FolkHarpSociety.org
everyone left feeling uplifted by the
beautiful music they had heard.
The evening’s musicians included
the Heatherwood Harp Ensemble,
Barbra Bailey Bradley, David
Crookston, Walt Lazear, Nancy Lentz,
Mimi McNeel, Phoebe Suh, and Judith
Mostyn White. It also featured the Harp
Happy! Ensemble, Mary Grady, Wynne
Roos, Barbara Seidman, and Judith
Mostyn White. Guest Musicians were
Pianist Rosanne Conway and Celtic
Harper Jo Morrison.
Barbra Bailey Bradley teaches piano
and harp in the Washington, DC area.
She directs the Heatherwood Harp
Ensemble, and has written several
books of harp ensembles that can be
seen on her website – www.beeharp.
com. She has also organized harp
ensembles for other area venues, calling
the group The Hearst Hall Harpists
and Friends in honour of her teaching
location at NCS.

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40 FOLK HARP JOURNAL • www.FolkHarpSociety.org

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Harper’s Hall
at Christmastime
H
arpers Hall (& culinary society) is the south San Francisco Bay Area chapter of the ISFHC. We gather monthly to
play, learn, eat, and rehearse if there is a performance for the ensemble coming up. This month (November) we’ll
be rehearsing for our annual Christmas concert that will take place on December 23rd in downtown San Jose at the
historic Cathedral Basilica of St. Joseph. This is part of a concert series called Season of Hope that is put on every year for
the two weeks prior to Christmas. Outside the cathedral the Christmas in the Park draws hundreds of people to see the holiday
exhibits and Santa himself. The concert series is offered to raise funds for the The Window that serves food, medical care
and shelter to as many as 200 individuals and families daily. People who attend can come for free, but they are encouraged to
leave a donation in the box if they are able.
Each year, Harpers Hall has performed a set of Celtic and Holiday tunes as an ensemble with various members doing solos
as well. The ensemble director, Verlene Schermer, has provided a new ensemble piece arranged for beginning, intermediate,
and advanced harp. This year’s new piece, Ding Dong Merrily On High, is featured on pages 44 and 45. The piece can be
played three times through and to add variety, harps 1 and 2 are requested to tacit at various times. Your ensemble can follow
these directions or make your own variations. Harpers Hall wishes you all a joyous holiday season!
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 43
Ding Dong Merrily On High
Play 3x:
Intro AABB AABB
Intro AABB
                  



Harp 1
 
 
 
6
Hp 3












 

Tacit RH 2nd two A's






      




 




              
 
Harp 3
Hp 2


 
Harp 2
Hp 1
traditional
arranged by Verlene Schermer



   

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
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
  
Play both hands



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


 






Arrangement © 2010 Verlene Schermer
44 FOLK HARP JOURNAL • www.FolkHarpSociety.org
 
Tacit RH 1st two A's

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Tacit RH 1st two B's

New Music Review
by Denise Grupp-Verbon
White Christmas, by Irving Berlin, arranged for harp by
RoJean Loucks. Published by RoJean Loucks, 2010, 4 ½
pages. $ 4.95. Available from: www.roharps.com.
I have enjoyed RoJean’s various books of arrangements
and original tunes, including “Reflections” and “Soul
Dance”, among others. We have awaited a harp
arrangement of “White Christmas” for a long time
and here it is! RoJean is a creative arranger and uses
beautiful chords through out. This early intermediate
arrangement features rolled chords, quarter note triplets
a few syncopated rhythms and some scattered 16th notes.
It can be played on a harp tuned in Eb, C or F with no
problem at all. There are a few lever changes, all marked
and reasonable to accomplish (suggestions are made in
case you do not want to play with any lever changes at all).
There are no fingerings or chord symbols provided. You
will not want to pass up the opportunity to add this to your
holiday repertoire.
Carols from Around the World, Volume I, for lever and pedal
harp without exception, arranged by Ray Pool. Published by
Ray Pool, 2010, 25 pages. $ 20.00.
Available from: www.raypool.com.
Ray Pool always
has something
delightful to
contribute to the
world of published
harp music.
Featured are 10
carols from Austria,
Czechoslovakia,
England, Ireland
and Poland.
Appropriate for
intermediate
players, this
unique collection
is designed to
be played as 10
individual carols
or they can be
connected in pairs
or even as a long
medley of 10. Pool provides the appropriate modulation
interlude if needed, including lever changes, leading to the
key of the next piece. Pieces are in the keys of C, F and G.
Special harp techniques include open left hand (thumb alone),
rolled chords, P.D.L.T. (pres de la table), and thumb sliding.
Helpful fingerings and placings are included and lever
changes are clearly marked. The back of the volume includes
a lead sheet (melody and chords) and words for each tune.
This is quite handy if you have a vocalist or instrumentalist
you would like to work with and Pool gives permission to
copy the lead sheets for use by your colleagues. There are no
chord symbols included in the harp solo arrangements.
Christmas Joy, Festive Christmas Music, arranged by Joanna
Mell. Published by Joanna Mell, 2010. 51 pages. $ 15.00.
Available from: www.joannamell.com.
This new Christmas music collection includes 11 holiday
favorites. Carol of the Bells, normally challenging because
of the melodic minor, is arranged so there are no lever
changes during the piece, it features harmonics and is very
play-able. Ding, Dong, Merrily on High has glisses and fun
backwards rolled chords! Keys include A minor, G major, E
minor, C major, F major, and one is in the A dorian mode.
Features include harmonics, triplets, sixteenth notes, and
syncopated rhythms. This book will be a nice addition to your
48 FOLK HARP JOURNAL • www.FolkHarpSociety.org
Do you remember Diane’s first harp mouse book, The Harp
Mouse Chooses Her Home- The Adventure Begins? Well,
in Book II the adventures continue! Follow the harp mouse
in the place where the harp lives and as she travels with her
beloved harp and harpist to a school program and a beautiful
wedding reception. This brilliantly illustrated book is an ideal
gift for yourself, a harpist friend, or a child in your life.
Easy Classical Pieces, arranged for lever harp by Steve Hill.
Published by Steve Hill. 2009. $ 15.00. Available from:
www.folkharp.com.
performance and background repertoire and is appropriate for
intermediate and even some late beginner players.
Mell tell us in her introduction that she has “purposefully
not included sharping lever or pedal markings for accidentals
or glissandi, so that the player may use his/her preferred
system of markings.” You will have to spend a little time
organizing and marking the lever changes, particularly in
Jesu, Joy of Man’s Desiring. There are no chord symbols or
suggested fingerings included.
This is a fun collection of sixteen arrangements for late
beginner/early intermediate lever harp players. Selections
are by familiar composers such as Handel, Schumann and
Rameau, as well as by more un-familiar ones! I don’t believe
I’ve seen many, if any, of these melodies published for harp.
These arrangements are 1 to 2 pages long (no page turns!),
in a variety of major and minor keys. You will find them
easy to read and very pleasant to play. Suggested fingerings
are clearly marked and lever changes are marked with the
diamond method. Chord symbols are also included! This
book is ideal for
students of the
harp who enjoy
Classical music,
as well as for a
recital, wedding
prelude,
church job or
background
music.
Recommended!
Harp Mouse Adventures-Book II, by Diane E Dunn.
Illustrated by Donna Pellegata. Published by Heart &
Harp, LLC, 2010. 24 pages. $ 6.95. Available from: www.
heartandharp.net
Correction: The byline for the music reviews in the Fall issue
said “By Rhett Barnwell”, but Denise wrote those reviews. Denise Grupp-Verbon is a
full-time harpist and music
instructor in Northwest Ohio.
She has a busy private harp
teaching studio and performs
most often with her acoustic
guitarist husband, Michael,
in their duo, TAPESTRY. Denise is the co-founder
and co-director of The Harp
Gathering. Visit her blog at
www.harpmatters.blogspot.
com
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 49
Aura Lee
Visit http://hornandharp.com to
obtain a version of this tutorial for
harps tuned in E flat.
1861 (also known as Love Me Tender)
lever harp: C tuning
George R. Poulton (music)
W.W. Fosdick (words)
arranged by Barbara Ann Fackler
Shifting levers while playing can be a challenge until you
know some tricks to help you keep your place. Use this
piece as an exercise in letting your RH help your LH find
the proper lever at the right time.
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Fmaj7
Am
Fm
C
In m. 12 both hands are heading toward the same string, LH to the lever, RH to place on the G. You can
shift a lever while your RH is placed on the string as long as you wait to play the note until the lever is
completely in its new position. Try to shift the lever in m. 12 on beat two. As soon as your LH finds the
lever and your RH is placed and ready to play, focus on the next measure's notes.
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13
C
F/C
Dm7
G7sus4
G7
C
This version is intended only for harpists tuning in the key of C. If you tune your harp in Eb and read the changes as you play, try
the version for Eb tuning, even though it's more levers to move, the thought process will help you be ready to learn to read
changes and grab lever changes without marking them. As soon as your hand touches the lever, move your eyes from looking at
the lever to finding the next note you need to play with your left hand. Don't linger, watching something you don't need to watch.
Once your hand is placed, either on a note or a lever, your eyes are no longer needed there, move on to the next thing you need to
do. In most cases, a lever shift is easier to execute and less noticable to an audience if you make the shift in rhythm.
© This work is licensed under the Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States
License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/us/ or send a letter to Creative
Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.
© Barbara Fackler 2010
www.hornandharp.com/publications
Winter 2010 • issue no. 149 • FOLK HARP JOURNAL 59
What’s the Reason?
Your Questions Answered by Laurie Riley
Q:
A:
Why are two of my harp strings making a twang
when I pluck them?
Possible reasons for twanging include the following:
1. If the lever is engaged when twanging happens, the lever
could be rotated or twisted out of alignment. It depends on the
type of lever you have. If you look at the angle of all the other
levers and you see that the lever in question is not at the exact
same angle, move it back into alignment and re-tighten the
screw(s), or take it to your local harp technician. (By the way,
levers out of alignment can also account for strings that sound
plunky.)
2. If the twang is not related to levers, the bridge pin
could be in too far or out too far. Be sure the bridge pin
in question is the same length as all the others. If it’s not,
and you don’t know how to regulate bridge pins, see your
local harp technician. (If you have a newer Dusty Strings
harp, the bridge pin is threaded and you must use special
tools to regulate it; you can get a kit from Dusty Strings for
that. Some other harpmakers may be using threaded pins as
well, consult your harp maker.) 3. If none of the above, you might be plucking too hard. This
can happen especially with the bass strings.
4. Some harp strings twang if you pluck outward; try plucking
toward you instead.
5. Twangs are usually very easy to fix, but there are different
kinds of twangs and a technician has to see and hear it happen
to diagnose it. So if none of the above helps, please contact
your harp maker. By the way, be careful, the warranty on
your harp could be void if you try to do adjustments without
knowing how.
Q: What’s the difference between a recital and a concert?
A: The dictionary says a recital is a musical entertainment
given usually by a single performer or by a performer and
one or more accompanists; a program or concert by music
students to demonstrate their achievements or progress; a
formal or public delivery of something memorized. A concert
is a public musical performance; a recital.
72 FOLK HARP JOURNAL • www.FolkHarpSociety.org
So it appears the difference is unclear. The two terms are
often used interchangeably. However, in general usage I’ve
experienced that a concert is a formal performance where the
audience attends solely for the purpose of hearing a seasoned
performer(s), whereas a recital is an opportunity for one or
more music students to learn how to play in a concert and the
audience is there to cheer them on, with no expectation that
the music will be of professional quality.
On the other hand, a recital may feature one student
playing a selection of pieces/skills they have learned to
achieve a music degree. Occasionally a professor or teacher
may give a recital to demonstrate their ability or to celebrate
some achievement.
Q: How do I know when I’m ready to make a CD?
A: It’s simple: when people start asking you for them. You
don’t have to be a professional to make a CD. But keep in
mind that once you make a recording, it never goes away. No
matter how much your playing progresses, those who hear
that first CD will think you still play like that. So be sure you
are ready to produce a product you can be proud of, because
it will follow you around for the rest of your life!
I still get requests for two CD’s that I made in 1985 and
’87, and often run into people who tell me their children grew
up listening to them. I could cringe, but if they were enjoyed,
that’s what counts, even though my playing has changed a
great deal since then.
There are several reasons to make a CD:
1. It’s a nice souvenir of your music for your fans,
friends, family and yourself.
2. As a reference on your progress as time goes by.
3. If you seek performance opportunities, you are
expected to submit a CD as a demo of your playing.
4. Sales of your CD enhance your income at gigs, as
long as you can sell enough to pay for production.
(It’s no longer a viable option to sell them to stores there are too many on the market, and many listeners
have gone to mp3 formats anyway.)
Let’s Talk About Harp Events: 2010 was a big year for
harp activities. The ISFHC Conference, Somerset and
several other conferences, numerous harp camps, and
emerging trends in harp circles and harp ensembles
brought up questions among harp students that I am
sharing here.
Classifieds
TEACHERS/INSTRUCTION
Laurie Riley teaches via Skype! Contact her at laurie.riley@live.com.
Conquer Your Fears: Improve
your playing and reduce performance anxiety. Marlene
Satter works by phone or online, as well as in person, (732)
693-9438,
msatter@erols.
com, or www.harpsdesire.net.
Johnson Harps with over 17
years of teaching experience
with folk harp and pedal, including specialization in double/triple, and wire harp. Has
private studio in IL, at Music Institute of Chicago, and
through the computer. Many
rental harps available. For inquiries call/email Carl Johnson
at (630) 673-3308, harpcarl@
gmail.com .
Ardis Cavin, Englewood, N.J.
Performer/Teacher. Weddings/
receptions etc. Light Classics
and Broadway. Assistance
for students in harp rental or
purchase. (201) 569-5363 or
Cavinharpstudio.com.
Stephanie Bennett teaches by
SKYPE or in person in Northridge, California. All styles,
with specialty in finding your
own creativity. First prize winner in Pop/Jazz competition.
www.harpworld.com/lessons.
html.
Online Video Harp Lessons ,
teaching cross-strung harp, lever harp, and pedal harp. Contact Elizabeth Paine at virtualharplessons@yahoo.com
or at cross_harps@yahoo.
com. Or in northwest Houston
for personal harp lessons at
832-607-9128.
Personalized Harp Lessons
and Workshops via SKYPE!
Email for more information:
Cynthy@crystalharp.com,
www.crystalharp.com
Experienced, Christian Speaker/Harpist for ladies’ retreats,
banquets, seminars. Will bring
harp in the following states:
KY, OH, IN, WV, TN. Contact:
Patricia E. Elder kinggie@aol.
com or (859) 485-7352 KY
Holsinger Music: Lessons,
rentals, performances, sheet
music. www.HolsingerMusic.
com (650) 326-3146 SF Bay
Area, CA.
Thomas Lyman; Harp Teacher and Performer, North Plainfield, New Jersey 07060. Contact harpguy7@verizon.net or
(908) 757-2257.
PRINT MUSIC
Sharon Thormahlen has collaborated with Flautist Jessica Urey on a new duet book
containing six beautiful pieces.
The harp part can stand on it’s
own as a piece unto itself and
the flute part can be played on
the harp with an improvised
accompaniment. The flute part
can also be played on any melody instrument in a duet with
the harp. The book includes
both parts together, as well as
the parts separated out. The
key range goes from Eb to G
(Em) with 3 tunes that have
easy lever changes. The tunes
range from advanced beginner to advanced intermediate.
The book is $20 and can be
accompanied by a midi-audio
CD. You can read more about
this book at www.thorharp.com
Online Store: HARP BOOKS
and INSTRUCTIONAL DVD’S
- Single course harp, doublestrung harp, beginner, intermediate and advanced instruction and music. Celtic, folk,
ethnic, composing, accompaniment, and therapeutic mu-
78 FOLK HARP JOURNAL • www.FolkHarpSociety.org
sic. www.laurieriley.com - click
on “books” and “DVD’s”. Easy
pay with PayPal or downloadable order form.
“Elizabeth Volpé Bligh: Solos
for Lever or Pedal Harp” original pieces and arrangements
for pedal or lever harp, ranging
from intermediate to advanced
levels. In the new RCM harp
syllabus. It is available from
www.theavondalepress.com
for $19 (Canadian). For further
news, check www.elizabethvolpebligh.com.
Arrangements of popular, classical and original music, many
levels, lever and pedal harp,
by Stephanie Bennett. FREE
SAMPLE PAGES. www.harpworld.com/sheetmusic.html
Pretty Quick Music digital publications; Skill Building Solos:
performance length solos for
develop skills; Short Cuts: lead
sheets grouped and edited for
pedal and lever harp; Multilevel Ensemble Music: flexible harp ensembles; www.hornandharp.com/publications.
RENTAL HARPS
Folk harps: several available
for rent in New Jersey (northcentral). Please contact me
directly for further information: odarka@odarka.com or
(973)763-6303.
Lever Harp Rentals - www.
TheHarpStudio.net
NYS
607-687-3410
Lever and pedal, for students and for visiting performers. Southern California only.
Stephanie Bennett http://www.
harpworld.com/rentals.html
818-891-1023
Lever/folk harps for sale or
rent in the SE United States.
A wide variety of sizes, makes,
and models located in Atlanta.
Please contact Beckie at heavenlyharp@comcast.net.
Holsinger Music: Lessons,
rentals, performances, sheet
music. www.HolsingerMusic.
com (650) 326-3146 SF Bay
Area, CA.
SOCIETIES
Harpists in Rochester, NY
area. Find out about Rochester Harp Network monthly meetings Sept-May, please
contact SandyGia@aol.com
for information by email!
USED HARPS
Dusty Strings, FH36B, American Black Walnut with Honduras Mahogany soundboard,
full set of Loveland levers, soft
shell case extra strings and
key. 15 years old, $4,100.00
Contact Donna dcb13h@vom.
com or 706 884 6998. GA
Sandpiper Silhouette 36 string
(B to b), full levers, beautiful
cherry with purple heart trim
with case. Asking $4000 obo.
alice.williams1614@gmail.
com or 406-542-1976 (Mountain time).
Pat O’Laughlin, “Kestral” model, 36 string walnut folkharp.
Great condition. Full set long
handled Loveland levers, padded zip carrycase, full set replacement strings. Sound
pickup inside soundboard for
amplification. Excellent tone
and string spacing, two tuning wrenches. $2995, louiseharp@comcast.net or 281497-2986, Houston
Heartland Dragonheart, 38
Strings, Walnut, Truitt Levers,
Strings replaced a year ago.
Magnificent instrument, concert spacing, $3200, Mike
Connors NC 336-899-6137