Setting the bearings here

People bring all sorts of notions with them when they read the word "autoharp". The truth is that autoharp fans, for lack of a better inclusive term, are assured of having nothing in common except some degree of interest in the word "autoharp". They don't even agree on what an autoharp is or any aspect of owning and playing one.

What they seem to agree on is being either defensive or defiant about their choice of instruments. The autoharp, certainly one in good order and tuning, can draw truly ardent followers, not just those "settling for" an autoharp.

Because the sound of the autoharp is projected at or somewhat absorbed by the player, a mere listener cannot fully appreciate what a player experiences. Furthermore, the autoharp does not record very well, recordings generally not reflecting the true scope of the autoharp sound, certainly after sometimes over zealous engineering. It becomes another form of music that is "better than it sounds".

The autoharp may be thought of as a $5 relic from a flea market or a $2000 custom made instrument that took 3 years on a waiting list to get. There may be a stable of a number of premium instruments, all owned and financed by the same person. Somewhere in there, people are going to view the autoharp differently, based mostly on degree of respect for the instrument and for their ability to do much or at least progress in accomplishment with one of them.

I don't need to create a boundary here, but please understand that I have zero interest in autoharps older than 1975. I think they should all be burned or put in a glass case. Most of them no longer stay together well enough to hold tuning. One in perfect shape still isn't worth much, far better instruments available. They aren't rare, so let's stop worrying about what an attic find might be worth. Old autoharps are worth about $50 on a good day. Let's move on.

I have little patience left for those who regard the autoharp as a musical toy and who wouldn't think of spending real money on one or activities surrounding ownership of an autoharp. I also am weary of the notion that the autoharp is for musical dummies. It may be a natural for guitar refugees, but one can still play a lifetime and never master the autoharp. As with other instruments, there are and can be players at all levels of accomplishment on the autoharp. There are many ways to play one as well. Pushing a button and strumming with a pick is just a baby step. It is not enough to seriously declare oneself an autoharp player. Some degree of real competence is required to claim any credentials. One has to do more than own one or take a minute to try one owned by someone else.

The autoharp has its own strengths, not just a make do or last resort or shortest learning curve alternative. The autoharp then can be a preference, not settling for something intended for the musical ne'er do well.

Again, autoharp can mean different things. There are varying configurations, most notably "chromatic" versus "diatonic" and hybrid instruments. The impression one gets when encountering an autoharp performance is strongly influenced by the instrument configuration. Many of today's players were won over by a Bryan Bowers performance on exquisitely tuned, diatonic instruments. Professional performers have been using predominantly diatonic instruments for many years. However, all of those instruments were cobbled up in someone's garage or built by some luthier. No commercial autoharp company offers a diatonic model and hasn't for 2o years. Not surprisingly, professionals predominantly play instruments custom made for them by autoharp builders/luthiers.

When one refers to the autoharp sound, they may be referring to one point on a whole continuum of quality. An expensive diatonic instrument sounds vastly better than a cheap, very old chromatic still with its original strings and with chord bar felts in poor condition. There is every degree in between among various instruments.

Expensive instruments are not necessarily good ones. Private builders primarily focus on building loud string band instruments, so the person who prefers a gentler sound and who uses the autoharp mostly to accompany singing might well prefer a factory built autoharp, perhaps privately upgraded but having the preferred sound inherent in that type of box design.

In summary, the autoharp's legacy as a cheap gadget for musical dummies is a continuing burden for one who wouldn't enjoy being branded an arrogant elitist, but the truth is that I am only sincerely interested in quality instruments and people with real musical ability. At a minimum, I would need them to respect the autoharp as "a real instrument". We will butt heads quickly otherwise. I have no mission to teach people how to have fun making music. They can do that without me and do it somewhere else. I wish them well and don't need to discourage anyone but will naturally be harsh with anyone who, without knowing much about it, expresses a lack of respect for my choice of instrument. My training is in making good music, not a joyful noise.

Finally, let me say that I would hope for real discussion of the autoharp, not just the quest for camaraderie among fellow autoharp players, pretending we are friends or even family. We share an interest in the word autoharp. That might be all we share. I am not unfriendly at all. I am just saying that one will have to do a lot more than tell me they found an autoharp at a flea market to make me smile.