Harp Guitar Players

See Music for available recordings from most of these artists and others.

Note: There are undoubtedly many hundreds of harp guitar players at all levels out there. This page includes those who perform with a harp guitar regularly, or, at minimum, have recorded with one more than once. The Music page includes albums by additional amateur and professional musicians who have recorded at least one track on harp guitar.

Contributors to this page are Frank Doucette, Nate Blaustein, Stacy Hobbs and Michael Simmons.

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Contemporary Music Harp Guitarists

Today's contemporary players are separated into three groups:
"Conventional," "Non-conventional," and “Honorable Mention.”
Please note that placement within the three categories is my own, sometimes arbitrary decision,
and is not based on musical style or skill.

The first group we may consider "conventional" harp guitarists. Generally, these musicians all play the most recognizable basic form of harp guitar - that which contains sub-bass "harp" strings below the standard neck. An increasingly common form adds "super-treble" harp strings on the opposite side of the neck, while some bold individuals add additional banks of strings. These players include full-time harp guitar-exclusive players, full-time musicians who utilize harp guitar as a small to large part of their material, and various part-time players (who may or not play the instrument exclusively). The commonality is the general type of instrument mentioned previously, and the fact that these players all utilize (i.e. play, by distinct, individual plucking) the various harp strings of their instruments.

The second group of players includes those who may be considered "non-conventional" or "peripheral" harp guitarists. The former may include players of more esoteric and unfamiliar forms of harp guitars, while the latter may include players of harp guitars who use the "harp" strings of their instruments in a much more limited capacity.

The third group includes players (most often, high profile artists) whose use of harp guitars is either extremely rare, and/or whose use of their instrument’s harp strings is minimal, absent or unconfirmed.

I have also added separate pages, the Harp Guitarist Lost & Found Department
and Harp Guitar Sightings, for some loose ends.

Don Alder

A months-long illness at age 14 brought the guitar into Don Alder’s life. His mother gave him the instrument to help pass the time during recovery. An insatiable musical appetite led Don to teach himself the skills needed for work as a studio musician, sound engineer, and sideman in a variety of pop, funk, blues, country and folk acts. These influences, and more, have manifested themselves in a number of unusual techniques Don uses in his solo guitar work. He describes his playing style as a “mutated Clawhammer technique.” A quick listen will reveal that as only a part of the Alder “wall of sound.” He has received numerous awards and titles including a 1^st place win in the 2007 International Fingerstyle Guitar Championship contest. A number of his compositions have been used in television, film, theatre, and radio productions. Don is now enjoying further expanding his horizons with his Duane Noble harp guitar. - FD

Muriel Anderson

Muriel is an artist with a slew of CDs, videos, and instructional books to her credit. She’s logged many miles on the road and one of her CDs has even traveled as far as outer space, accompanying shuttle astronauts on a mission. She won the National (USA) Fingerpicking Championship in 1989, and remains the only woman ever to hold that title. She founded the Music For Life Alliance and is host and founder of the "Muriel Andersons All Star Guitar Night" concert series. Her main instrument is a Paul McGill classical guitar, though a Del Langejans steel-string harp guitar has made its way into her performances and onto CD (Journey Through Time). More recently, she has added a Mike Doolin nylon-string harp guitar to her arsenal. Muriel’s arrangements and compositions cover a wide stylistic range. Her teachers have included Chet Atkins and Christopher Parkening. -FD

Stephen Bennett

Widely regarded as one of the worlds finest harp guitarists, Stephen Bennett has developed a highly melodic style that manifests itself in his original compositions and his arrangements of jazz, pop, and traditional tunes. He has excelled in incorporating the harp strings in a way that seems entirely natural and not at all a novelty. Stephen applies this same skill and care to his 6-string work as well. He is a past National (USA) Flatpicking Champion (1^st place 1987) and National Fingerpicking Champion (3^rd place 1985). Stephen came to embrace the harp guitar upon discovery of a 1909 Dyer that had been owned by his great grandfather. He currently plays a 2007 Kathy Wingert harp guitar. Stephen is the founder of the annual Harp Guitar Gathering. This event brings harp guitar players, builders, and enthusiasts together from points around the world. -FD

Andreas David

Berlin based guitarist Andreas David began playing at age 14, inspired by a school friend and by French fingerstyle master Marcel Dadi. A couple years later, after hearing legendary 5-string banjo player Bill Keith guest on one of Dadi’s albums, Andreas decided to make the banjo his main instrument. Ensuing years brought mandolin, tenor banjo, pedal and lap steel guitars, dobro, and ukulele to his arsenal of instruments though he maintained the 5-string banjo as his primary instrument. A keen interest in playing bluegrass, western swing, and jazz induced one European bluegrass magazine to dub him “the Bela Fleck of the old world.” As more people heard his guitar work, more wanted to hire him as a guitarist. Andreas has performed, recorded, arranged, and written music for a variety of projects including bluegrass, country, folk, western swing, rockabilly, pop, rock, and jazz acts, as well as musical theatre and film soundtracks. In 2003, Andreas was booked as a sideman for a highly regarded Germany country music band. Famed singer Katja Brauneis was on the same bill. The two soon began to work together on a regular basis which has led to their current work performing songs from the Viennese Schrammelmusik tradition. In this context, Andreas uses a Schrammelgitarre (or kontragitarre) with 6 sub-bass strings. He is unique among players of this instrument in adopting Stephen Bennett’s standard tuning for the sub-bass strings. -FD

John Doan

The harp guitar was lucky enough to have two champions arrive in the 1980s; one being the late, great Michael Hedges, and the other being John Doan. John is the acknowledged master of the distinctive 20-string harp guitar (additional super-treble strings as well as sub-basses). To this day, John remains one of the standard-bearers of the harp guitar. He initially studied classical guitar and lute before finding his true voice in the harp guitar. So, it’s no surprise that John’s music has a strong classical influence. As is the case with many classical composers, he also finds inspiration in folk traditions, Irish musical traditions in particular. John is a music professor at Willamette University in Oregon, a historian, and a multi-instrumentalist specializing in unusual vintage instruments. Unlike many contemporary players, the harp guitar is John’s primary instrument. -FD

Tim Donahue

Tim Donahue is a pioneer in the development of the rare fretless electric guitar and the rarer fretless electric harp guitar. He designed and built his own instruments in the 1980s and used some of those when studying jazz at the Berklee College of Music in Boston. Since then, projects have included jazz, rock, progressive metal, and music for various film and television productions. Inspired by the 4^th annual Harp Guitar Gathering, Tim has recently focused attention again on solo work with his fretted harp guitar. He has developed an unusual method of playing his electric harp guitars using his right hand to pluck the harp strings while his left hand taps notes on the neck. Tim is a well known recording and performing artist in his adopted homeland, Japan. - FD

Mike Doolin

Mike is primarily known for his skill and innovation as a luthier. He impressed us at the 4^th annual Harp Guitar Gathering with his third harp guitar, an electric archtop with 11 sub-bass strings, and the fact that he could play it like an old pro! It turns out that Mike has more than 25 years experience as a professional guitarist and bassist. He began building solid-body electrics to use in rock and funk bands. Influences such as Michael Hedges, Pat Metheny, and Stephen Bennett have since had their impact on Mike’s music and luthiery career. Mike continues to perform and record in a variety of settings and musical styles. The harp guitar has, thus far, seen use for solo jazz work and in backing wife Nancy Conescu’s interpretations of traditional Irish songs. - FD

Brian Henke

Brian Henke has played guitar for more than 35 years. He was an award winning rock and blues guitarist. Then, in 1994, he made the switch to solo acoustic work. He is now an award winning acoustic guitarist. Brian cites Michael Hedges, Preston Reed, and Beethoven as influences. His main inspiration, however, comes from the beauty and majesty of the natural world. An avid hiker, Brian usually carries a guitar with him to capture a direct reaction of his experience and interaction with nature. A chance meeting with luthier Patrick Podpadec, at a winery festival, has led to Brian’s first harp guitar. Podpadec developed some of Brian’s rough ideas into the one-of-a-kind “Dreamcaster”. The instrument has two necks (one 6-string, the other a 7-string baritone) and 15 harp strings fanned across an extended upper bout. The harp strings are meant to be tuned chromatically, though Brian has considered tuning them to three or four open chords. Brian has brought his music to a national audience with a very busy touring schedule averaging about 300 shows per year. -FD

Carter Lancaster

After hearing a friend play, at age 10, Carter Lancaster begged his parents for a guitar for Christmas. A year later, his parents relented and left a shiny new Sears Saturn under the tree. In a few short years, Carter had outgrown all the local guitar teachers. This led him to expand his musical education with piano and clarinet studies until he had applied knowledge learned from these instruments to the guitar. Carter’s father steered him toward jazz at an early age. Though rock, bluegrass, and folk influences have seeped into his music over the years, jazz is still at the core of much of his work. In recent years, Carter has found significant inspiration in the work of Don Ross and Stephen Bennett. Hearing Stephen’s tune The Eye of God set Carter on the path to acquiring his two Dyer harp guitars (one with 5 sub-basses, and one with 6) in 2004. -FD

Dan LaVoie

Dan LaVoie began his obsession with the guitar at an early age, even teaching the instrument by age 15. He cites many different singers and instrumentalists as influences, but was inspired by Michael Hedges to switch his focus to the harp guitar. He hasn’t looked back since. Today, Dan uses the instrument in a solo instrumental setting, as backing for his singer/songwriter activities, and in the award-winning band "Beyond". The trio uses Dan’s skills on harp guitar and voice, in combination with a percussionist and a violin/mandolin player, to fuse elements of jazz, funk, rock, bluegrass, and traditional music. Dan’s original music has even won an endorsement from a major string manufacturer. He exclusively uses Spillers harp guitars. -FD

Andy McKee

Andy McKee was so taken with the guitar that he quit high school, and got his GED, in order to have more time for his guitar studies. He was initially drawn to the electric guitar after hearing a cousin play. He was later inspired to focus on the acoustic instrument after discovering the music of Preston Reed, and then Michael Hedges. Andy has since studied the music of several acoustic greats in an attempt to find his own voice on the instrument. He has received several awards including a 3^rd place win in the 2001 National (USA) Fingerpicking Championship and a 1^st place win in the 2004 Canadian Fingerstyle Guitar Championships. His music has brought him a string endorsement deal, and an ever-growing international audience. In 2002, he acquired his first harp guitar, a Spillers, from his mentor Stephen Bennett. -FD

Gregg Miner

To call Gregg Miner a multi-instrumentalist seems a gross understatement. When putting together his two Christmas CDs in 1995, he accomplished his goal of playing all of the 100 instruments in the Miner Museum of Vintage, Exotic, and Just Plain Unusual Instruments. The stylistic scope of the music allowed by the instruments, and executed by Gregg, is vast indeed. The harp guitar family of instruments is a specialty of his in his instrument collection, performance, and in his historical research. Gregg calls himself an "armchair musicologist" but he is an expert on several musical instrument topics, including the life and work of Chris Knutsen (harp guitars and other instruments). He recently released a CD single using a one-of-a-kind Knutsen Zither Harp Guitar. Gregg is the founder of the Knutsen Archives and Harpguitars.net. -FD

Paul Oorts

Belgian born multi-instrumentalist Paul Oorts was inspired by friend Joe Morgan to add harp guitar to his arsenal. Like Joe, Paul plays a Stephen Sedgwick harp guitar. Paul is an expert in 19^th century Belgian dance music, which he performs and records - along with Celtic and French music - in a duo with his wife (renowned hammered dulcimer player Karen Ashbrook) and in their trio Pavilion 3. He can be found teaching this music and more on guitar, bouzouki, mandolin, mountain dulcimer, and accordion at festivals around the world. Paul also plays for contra and English country dances with groups Goldcrest and Gigmeisters, and conducts a dulcimer orchestra called Carillion. He also teaches instrumental techniques and arranging for ethnic music, and French and Italian languages at Baltimore’s Peabody Music Conservatory. -FD

Rexjames

Rex James is the duo of brothers David Rex Powell and Anthony (“Tone”) James Powell. Their original music incorporates folk, new age, bluegrass, jazz, acoustic rock, classical and country styles. They are also well versed in traditional music. The brothers are known for their vocal harmonies and for the unusual instruments they build and play. David is a 6 & 12-string guitarist and dobro player now focused on his harp guitar. Tone has a 13-string harp mandolin and is turning his attention to a harp guitar he completed in 2007. Their father’s work renovating a 100 year old house, and salvaging some finely aged high quality mahogany, inspired Tone to study luthiery. As David has relocated to the Pacific Northwest, the brothers are now pursuing individual projects but do still enjoy occasional performances together. -FD

Tom Shinness

Tom Shinness was born into a musical family. His father and older siblings would often play Dixieland music around the house. Tom’s father’s multi-instrumental talents proved to be a primary influence. Tom received his first 6-string guitar, and formed his first band, in the third grade. He took up the cello in fifth grade, played drums and bass in school bands by 7^th grade, received a school award as outstanding vocalist in 9^th grade, and developed an original piano style in high school. Tom continues to add new instruments to his arsenal to satisfy what seems an insatiable desire for new sounds. He has shown a particular fondness for, and skill with, the 1913 Gibson harp guitar featured on his CD "Translucent Harp". His recordings showcase all original instrumental music with jazz, folk, and pop elements. He is currently working in a duo with daughter Jasmine (also a multi-instrumentalist). -FD

Matt Thomas

At the second annual Harp Guitar Gathering, in 2004, Matt Thomas was dubbed the new young gun of the harp guitar world. Not content to rest on those laurels, he has gone on to receive a number of awards, including 1^st place in both the contemporary thumbpicking and open style categories at the “Home of the Legends International Thumbpicking Competition.” Matt has enjoyed such prestigious gigs as Merlefest and the Chet Atkins Appreciation Society Convention, and has performed with guitar heroes such as Richard Smith, Tommy Emmanuel, and Stephen Bennett. Harp guitar (and 6-string) master Bennett has acted as mentor to Matt. Like Stephen, Matt plays a Merrill harp guitar. -FD

Jeff Titus

Young Jeff Titus was something of a child prodigy picking up his mother’s ukulele at age 8 and landing the spot of bassist in the school jazz band, without ever having played the instrument before, at age 11. He soon formed his own hard rock band only to then become seduced by the sound of the acoustic guitar. Inspired by Paco de Lucia, Segovia, John Mclaughlin, Alex de Grassi, and Indian classical musicians, Jeff taught himself basic playing skills. Lessons with Ronald Pearl, of the Grey/Pearl classical guitar duo, and fingerstyle master de Grassi, helped solidify his skills as a player and composer. The harp guitar work of the late, great Michael Hedges, and Alex de Grassi’s sympitar playing, gave Jeff the idea to approach luthier Fred Carlson about making a harp sympitar. The 24-string “Oracle” (6 guitar, 6 sub-bass, and 12 sympathetic strings) was dedicated to Hedges’ memory and completed on what would have been his 48^th birthday. This unique instrument allows Jeff to explore musical ground unavailable to any harp guitarist to come before him. - FD

Conventional Harp Guitarists:

Other Players Around the World

Michael Hedges

(1953-1997)

Michael Hedges is a name well known among harp guitar aficionados. The 1986 release of his composition "Because It’s There" can be credited with reawakening a great deal of interest in an instrument that had become little more than a pawn shop curiosity. Michael is also known for changing the way people play the guitar. He pioneered the use of slapped harmonics, percussive use of the guitar body, and 2-handed tapping techniques. He was always searching for new sounds with his 6-strings, his harp guitars, an even a few instruments without strings. Michael used Dyer harp guitars and a custom made Klein electric harp guitar. Sadly, Michael was killed in a car accident in 1997. -FD

SEE: Featured Player of the Month, 2-06

Michael Dunn

In 1966, Michael Dunn began his professional career by undertaking a 3-year apprenticeship in guitar making. He studied under the watchful eyes of maestros Jose Orti and Jose Ferrer at the George Bowden workshop in Palma de Mallorca, Spain, where he learned the traditional arts of classical and flamenco guitar construction. A love of Django Renhardt’s “gypsy jazz” music has been the main inspiration for Michael’s own guitar designs, and the music he has chosen to play. Chris Knutsen’s work has also become an influence. Michael has constructed several Knutsen inspired instruments. These include harp ukes, a tenor harp guitar (4-string tenor guitar with 2 added sub-bass strings), and a nylon-string harp guitar that Michael uses for his own recording and performing projects. Though Reinhardt remains a primary influence for Michael, his recent compositions also include elements of West African, Arabic, Spanish, Hawaiian, Turkish, and South American musics. -FD

Doug Geeting

Doug Geeting is a singer, guitarist, and wilderness pilot in Talkeetna, Alaska. He bought an old Gibson harp guitar, more than 20 years ago, after seeing Robbie Robertson play one in the film “The Last Waltz”. Doug became firmly hooked on harp guitar after seeing Michael Hedges perform on a PBS/Windham Hill program. The Gibson was used for two tracks on Doug’s second CD “The Alaskan Mile”. Another track on that same CD received Alaska Public Radio’s 2001 award for instrumental song of the year. Doug is now working with a Merrill Brothers harp guitar. He is finding it to be good company when the Alaska winter keeps him indoors. -FD

Doug shares a personal Hedges story with us here.

Joesf Glaude

Joesf (pronounced Joseph) Glaude has used a variety of instruments (guitar, tenor guitar, banjo, tenor banjo, mandolin, harmonica, melodica, flute, dulcimer, bass, and violin) in many settings including classical, jazz, bluegrass, folk and punk rock. In 1999, he left his position as Head Guitar Instructor at Oral Roberts University to focus on a career as a performing and recording artist. Today, his original instrumental compositions are "an improvised music based on very structured ideas." Joesf's first exposure to the harp guitar came from Michael Hedges. Glaude worked closely with luthier Glen Morgan on an original harp guitar design, taking delivery of the instrument in 2002. -FD

John Klingler

Though he grew up in a musical household, it took John Klingler a long time to get around to making his own music. He has spent three decades expressing his artistic tendencies through graphic design, painting, printmaking, illustration, and poetry. In the 1990s, he was inspired to reconnect with music after attending a Michael Hedges concert and receiving encouragement from singer/songwriter friends. John bought a Lark in the Morning harp guitar in 2003. He immediately began composing for the instrument. John has performed and recorded with his harp guitar and looks forward to continuing to explore the possibilities offered by the instrument. John describes his music as “gentle-elemental New Millennium acoustic” or “New Age guitar-driven songs with fur, teeth, and a world-oriented consciousness”. -FD

Tomasz Martyniak

Polish multi-instrumentalist Tomasz Martyniak has been collecting accolades and awards across Europe on his own and with the improvisational fusion trio The Mechanical Cat. He also took on the role of luthier in creating his “Electroharp.” The instrument, completed in early 2005, consists of a 6-string electric guitar with two banks of 6 harp strings. Tomasz explores a variety of techniques on the instrument, primarily tapping with the left hand on the guitar neck and playing chords with the right hand on the harp strings. He cites Pat Metheny’s Manzer Pikasso guitar as his main inspiration in building and playing the Electroharp. Other musical influences range from Mozart to Jaco Pastorius to Metallica. Outside of The Mechanical Cat, Tomasz enjoys composing music for animated films. -FD

Joe Morgan

Joe Morgan has played guitar from a young age but it wasn’t until college that he found his primary influence in the music of Doc Watson. In addition to guitar, Joe has gained proficiency on banjo, mandolin, and hammered dulcimer. He was inspired to add harp guitar to his arsenal after hearing a Stephen Bennett performance. As co-organizer of the Winter Festival of Acoustic Music in Irving, Texas, Joe was quick to book Stephen for the event. Stephen, in turn, tapped Joe and his wife Linda to help run the first Harp Guitar Gathering. Joe took delivery of his Sedgwick harp guitar in 2004 at the second Harp Guitar Gathering. Since 1995, Joe has performed in a duo with champion hammered dulcimer player David Moran. The duo play an eclectic mix of originals, traditional, pop, funk, jazz, latin and other styles, and have become featured performers and instructors at festivals from coast to coast. -FD

Blas Sanchez

Blas Sanchez began his musical studies at age 6 in his hometown of Ingenio on Spain’s Gran Canaria Island. His first instrument was violin and he was performing as an orchestral soloist by age 16. By the time he received his degree from the Professional Conservatory of Tenerife, the violin had taken a backseat to the guitar. Blas commissioned his first harp guitar, or guitarrarpa, from Kiko Dohër in 1973. The current version was built by Manuel Contreras. The guitarrarpa features 7 strings on the neck and 6 sub-bass strings. Eventually settling in France, Blas became a professor of guitar and music at the Municipal Conservatory of Vitry sur Seine. He has composed approximately 2000 works for a variety of instruments and ensembles. His performance experience has included work with violinist Jascha Heifetz and poet Pablo Neruda. Blas is also responsible for the Blas Sanchez foundation which sponsors and international guitar festival and competition in Ingenio.

Dan Schwartz

Dan Schwartz is one of only six people in the world to hold a degree in American Finger-Style Guitar Performance (from the late, lamented University of Wisconsin-Milwaukee program), and one of only two people to own a Charles Hoffman harp guitar. This instrument made its debut on Dan’s 2003 CD, “Acoustic Relaxation”. Dan has released two acclaimed singer/songwriter CD projects, and his solo guitar work has been featured on several compilation CDs. Dan’s current focus is on writing, performing, and producing music for Compass Productions’ Lifescapes Series, a line of recordings distributed through Target stores. He is also in demand as a producer, studio musician, and backing performer for a variety of acts from the busy Minneapolis music scene. Dan has been on the faculty of the Wisconsin Conservatory of Music and worked with the Milwaukee Foundation for Guitar Studies and Stropes Editions, Ltd.. -FD

John Stropes

John Stropes has devoted himself to the advancement and promotion of American finger-style guitar music as a distinct art form. He was Chair of the Guitar Department at the Wisconsin Conservatory of Music where he implemented degree and diploma programs in finger-style guitar performance. He has been President of the Milwaukee Classical Guitar Society, President of the Milwaukee Foundation for Guitar Studies, Artistic Director of the American Finger-Style Guitar Festival and Advisor to the Beijing Guitar Research Association. John is a well know teacher, music historian, author, and instrument collector. Today, he devotes his energies to music publication and education through Stropes Editions, Ltd. He has developed a highly detailed transcription system for finger-style guitar music and has used this to document the work of several important players. A significant amount of this effort has been spent on the music of Michael Hedges. John and Michael created the book "Michael Hedges / Rhythm, Sonority, Silence. John has also released several individual transcriptions of Michael’s compositions, including the influential harp guitar piece "Because It’s There". - FD

Morihiko Yasuda

Michael Hedges’ harp guitar playing brought the instrument to Morihiko Yasuda’s attention. Upon hearing John Doan’s “Departures” recording, Mori was hooked. He is now the proud owner of not one, but three harp guitars from revered Japanese luthier Mitsuhiro Uchida. The first, completed in 1994, is a 24-string (6 sub-basses, 6 on the neck, and 12 super trebles) instrument modeled after John Doan’s 20-string harp guitar. 1997 saw the birth of the 18-string (6 on the neck and 12 super trebles) Mignon harp guitar. Mori then welcomed a 27-string (6 sub-basses, 6 on the neck, and 15 super trebles) Terz (tuned a third above normal pitch) harp guitar in 2001. The 24 and 27-stringed instruments each feature a different dual soundboard design. These have a secondary soundboard, that extends into the body of the instrument, for the sub-bass range. Mori composes original music that is inspired by the wonders of everyday life, and is a conscious reflection of his Japanese identity and heritage. -FD

Non-conventional or Peripheral Harp Guitarists

Abaji

Born in Beirut, and now living in France, Abaji comes from a long line of musicians. He combines the influence of his Armenian, Lebanese, Turkish, Greek, and Syrian ancestry with blues and French song influence. He plays many instruments including harp guitar, sitar-guitar (sometimes played with a violin bow), bouzouki, lute, various winds, percussion, and voice. He is an internationally know performer and recording artist. - FD
Benoit Meulle-Stef informs us that Abaji plays an old Schrammel guitar (the Schuster in the Form 2c Gallery) - but he replaces the 11 sub-bass strings with super-trebles! As this is still a true harp guitar, he is included here. However, the harp strings are primarily strummed as a sitar-like effect. - GM

Phil DeGruy

From his web site: After falling under the spell of Chet Atkins, deGruy, a native New Orleanian, began his tenure with jazz great Lenny Breau in 1976. By the early '80s deGruy began plucking an electric guitar behind its bridge and was compelled to incorporate that sounds into his music. Hank Mackie, Phil's extraordinary teacher, suggested fashioning the harp strings to sit on the body where the pick guard would be located, thereby extending chord voicings in one motion and evoking the illusion of a "limitless" guitar. Phil's custom "Guitarp" is an electric 7-string with 10 additional "super-treble" harp strings. - GM

SEE: Featured Player of the Month, 9-04

Todd Green

Todd Green does not play the harp guitar as we know it. The closest, in his vast collection of stringed instruments, are two custom built instruments from Fred Carlson. One is called the "Guitarangi da Gamba". This instrumental oddity can be bowed like a viola da gamba or plucked like a guitar. It features 6 strings on the neck, 10 sympathetic strings that run through the neck and over the top of the instrument, and 14 strings across the bass side of the instrument that can be used as sympathetics or plucked. The other is an instrument Fred Carlson calls a "Harpouditar". He sees it as a combination of a wire-strung harp or zither (15-treble strings across the lower bout), a Middle-Eastern oud (bridge set-up and fingerboard configuration), and a classical guitar (tuning used for nylon-strings on the neck). These are but two of a dizzying array of stringed instruments, winds, and percussion that Todd uses. Todd performs all original music influenced by musical traditions from around the world. - FD

Pat Metheny

Pat Metheny’s love of jazz music began at an early age. He made his debut performance at age 15. He studied in the jazz program at Miami University but was soon chosen to teach their new electric guitar course. A year later, at age 19, he was asked to join the faculty at Boston’s Berklee College of Music. Pat developed a distinct style combining elements of jazz and rock music but sounding very different from the fusion style popular at the time he started recording. He has remained unrelenting in his search for new ways to expand and build upon his musical vision. He recorded some tracks with a 15-string Gibson harp guitar in the 1970s and has experimented with other guitars and guitar variants since, including a Linda Manzer 42-string Pikasso (harp) guitar. - FD

*Honorable Mention*
Bob Ault	Bob Brozman	Hans Haider	Emmylou Harris	Steve Howe
“
Bob Ault is an acknowledged musical historian with a focus on the ragtime era. He is a known ragtime pianist and composer who also performs on a variety of other instruments, including a rare 12-bass Gibson Harp Guitar. Bob was the lone harp guitarist performing in a recreation of a classic Clef Club Orchestra performance at Carnegie Hall in 1985. -FD	Known for his huge collection of vintage Nationals, Bob also owns Dyer and Knutsen harp guitars. He used the Dyer for rhythm playing on a couple of his older albums, and also created a great solo on his Knutsen harp-Hawaiian guitar for David Grisman’s Tone Poems III. -GM	Now retired, Hans built his own 13-string "lute-guitar" to play his own unique compositions. He used his first instrument - a true harp guitar with 3 floating strings - for live performances, while a second fully-fretted instrument was used on all his recordings. -GM	In 2006 Ms. Harris commissioned a "Mini-Harp" Guitar with an unfretted low A drone from luthier Julius Borges. A second is planned.	Steve’s impressive collection of guitars, including a Gibson Style U, along with other harp guitar-like instruments, can be seen in his book, The Steve Howe Guitar Collection. He also played the harp guitars of the Scott Chinery collection on Masterpiece Guitars, along with Martin Taylor. -GM
David Lindley	Jeff Martin	John McLaughlin	Robbie Robertson	Martin Taylor

Way back in 1967, in the groundbreaking group Kaleidoscope, David used a scroll-bridge Gibson harp guitar on the group's first 2 albums. He tuned the sub-basses chordally. -GM	Jeff Martin, lead guitarist of the popular Canadian group The Tea Party, uses numerous stringed instruments on the band's CDs, including a 1916 Gibson harp guitar, and recently a resonator guitar with a floating 7th string by Andrew Ellis of Perth, Western Australia. - GM	One of the more infamous "is he or isn't he?" harp guitarists, I agreed to add John after watching him perform with his 1975 band Shakti on DVD. His famous Wechter "Shakti" guitars were originally intended as having only vibrating sympathetic strings, but the sound was not pronounced enough - so John instead incorporated frequent strumming of them within his playing.	Arguably the highest profile use of a harp guitar ever was the last scene of the 1976 Scorcese film The Last Waltz - where Robbie Robertson of The Band used a large scroll-bridge, 10-sub-bass Gibson to play the Theme. Like Lindley, he appears to have tuned the basses chordally (as he begins with a "sub-bass" strum!) -GM	Martin has made two forays into harp guitar – one playing a Gibson Style U on David Grisman’s Tone Poems II, the other with Steve Howe, playing the harp guitars of the Scott Chinery collection on Masterpiece Guitars. -GM
Ben Verdery	George Winston	Mickie Zekley

Ben has only played harp guitar once – a Dyer for one track of his Some Towns and Cities CD project. A tour de force, one wishes Ben would do more with the instrument! -GM	George, while known for his piano playing, also dabbles in many other instruments, including guitar. On a number of recordings and performances he has used either a Martin with a retrofitted 7th floating "C" string, or a custom 8-string Erwin Somogyi harp guitar (2 floating sub-basses). These are tuned for, and used mainly for Slack Key music. -GM	The original owner of Lark in the Morning in addition to a huge private collection of stringed instruments, Mickey has recorded two tracks with his Dyer. -GM

Dennis Cinelli

Dennis Cinelli was inspired to pick up the guitar after hearing Jimi Hendrix. His direction changed to jazz after hearing players such as Charlie Christian and Django Reinhardt. He worked as a jazz musician for some years before performances by Andres Segovia and Julian Bream signaled another change of direction. Today, Dennis is known as a top notch classical guitarist, mandolinist, and lutenist, and an expert in the history of the lute and early guitar. He is a consultant for, and endorsee of, La Bella strings. Since 1989, he has been on the faculty of Montclair State University in New Jersey. He has performed and recorded with a copy of an 1856 Scherzer guitar with 4 sub-bass strings. Aside from a very successful career in classical music performance and education, Dennis still enjoys revisiting his earlier influences by playing rock and jazz styles for theatrical productions on and off Broadway. - FD

Beppe Gambetta

Since the 1970s, Beppe Gambetta has built a reputation as one of the world’s premiere flatpicking guitarists. He has fused this American style with influences from his Italian homeland, and beyond, to create his original musical voice. Beppe has worked with many of the top names in acoustic music including Dan Crary, Gene parsons, Tony Trischka, David Grisman, Tony McManus, Mike Marshall, Norman Blake, and Don Ross. He has more recently developed a passion for the revival of Italian music from the early 20^th century, especially that of his native Genoa. To this end, Beppe formed a duo with Carlo Aonzo, mandolin player from La Scala Orchestra in Milan. For this project, luthier Antonello Saccu built a 14-string harp guitar (8 sub-bass strings), for Gambetta, that is based on one used by the great Italian harp guitar virtuoso Pasquale Taraffo and others. The duo has produced two recordings, Serenata and Traversata (with mandolinist Grisman), and has performed this music to an international audience. The duo were also involved in the creation and performance of a musical theatre production, also titled Traversata. Beppe continues to perform and record in traditional and contemporary acoustic settings. -FD

James Kline

James Kline is one of a small group of players specializing in the arch-guitar. The arch-guitar is the brainchild of player Peter Blanchette who wanted an instrument with a sound somewhere between a lute and a classical guitar. James took the idea further by deciding to have 8 of the 11 strings on the guitar neck and 3 bass strings suspended harp-like. He also patterned the instrument’s tuning after that of the Renaissance lute. This all makes James Kline the one and only master of the arch-harp-guitar. James is an internationally known performing and recording artist who has won numerous international prizes and awards for his artistry. His repertoire includes music from the Renaissance to the present day. -FD

Brian Torosian

Brian Torosian has a special affinity for the work of virtuoso 19^th century (harp) guitarist and composer J.K. Mertz. His doctoral dissertation was on Mertz, he lectures on Mertz, edited an anthology of Mertz music for Mel Bay Publications, and regularly performs music by Mertz. Dr. Torosian uses a copy of a Scherzer instrument with 4 sub-bass strings, built by luthier Richard Brune, that is like an instrument Mertz played. He is on faculty at DePaul University, head of the guitar program at Northeastern Illinois University, an instructor at the Mid-American Guitar Ensemble Festival, and a board member of the Chicago Classical Guitar Society. Dr Torosian is also highly regarded for his performance of rare and standard repertoire from past to present day on a variety of instruments aside from his Brune. -FD

Robert Trent

Robert Trent holds the distinction of being the first person ever to receive a Doctorate of Musical Arts, in guitar, from the prestigious Peabody Institute of The Johns Hopkins University. By age 21, he was already Director of Guitar Studies at Westminster Choir College-Conservatory and Trenton State College. Today, Dr. Trent is Director of Guitar and Lute Studies at Radford University in Virginia. He enjoys introducing his students to his 2000 Gary Southwell copy of a vintage Scherzer 10-string guitar (with 4 sub-bass strings), and regularly uses the instrument in performance. As an acknowledged expert on 19^th century performance practice, Dr. Trent has applied the works of the 19^th masters to the instrument. More modern works, including ones composed by Dr. Trent, have also found a comfortable home on the Southwell. Dr. Trent’s performances have received several national and international honors. -FD

Brigitte Zaczek

Brigitte Zaczek’s path began at age 10 when her aunt, virtuoso guitarist/composer Luise Walker, provided guitar lessons. Brigitte went on to receive degrees in guitar performance, theorbo, renaissance and baroque lute performance, and master class study with Andres Segovia and Alirio Diaz. She has been a professor of classical guitar at the Universitat fur Musik und darstellende Kunst in Vienna since 1972. Today, her attention is focused on the interpretation of guitar music of the 19^th century. To that end, she has amassed a fine collection of period instruments, including 3 that we may label as harp guitars (1837 Stauffer with 2 sub-bass strings, Reis circa 1840 also with 2 sub-basses, and an instrument made by an unknown Viennese luthier around 1860 that has 4 sub-basses). Brigitte has recorded with her Stauffer, Reis, and a borrowed 1855 Lacote Heptacorde (with 1 sub-bass string). She has performed and given master classes across Europe and South America. -FD

Roland Neuwirth & Extremschrammeln

Roland Neuwirth’s life was forever changed upon hearing a vintage Schrammel recording. Until that time, he had focused his musical energies on American idioms including blues, jazz, and pop music. In 1974, he formed Extremschrammeln. That group is still going strong to this day, having released 11 CDs. Though inspired by the Viennese Schrammel tradition, Neuwirth was unable to leave his musical past behind. He has developed compositions that respect the classic Schrammel repertoire, but add a more modern flair. Some have termed his music “Viennese Blues”. This has also led to an original approach to the old Schrammel guitar (or contra guitar). Roland plays an instrument with 9 sub-bass strings. Still, he does not consider himself a guitarist, but a composer and songwriter. In addition to continued work with Extremschrammeln, Neuwirth is occupying his time composing orchestral works. - FD

Other Schrammel groups

Malat Schrammeln

Original Wiener DonauSchrammeln (Features Michael Hausner on "his beloved old Viennese contra guitar.")

Two zither players sharing this page perform with various groups featuring a German harp guitar.
From their web site: “Petra Hamberger can be heard in concerts with The PSALTRIO group (hackbrett, zither, contrabass), in duo with Tomy Temerson, and with the folk music group HAMBERGER STUBENMUSIK (hackbrett, zither, contra-guitar, maultrommel).
Sabine Huber (with) The Neubachtal Music Ensemble. As a zither trio, or with the contra-guitar, on in an accordion, zither, guitar, and contrabass (group).”

There are many other Schrammel groups performing in Europe (see Music page).

Players of the Past I have to preface this section by acknowledging that few of these historical players were ever considered harp guitarists, and the instruments they played were called anything but "harp guitars." Most of these early instruments were simply called "7-, 8-, or 10-string guitars." And, in fact, many of these players were, for the most part, normally six-string guitarists - in fact, guitar virtuosos. Strange how biographical information contains only brief reference to their multi-string harp guitars, with no further information (or seeming interest) on the use of these instruments, their repertoire, etc. I hope we can convince scholars of these composers or players of their music to dig further into this area and share their findings with us!
	America
	See the *Knutsen Archives* Historical Photos section for a variety of players (both identified and anonymous) in various Hawaiian and vaudeville bands.
	Latin America
César Bo From Fine Fretted String Instruments: César Antonio Bo Puente was born in Villa Maria, in the province of Cordoba, Argentina on August 16, 1916. He began to play the violin and later guitar as a child, studying with his father, Emilio Bo. Emilio- a concert guitarist, was a student of Antonio Jiménez Manjon, the blind virtuoso from Spain, who played an 11 string guitar. César, was a child prodigy, who at 11 years of age performed in the Salon “La Argentina”, on the same stage, as Miguel Llobet & Regino Sainz de la Maza would perform for their Buenos Aires audiences. The works he performed

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