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An autoharp or chord zither is a string instrument belonging to the zither family. It uses a series of bars individually configured to mute all strings other than those needed for the intended chord. The term autoharp was once a trademark of the Oscar Schmidt company, but has become a generic designation for all such instruments, regardless of manufacturer.
terminology on the "Chorded zither" (referred Autoharp without trademark infringement with Oscar Schmidt Inc.), "[[Guitar-Zither|Guitar zither]]" (patented by Fred Menzenhauer in 1894), and "Chord zither" (referred Guitar-Zither, appeared in ''The Oxford Companion to Musical Instruments'', and ''The New Grove Dictionary of Musical Instruments'').
terminology and taxonomy of the "Fretless Zither" family instruments.
On the edge opposite the top pin-block is either a series of metal pins, or a grooved metal plate, which accepts the lower ends of the strings. Directly above the strings, on the lower half of the top, are the chord bars, which are made of plastic, wood, or metal, and support felt or foam pads on the side facing the strings. These bars are mounted on springs, and pressed down with one hand, via buttons mounted to their topside. The buttons are labeled with the name of the chord produced when that bar is pressed against the strings, and the strings strummed. The back of the instrument usually has three wooden, plastic, or rubber "feet", which support the instrument when it is placed backside down on a table top, for playing in the traditional position.
Strings run parallel to the top, between the mounting plate and the tuning pins, and pass under the chord bar assembly. Modern autoharps most often have 36 strings, with some examples having as many as 47 strings, and rare 48-string models (such as Orthey Autoharps No. 136, tuned to G and D major). They are strung in a chromatic scale manner which, however, is sometimes modified into either diatonic or fully chromatic scales. Standard models have 12, 15 or 21 chord bars available, providing a selection of major chord, minor chord, and dominant seventh chords. These are arranged for historical or systemic reasons.Orthey, Mary Lou (2001). Autoharp Owner's Manual, p.3. . Various special models have also been produced, such as diatonic one-, two-, or three-key models, models with fewer or additional chords, and a reverse-strung model (the 43-string, 28-chord Chromaharp Caroler).
| Bass octave | E3 |
| Tenor octave | E4 |
| Alto octave | E5 |
| Soprano octave |
There are a number of gaps in the lowest octave, which functions primarily to provide bass notes in diatonic contexts; there is also a missing G3 in the tenor octave. The fully chromatic part of the instrument's range begins with A3 (the A below middle C).
Diatonically-strung single-key instruments from modern are known for their lush sound. This is achieved by doubling the strings for individual notes. Since the strings for notes not in the diatonic scale need not appear in the string bed, the resulting extra space is used for the doubled strings, resulting in fewer damped strings. Two- and three-key diatonics compromise the number of doubled strings to gain the ability to play in two or three keys, and to permit tunes containing accidentals, which could not otherwise be rendered on a single-key harp. A three-key harp in the circle of fifths, such as a GDA, is often called a festival or campfire harp, as the instrument can easily accompany fiddles around a campfire or at a festival.
| D7 |
| G |
The standard, factory chord bar layout for a 15-chord instrument, in two rows, is:
| D7 |
| G |
The standard, factory chord bar layout for a 21-chord instrument is in three rows:
| A |
| B7 |
| Em |
A variety of chord bar layouts may be had, both in as-delivered instruments, and after customization.
Shown is a 1930 refinished Oscar Schmidt “Model A”. This harp has two DeArmond magnetic pickups (one under the chord bars), with a d'Aigle fine-tuning mechanism, and d'Aigle chord bar assembly, and was used in a 1968 MGM Records/Heritage Records recording by Euphoria.
Partly because of this playing mode, the autoharp came to be thought of as a rhythm instrument for playing chordal accompaniment, and even today many still think of the instrument in that way. New techniques have been developed, however, and modern players can play melodies on the instrument: diatonic players, for example, are able to play fiddle tunes using open-chording techniques, "pumping" the damper buttons while picking individual strings. Skilled chromatic players can perform a range of melodies, and even solos including melody, chords, and complex rhythmic accompaniments.
In the mid-20th century performers began experimenting with taking the instrument off the table and playing it in an upright position, held in the lap, with the back of the instrument (having the "feet") held against the chest. Cecil Null, of the Grand Ole Opry is usually credited as the first to adopt this playing style in public performance, in the 1950s. In this position the left hand still works the chord buttons, but from the opposite edge of the instrument, and the right hand still executes the strums, but now plays in the area above the chord bars. (See Joe Butler illustration, below.) This playing mode makes a wider area of the strings available to the picking hand, increasing the range of tonal possibilities, and it proved very popular. It was soon adopted by other performers, notably by members of the Carter Family.
By the early 1970s some players were experimenting with finger-style techniques, where individual fingers of the right hand would pluck specific strings, rather than simply hold a pick and strum chords. Bryan Bowers became a master of this mode of playing, and developed a complex technique utilizing all five fingers of his right hand. This allows him to play independent bass notes, chords, melody, and counter melodies as a soloist. Bowers was also one of the early pioneers in adding a strap to the instrument and playing it while standing up.
Maybelle Carter of the original Carter Family brought the instrument to prominence in the late 1940s by using it as a lead instrument when performing with her daughters; the Carter Sisters.
Maybelle Carter's granddaughter Carlene Carter frequently plays the autoharp onstage and on her recordings; her song "Me and the Wildwood Rose", a tribute to her grandmother, makes prominent use of the autoharp. Several Lovin' Spoonful songs feature the autoharp playing of John Sebastian, including "Do You Believe in Magic" and "You Didn't Have to Be So Nice". He also played in the 1979 Randy VanWarmer hit song "Just When I Needed You Most".Hyatt, Wesley (1999). The Billboard Book of No. 1 Adult Contemporary Hits (Billboard Publications), pages 228-9.
Bryan Bowers developed a complex finger-picking style of playing the autoharp (as opposed to the more common strumming technique) which he initially brought to bluegrass performances with The Dillards in the 1970s, and later to several of his own solo albums.
British singer songwriter Corinne Bailey Rae regularly plays the autoharp and composed the title track from her 2010 album The Sea on the autoharp.Interview with Corrine Bailey Rae on BBC 6 Music about her Mercury nominated album "The Sea", Wednesday, 1 September 2010.
Norwegian avant-garde artist Sturle Dagsland frequently performs with an autoharp.
Singer/songwriter Brittain Ashford of the band Prairie Empire is known for using autoharp in her music, including the 2008 release "There, but for You, go I". She also regularly performs on the autoharp as part of her role in Ghost Quartet, a four-person song cycle composed by Dave Malloy.
French singer/songwriter Pomme performs with an autoharp for songs such as "les oiseaux" "On brulera" "Umbrella" and many more
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