Chords for Muriel Anderson demonstrates her Doolin Harp Guitar for Peghead Nation

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[D] _ _ _ _ _ [E] _ [Bm] _ _
[Em] _ _ [A] _ _ _ This harp guitar is [G#] built by Mike Doolin in Portland, Oregon.
And when I had Mike build me a harp guitar, the main idea for it was to fit in the overhead bin of an airplane.
So that's the main prerequisite of this.
Mike Doolin did just a beautiful job in designing this harp guitar and used some lovely woods.
And you can see that harp guitar building is quite complex.
And to get _ these woods all [F#] bent and shaped _ is quite a bit of work.
So the original harp guitars that were built right around the year 1900, with this extra resonating chamber that makes it sound so lovely,
they were quite a bit bigger and they had steel strings.
_ And so I asked him if he could make it smaller.
And as such, it's tuned a whole step higher than a regular guitar.
So this is shorter, so all the frets are a little bit closer together on that.
And then when you go down the bass strings, _ [C#] it just goes down the scale.
[F#] _ _
And instead [E] of having _ six extra [G#m] bass strings like most, I had [F#] Mike build me one with just one extra, one more on seven bass strings.
And so that I can play it in different keys, I asked him if there was a way he could do half-step tuners.
And the first one he built for me had half-step tuners on the back.
And this second one that he's built for me has the half-step tuners on the [C#] top, which I think work a [C] lot better.
_ [C#] _
[C] So these are called [C#] dragon whisperers, [E] these little half-step [B] tuners.
They come from folk harps.
[G] And so this is the first instrument that has had these half-step tuners on it, to my knowledge, of [C#] the harp guitars, the over-the-top half-step tuners.
_ [G#] [E] So that allows me to play more easily in different keys.
_ And [F] after I recorded the Harp Guitars Under the Stars CD with John Doan, he has _ an extra set of trebles.
And then so, [G#] for my second guitar, I also asked for the extra set of trebles because of the beautiful work that John has [G] done with the use of the treble [D#] strings.
And these are tuned, this side, with tuning hammers from a piano or an auto harp.
It'll work for that. _ _
And then on this side, it has fine tuners from a fiddle [F#] or a violin, [Em] _ used to tune it more easily. _
[F#] And so this [G#m] was built as a 21-string harp guitar, but I was walking on stage one day and one of the tuners caught and broke.
_ And so it became a 20-string harp guitar.
_ And by the time I got my replacement _ _ fine tuner here, I realized I liked it better as a 20-string harp guitar.
I liked it with one fewer string because [F#] it left a little space here, _ allowing me to be more emotional with the main guitar part.
So it lets me play with more abandon without [B] worrying about hitting [D#] the first string that [F#] was formerly too close.
So it's [G#] really been a wonderful instrument to write with and to arrange on.
It gives me a whole extra range to perform [Bm] with, and almost the range of a grand piano.
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