The autoharp sits in a curious spot in the world of folk instruments. It looks like a flat wooden trapezoid covered in strings, something between a zither and a chorded harp, yet it produces warm, ringing chords with almost no effort. You press a button and strum, and suddenly you have a full harmonic bed that can support singing, fiddle tunes, or old ballads.
That simplicity is why it became a staple of Appalachian music, school music rooms, and revival folk scenes. Yet for all its apparent ease, the autoharp rewards real knowledge. Understanding the different kinds available helps you pick one that matches both your hands and your musical goals instead of fighting the instrument from the first note.
The instrument’s history adds to its charm. Invented in the late 1800s and later refined by Oscar Schmidt, the autoharp found its true home in the hands of mountain musicians who needed something portable and loud enough to cut through group singing. It traveled from parlor rooms to front porches and eventually to recording studios.
What matters today is that not every autoharp plays the same way or suits the same player. The variations in size, string count, chord layout, and build quality create distinct personalities. Here are the main types worth knowing, ordered from the most beginner friendly to the ones that ask the most from you.
Different Types of Autoharp to Consider
1. Chord Autoharp
A 15-chord autoharp is where most players start and where many happily stay. These models typically measure around 13 by 22 inches and carry 36 or 37 strings. The chord bars give you the most common major, minor, and seventh chords in the keys of C, F, and G. That limited palette is actually a feature, not a flaw.
It forces you to think musically within constraints, which is exactly how many traditional folk songs were written. You can accompany hundreds of songs without ever touching a sharp or flat chord bar. The smaller body also makes it comfortable on your lap for long jam sessions.
The tradeoff is that once you grow beyond basic accompaniment you will start longing for more chords. Still, a good 15-chord model remains the best first autoharp for almost everyone.
2. Chord Autoharp
Next comes the 21-chord autoharp, the workhorse of serious folk players. These instruments expand the chord selection dramatically, adding more minors, diminished chords, and often extra bars in additional keys. The extra buttons sit in two staggered rows, which feels natural once your fingers learn the map.
Because you now have access to chords in D, A, and sometimes Bb, you can play along with fiddle tunes, bluegrass standards, and Celtic songs without retuning. The larger body, usually closer to 25 inches long, produces a richer, louder tone that projects better in acoustic settings. Players who perform regularly or record at home almost always prefer this size.
The only real downside is the added weight and the initial confusion of more buttons, but those challenges fade after a week of steady practice.
3. Diatonic Autoharp
Some players swear by diatonic autoharps instead of the more common chromatic ones. A diatonic model is built for one specific key, usually C or G, and contains only the notes that belong in that scale. This means far fewer strings and chord bars, which makes the instrument lighter and the button layout simpler.
When you strum with the felt dampers disengaged in the right places, every string rings in tune with the key. The result is an incredibly open, bell-like sound that works beautifully for old-time hymns and modal tunes. These instruments shine in jam sessions where everyone stays in one or two keys.
The obvious limitation is that you cannot easily change keys without swapping instruments or using capos, so they suit specialists more than generalists.
4. Vintage Oscar Schmidt Autoharp
Vintage Oscar Schmidt autoharps from the early to mid twentieth century form their own category. Many of these instruments were built with solid wood frames, heavier string tension, and chord bar mechanisms that feel different from modern production models. A well-preserved 1920s or 1930s Schmidt can have a warmth and sustain that newer instruments struggle to match.
The chord bars often have a satisfying mechanical click and the wood resonates in a way that feels alive. However, these older harps frequently need restoration. Worn felts, loose pins, or warped soundboards are common.
If you find one at a flea market or estate sale, budget time and money for setup. A restored vintage piece becomes a lifelong companion, but an untouched one can frustrate a new player.
5. Electric Autoharp
Electric autoharps occupy a smaller but important niche. These models add piezoelectric pickups or sometimes magnetic ones so you can plug directly into an amplifier or PA system. The pickup placement matters greatly.
A well-designed electric autoharp preserves the acoustic tone while giving you stage volume without feedback problems. They are favored by touring musicians who need to cut through a loud band or record in noisy environments. Some players install their own pickups on favorite acoustic instruments rather than buying a factory electric.
The main consideration is that amplification reveals every buzz and rattle, so the harp must be in excellent mechanical condition before you add electronics.
6. Mini Autoharp
Mini autoharps, sometimes called travel or student models, offer three or four octaves in a compact frame that fits in a backpack. These are not toys. Serious musicians use them for practice on airplanes, songwriting in coffee shops, or teaching children without overwhelming small hands.
The reduced string length changes the tone, making it brighter and quicker to decay, yet the chord layout remains standard. If you already own a full-size instrument, a mini version makes an excellent second harp for spontaneity. The limitation is obvious: you sacrifice volume and bass response, so they work best in intimate settings or layered with other instruments.
7. Custom or Luthier Built Autoharp
Finally, custom or luthier-built autoharps represent the top end of the spectrum. Builders like Greg Schreiber, Pete Daigle, or the late Bob Taylor created instruments with hand-selected woods, precision fretwork, and innovative chord bar systems. Some offer split sharps, extra bass strings, or entirely new chord arrangements tailored to specific genres.
These harps feel like extensions of your hands. The tone can be startlingly clear, with each string speaking individually even when many are ringing together. Prices reflect the hours of work involved, often running several times higher than factory models.
For players who have spent years refining their technique, the investment translates directly into musical satisfaction. The caveat is that you must know exactly what you want before commissioning one, because these instruments are built to order.
No matter which type catches your eye, the autoharp asks you to develop a specific touch. You learn to strum with the side of your thumb for warmth, or use a flat pick for brightness. You discover how changing the angle of your strum alters which overtones dominate.
That combination of mechanical simplicity and expressive depth is what has kept the instrument alive for more than a century. Once you find the right autoharp for your hands and your music, it stops feeling like an oddity and starts feeling like a natural voice. The chords are already there.
All you have to do is press the buttons, strum from the heart, and let the old songs ring.