I love the sound of Sally's custom made diatonic autoharps* (one for C/G/Am, the other for D/A/Bm) and she plays them beautifully, but I rag her occasionally about her harps' inability to play any circle of fifths progressions beyond I-II-V-I** and the fact that she has no dominant 7th chords on either of them, along with her shallow grasp of music theory and her stubborn refusal to try to rectify it (for Christmas a few years ago I gave her David Harp's clear, concise, very useful book and tape on music theory--she fell asleep one night reading it and never picked it up again). She also can--when she practices a bit--play a very nice clawhammer banjo (she owns a beautiful Bart Reiter Whyte Laydie which just hangs on her wall).

*Diatonic autoharps have some doubled strings for a richer sound; consequently, they also are missing three of the accidentals: The C/G harp has the C scale plus F# and C#, the middle octave B, C, D, E, F, and G strings are doubled (I think that's thw way they are set up).

--seed **actually, in thinking about it, I realized that on her harps she could do a I-VI-II-V-I run, used in such as "Salty Dog" on either: On the C/G, she'd play in F: F-D-G-C-F, and on the A/D, in G: G-E-A-D-G. Of course the circle of fifths runs sound better as I-VI7-II7-V7-I, and she has no sevenths, and she couldn't play patterns which also required the IV chord...