Double and triple harps continued to be the norm throughout the Baroque era in Italy, Spain, and France and were employed both as solo and continuo instruments.

A description of the Welsh triple harp is given by the harpist John Parry (Bardd Alaw) (1776–1851) in the preface to the second volume of his collection, The Welsh Harper (London 1839): The compass of the triple harp is about five octaves, or thirty-seven strings in the principal row, which is on the side played by the right hand, called the bass row.

When an accidental sharp or flat is required, the performer inserts a finger between two of the outer strings, and finds it in the middle row.

Many experiments have been made, with a view of obviating the necessity of tuning the instrument every time a change in the key occurred.

A memorial prize, "Tlws Coffa John Weston Thomas" was subsequently instigated at the National Eisteddfod, to encourage competition in the traditional folk style.

From medieval times Welsh harpists played with the harp placed on the left shoulder, contrary to continental practice.

The triple harp is also played by a minority of classical harpists in Wales, including Angharad Evans, Elinor Bennett, Meinir Heulyn and Eleri Darkins.

These players notably include Maria Christina Cleary,[7] Cheryl Ann Fulton, Maximilian Ehrhardt,[8] Frances Kelly, Mike Parker, Robin Ward and Fiona Katie Widdop, who has worked with the BBC on some special projects including different designs for the harp and the design and manufacture of a quad harp which she has developed alongside her husband David Widdop.

Modern composers have displayed an interest in the triple harp; e.g. Richard Barrett, who includes the instrument in the diverse ensemble of his massive multipartite work, Construction.