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But Varshini is set on becoming a composer and a conductor of a symphony orchestra, and continue her musical association with Lydian. Mozart played multiple musical instruments; so does Lydian. It is said that Mozart played all the principal instruments of his day except for the harp though there is a harp section in one of his concertos, "K ". He is learning other instruments: the violin, the ukulele, the marimba, and some used in Indian folk music such as the kanjira, the thappatai, and the morsing.

Besides, he likes to sing; the human vocal cords, he reminded me, are by themselves a fine musical instrument. That adds up to Whenever he gets his hands on a new instrument, be it the harp or the harmonium, he tries to coax out its musical secrets. Mozart often played in concerts of his compositions, leading the orchestra usually from the piano but sometimes using the viola or the violin. He was supremely confident in playing three instruments to concert standard before the largest audiences of his time.

Lydian has the gumption to match such feats. For example, in this video, he recorded himself playing the theme music of the Tamil movie "Mouna Ragam" composed by Ilaiyaraja on the piano, and then superimposed guitar rhythms on it, essentially playing a duet with himself. Mozart had the rare ability of Perfect Pitch; so does Lydian.

Perfect Pitch is an extremely rare auditory phenomenon. Simply expressed, it is the ability to identify any given musical note or chord without the benefit of a reference note or tone. We know Mozart had it because he demonstrated it in public. Beethoven almost certainly had it, judging by his letters and journal entries. Our knowledge of other European composers — for instance, Bach — is sketchy enough that we cannot say one way or the other whether they had it.

This, combined with a remarkable musical memory he can memorize long sequences of notes enables him to rapidly learn the most complex music compositions. Paul commented that musicians usually take two to three months to learn what Lydian learns in a week or two by ear, decoding the notes with his perfect pitch and internalizing them through his musical memory.

Mozart could play the piano blindfolded; so can Lydian. The Mozarts toured Europe extensively when Wolfgang was a boy, and were received by royalty and nobility. The cherubic prodigy performing blindfolded invariably drew admiring cheers from monarchs and commoners alike. Since then, Lydian has occasionally donned the blindfold. Sometimes it is to showcase his talent, especially onstage before an audience.

But he also uses the blindfold to test whether he has mastered a piece, whether he can play it without any visual aid whatsoever. The Mozart siblings were home-schooled; so are Lydian and his sister. Wolfgang and Nannerl did not go to school. When Leopold Mozart realized both his children were musically gifted, he taught them their lessons reading, writing, mathematics as well as music at home. Lydian and Varshini went to school for a few years; then their parents decided to home-school them. It was a daunting decision.

They had no time for music. We pulled Lydian out of school first. The way his music took off, rocket-like — it was dramatic. Then we got Varshini out. Our relatives and friends were aghast, and it was futile to explain. The majority end up in drudge jobs. You decided to home-school your children only after carefully assessing their talent and understanding their needs. Whenever we wanted something, such as a letter of support or recommendation, they provided it. When Varshan was a boy, his family neither understood nor wholeheartedly supported his yearning for a music career.

Only after turning 18 was he able to seriously pursue music. He was determined that his children should not end up the same way but get an early start. Mozart and Lydian started composing original music from a young age. By the time Mozart was five, he was improvising as he played, and produced his first composition. Lydian started composing from about a year ago but Varshan resists pushing him too hard in this direction. He would rather that Lydian first expand his repertoire and gain a better command of the vistas of music so that when he produces original music, he will have a deeper wellspring to draw upon than the average musician, find his voice and create melodies that tug at the heartstrings.

Original composers are more than the sum of their influences; they speak in musical tongues not heard before. Varshini started composing at According to Varshan, her distinct views on music composition set her apart from others. Before they compose, the two siblings brainstorm intensively and then work on their pieces by themselves. Sometimes they collaborate on a joint composition. The video below is not their original work but offers a glimpse of the interplay between brother and sister. Like many creative artists, they often work late into the night.

When the rest of India is fast asleep, Lydian and Varshini are busy whisking up new dreams for them. An unusual combination of instruments by unusual siblings. Both Mozart and Lydian had musician fathers who sacrificed for their children. I should be at least three or four levels above where I am now as a music director in the Tamil film industry. I use that time to bring up my children. Likewise, could Lydian have progressed so much if he had been born into a family that lacked any musical appreciation whatsoever?

The considerable influence that Leopold and Varshan have had on their children is hard to quantify. The numerous accounts of tension and ill-will between Leopold and Wolfgang are based on the father trying to prevent the son from being his own musician, to control his son even in adulthood. A colossus like Bach could have blown up at this, but Bach knew that the world — and music — was changing.

The Baroque era was transiting into the Classical era, and Carl would make a mark if he was a gifted practitioner of the new musical form whilst it was in its infancy. So Bach encouraged his son to forge ahead. If Lydian wants to delve into jazz or other genres, Varshan encourages rather than obstructs. Chess, athletics, mathematics, and other fields produce prodigies but music prodigies outnumber them. Much revolves around how they were nurtured. The protagonists include family and friends, teachers of all sorts, and patrons and concert managers in various guises…The family remains the supporting base of the team, since both teachers and managers are relatively transitory characters in this unfolding drama.

A characteristic feature of a Lydian Nadhaswaram performance is a sweet smile at the end. So much so that admirers who follow his musical journey often await it with almost as much anticipation as they do his music. A sample of comments:. And his disarming smiles at the end of his performances make him so endearing, even beyond his genius.

I recollected how particular habits of a composer often stuck in our memory. Liszt would grind his teeth when excited at the piano and ran through sets of dentures. Beethoven made a daily circuit of Vienna on foot after dinner, however sweltering or wet or freezing the day was, composing as he strode.

Handel had a lusty appetite — it is said that he normally would order a meal for two; when hungry, for five. I wondered. So whenever I do that, I feel really happy and smile. I hope I can do justice bringing it to life now. He becomes conscious of the audience at the end, when it applauds. Lydian is friendly and personable. He knows how to relate to adults as well as to his peer group. If you met him without knowing anything about him, he would come across as the most adorable kid in the neighborhood; you would be none the wiser about his musical abilities.

He can debate the merits of a Lamborghini versus a Bugatti, get worked up discussing the emotions evoked by The Lion King, or split his sides watching the British comedy show Mr. But as a musician, Lydian pushes the envelope. He now follows orchestral classical music, and can identify members of the woodwinds family, the brass family — he knows the sounds of other instruments and delights in the intricacies of the concerto, the interweaving melodies of the symphony, the music of the spheres.

And Lydian constantly seeks to expand his knowledge. He follows what the conversation is about. Varshan asked him to play at and observe how the music changed. Musicians sweat when they approach bpm, but Lydian raised the bar until he hit an unbelievable bmp. Speed changes the interpretation. At bpm the pace suggested by Thiman , a somber mood associated with slow-flowing water is evoked. At , it is more like a tropical cyclone where wind and rain pummel the earth in fury. Cyclone Lydian strikes! An excellent supplement for any teacher of young students, and wonderful teaching material.

There is an optional CD which has the tunes and the accompaniments. Includes lever changes. Upper Beginner to Intermediate, All Harps. Four pages in length, two handed scales in the melody, rolled chords as accompaniment, and sections with no more than two notes per hand. Suggested fingerings and dynamics are included. Harp 1is playable as a solo. The parts compliment each other. Key of G, without accidentals, Intermediate, All Harps.

Several accidentals lever changes. Historical notes at the beginning. All of Serenas arrangements make excellent concert pieces. Straightforward and NOT easy to get lost. True to the s minstrel show tradition, this expressive arrangement holds the listeners attention by utilizing tempo and daynamic changes, breaks for breaths and effect, glissandos, harmonics, knocking, chromatic notes and key changes.

Its a real showstopper! Performance time is seven minutes. Includes score, harp 1 and harp 2 booklets. There is a brief biography of Foster on page one of the score. Playable on lever harp, with a significant amount of lever changes, more in harp 1 than harp 2. I would consider this upper intermediate lever harp because of the accidentals. Very worthwhile to perform, despite the work you LH has to do! Exciting music in contrasting rhythmic styles to enrich repertoire. All Levels, All Harps. Harp 1 and 2: Intermediate level. Harp 3 and 4: Easy level. Invited by the Dutch Host Committee of the Tenth World harp Congress, Alfredo composed this concert piece with its main section in the rhythmic style of cumbia, the national Dance of Colombia, South America.

Percussive effects on the soundboards in some parts add to the drama and excitement of the piece. Harp I is suitable for novice player, while Harp II can be considered the accompaniment. While written for pedal harp, the pieces are adaptable for lever harp. Two copies of the book are included, both in easily readable score form. Simple parts but very satisfying when played together. Keys of C, G, and A minor.

Duets for All: Piano/Conductor, Bells, Harp Book

Nice, full chords, Pre de la table on the bottom of first page. Includes rolled chords, arpeggios, and left-hand accompaniment. Great for beginner harp ensembles. There are rolled chords, scales in both hands, arpeggios, and running right hand notes. Easy parts, cute titles that children will enjoy. Score and separate harp parts.

Advanced Beginner to Intermediate, All Harps.

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Melody is played by harp I. Key of C, no lever changes. Harp I has one lever change. All in treble clef, playable with 26 string harps. Great for small or large groups! All parts written in treble clef, with harp III also in bass clef. Guitar chords are included.

Lever Harp Ensemble

Short interlude between stanzas. Lush four fingered arpeggios split between two harpers harp II and III or can be combined for the more advanced player. Easy to Advanced, All Harps. Begins in the key of G, and changes to D with one or two easy lever changes per part.

Easy to Lower Intermediate Lever Harp. Fingerings and placing brackets are well marked. Harp 1 is advanced. Harp 2 intermediate plays accompaniment. Harp 3 beginner plays harmonic reinforcement. Set includes individual parts for Harp 1, 2 and 3 and a full score. Pratt, Louise F. Fun to play, well written. Key of Em, no accidentals except a picardy 3rd at the end G. No page turns, both parts are equally challenging, with both hands used fully. No accidentals Full scores are also included.

Beginning to Intermediate, All Harps. Harp 1 can be a solo. Key of C with no accidentals or lever changes. Optional simpler second part includes easy rhythms, a few accidentals. Rameau, J. Harp 1 carries melody and principal harmonies. Can be played solo. Can be played as a continuous suite of music. Has chord symbols, fingerings, and well-marked accidentals. Harp 1 is designed to be a complete solo arrangement while Harp 2 enhances and fills out the first part.

Keys of F, C, G and D, with minimal lever or pedal changes. Harp 1 can stand alone, while the Harp 2 is designed to enhance and fill out the first part. Interesting historical and performance notes. Parts 1 and 2 are a complete duo, the rest add harmonic and rhythmic interest. Key of C, some accidentals and grace notes. The pedal teacher part is intermediate level. The student easy part consists mainly of melody. Each tune can segue into the next.

All Harps. Try these interesting Latin American offerings. Duets - Faz Hoje um amo, Cancao, Cueca. Int, All Harps. The melody is shared between the first and second parts, while the third part provides underlying rhythm. The melody develops and expands and is followed by a sharply contrasting middle section, which is much faster and jig-like. In this section, the harps let loose in their dance, which has become spirited and playful. Following this faster middle section, the ensemble returns to the original melody, but with greater intensity and rhythmic vitality. As the piece comes to its dramatic conclusion, layer upon layer of rich harmonies unfold and become increasingly intense, culminating in a bell-like explosion of syncopated celebratory sound.

The piece can be played by an ensemble of beginning to intermediate lever or pedal harpists, as each of the three parts is written with a different degree of technical difficulty. Solo version available separately, not included with this package. Key of C major with no accidentals. Lever changes, glissandos, full levers needed. Harp one is usually the easiest part, with harp two at intermediate level and harp three more advanced. Includes suggestions on use of the book with two or three harps, or full harp ensemble. Fingerings, chord symbols, no lever changes. Two versions are included - two pedal harps or two lever harps.

It is based on Celtic and Venezuelan harp styles. It works well as a solo harp piece just playing harp 1, and it is great as a trio. Arrangements for performing are included at the beginning. Lovely artwork on the cover. The LH of harps 1 and 2 has single notes, the RH has also single notes with ties in octaves. Harp 3 starts out with three measures of full chords, followed by mostly single notes for the next 2 pages.

More full chords follow. Full score plus individual parts all within comb binding. There are no accidentals and is in the key of C, while hovering around G open chords. A neat piece. Also contains a wonderful ensemble work for two harps, cello or bass recorder titled Birds of Blue Ridge. Tunes are arranged to facilitate memorization. Consistent left-hand patterns are often repeated in other sections of pieces. Arrangements for beginners, solo, duet and ensemble included. Contains: La Llorono, Suenos, and Pirouette. Multiple versions for a variety of solos or shared with a 2nd harp in ensemble.

All songs are in C except the last, in F. No accidentals, nothing difficult, just good solid music. Easy to intermediate, great for ensembles. Key of G, only one lever change in harp 1. Harp 1 can be played as a solo, or with the second harp accompaniment. Both parts are included. Lyrics, no accidentals, nice ending in harp 2.

Each part has its own separate score. Great as a solo or as a harp duet. The easy Harp II accompaniment is simple enough for beginners. The stately theme is embellished with lush chords and a strict rhythm carried throughout. Included is a brief history of The Yellow Rose. Easy , All Harps. Lever and pedal markings are clearly notated. Page turns are easy.

A full-size conductors score is included. The Harp 1 part is intermediate, harp lower intermediate, and harp 4 is easy. Several pieces have a 4th part for flute or C instrument, or another harp. Harps 1 and 2 are for lever harp or pedal and harps 3 and 4 are for pedal harp only because they contain enharmonic glissandos. Harp 2 plays several recitative-like measures. Common time, two scores included. Has one sharp with modulation to two sharps, changing meters. Modal in sound, basic key of C Lydian. Two scores are included.

Nice interaction between the harp parts. Both parts have seamless interactions, of equal difficulty. Appropriate for ensemble of all ages! Fingerings and brackets well marked. Arranged in the key of D, each harp part is four pages long. Requires G , has simple rolled chords and arpeggios in Harp 1. Harp 2 has arpeggios and, at one point, the melody in unison. Key of A minor, fingerings and brackets well marked. Includes performance suggestions.

Fingerings, brackets well marked. Nice full chords,eighth notes, harmonics. No lever changes. Fingerings, measure numbers, rehearsal markings, lyrics included. Key of D. Just a couple of accidentals. Harp 2 is easy, harp 1 is lower intermediate. There is a vocal part with cute words.

Christmas sheet music (1046 Free Arrangements)

Usually has a solo version, and 1 to 3 other parts ranging from very easy to intermediate. Scott Skinner and Willafjord trad arranged for three-part harp ensemble by Laura Zaerr. Rich interweaving of 3 harp parts for these two tunes. Harp 3 is easy, harps 2 and 1 are intermediate with neither part having any difficult passages of note. Playing in ensemble is so much fun, and when you have these traditional tunes arranged expertly by Laura Zaerr, this is really a joy.

There are some harmonics and glisses, no accidentals. Some scale passages and one 2-handed descending then ascending arpeggio. Syncopation in Willafjord.


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There is a section of percussive tapping on the soundboard. Uplifting ending. One key change is easily accessible with two measures of preparation. Harp 1 has notes in right hand only, harp 2 has one measure of rest and a whole note in the bass second measure, harp 3 has no notes for two measures. Historical notes on each tune. Entirely spiral bound, no pull-out individual harp parts. All parts and score are contained within the book.

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Lower Intermediate to Intermediate, All Harps. A lovely chorale, it has been edited for several levels of playing ability. All parts are notated for both levers and pedals and include fingerings. Very suitable for the mixed level ensemble. Several well-written interludes, two modulations cleverly arranged. The combination of lush chords and broken arpeggios make this suitable for intermediate players. No accidentals, a few glissandos, two scores. Harp 1 has four-note rolled chords in the right hand. Harp 2 includes running triplets in both hands.

Taken up to tempo could be a little tricky and challenging to keep together. I would say not for beginners. Entitled Mary instead of the traditional Mairi it was arranged for one of their harp ensemble members for her wedding. You can hear many compositional techniques such as inversion, augmentation of music motifs. It starts out in a stately walking manner. All harp parts have interweaving melodies and utilize both the upper and lower registers of the harp.

This piece ends triumphantly with strong bass chords played by Harp 3 while Harp 1 and 2 have ascending and descending scales creating a ringing bell effect like wedding bells. We ran through the piece and put it up on You Tube. Intermediate lever or pedal harp. Mozart, W. It is a joyful and delightful melody that people love! Several lever changes, moves along quickly. Has the carefree energy of a happy, sixteen year old the age of Mozart when he wrote it. Score and both parts in one booklet, not a pullout.

Advanced Intermediate, All Harps. Full sounding, melody divided equally, nice counterparts and harmonies. Harp one is more challenging, part 2 is easy with a C lever change, part 3 is easy, harp 4 contains the middle moving part, part 5 contains right hand rolled chords, and part 6 contains mostly half notes.

Full score, plus 6 pull-out parts. Parts 1 and 2 are easier than 3 and 4. Modulates from the key of G to D with one or two easy lever changes in each part. Harp Five has a wealth of scale-like passages. Each part mainly plays one note per hand. Harmonics, many running eighth notes, and rolled chords.

Includes score and harp parts. What Wondrous Love is This? Common time, with simple rhythms of eighth, quarter, and half notes. Intermediate Beginner, All Harps. Harp 1 beginner level can be played on a lap harp while Harp 2 intermediate level requires a full range harp and is mainly chords or broken chords with a bass note.

Harp 1 easy level generally plays melody, Harp 2 intermediate level plays full chords or a bass note with an eighth note figure in right hand. Fingerings, placings well marked. The teacher or advanced student part is for pedal harp. Wonderful notes about the selections.

Each part 2 pages, key of C. F accidental. Both parts have harmonics in the intro.


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Contains: Jolly Old St. The music has been performed for years during the Christmas season, and the arrangements are innovative and fun to play. Primarily for pedal harp, there are lever harp parts for five of the arrangements, and three of the arrangements can be performed completely on lever harp with minor adjustments. We have provided midi files and samples of the music for you to listen and view. All of the music is bound within a plastic spiral, so ideally you would need to purchase a copy for each member of your ensemble. It is allowable to xerox the lever harp parts.

May also be used for larger ensembles. Designed for any combination of three or more parts. Solo versions can be extracted from most of the parts. Six tunes include several versions for duets, or as solo sets of variations. Book has historical information.


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  5. Fs are printed blue, Cs are red, and notes are big! Some titles have multiple parts. Program notes, two harp parts and scores. Playable as a medley. Few accidentals, full chords. Contains: Hark! All parts include rolled chords and arpeggios in both hands. Great harmony and canonic style. Works great for church or any audience. All parts are only one clef, either treble or bass.

    None of the harp parts are difficult, so theres a bonus for younger players or groups with little practice time. Both works are in the key of G. Frosty has a couple of accidentals in harp two where the melody is played. Harp three has an accidental at the end and muffles to finish the piece off. Harp one has some syncopation, glisses, and triplets. The Jingle Bell melody is played by harp one, mostly in octaves. No tricky rhythms, one little grace note. Harp two has lots of chords, glisses, and a thumb slide. Harp three provides the bass foundation with an alberti bass type figure, a few glisses, and thumb slide.

    Suggested fingerings are also provided. Each part is provided in convenient, pull-out fashion. Eleven pages, individual parts and score. Parts 1 and 2 are complete, the rest add harmonic and rhythmic interest. Weidensaul, Jane B. Also contains: Patapan, To Portsmouth Greensleeves. Moves swiftly, has a few D and C lever changes. Mostly single notes, some two and three note chords. Harp I is more advanced: harmonics, rolled chords, accidentals. Harp II has harmonics, ornaments. Harp III is easiest. For two or more harps.

    Harp one is very easy, harp two is advanced beginner. Key of C,. Lever Harp Ensemble Christmas no accidentals. Thumb slides, requires C , has harmonics in Harp 1 part. Harp 2 has diatonic glissandos. Great rhythm, almost danceable. Full, lovely harmonies, harmonics, arpeggios shared by both parts.

    Very nice. Vocal range is E1 to G2. Key of D with no accidentals. In C minor with two lever changes. Basic concepts, diatonic vs. Presented simply, with melody lines and chord symbols. Contains many period dance tunes, a selection of vocal numbers with lyrics. Text with ideas for performance provide useful information.

    Some tunes can be heard on the companion recording. A fiddle, flute, or other concert C pitch instrument could play the vocal line on some songs. Highest note to sing is C above middle C, and lowest note to play on harp is F one and octaves below middle C. Just four pages, can be played as a harp solo, can be sung with, or played fake style using the chord symbols.

    The words speak of light, love, and contentment. Suitable for worship and meditation. Very nice arrangements with introductions and history of tunes in front of book. All playable as solo harp, six tunes as harp with vocals. Fifteen original songs for harp including variations and five vocal pieces. The arrangements are set up in solo and duet versions. The music is clearly laid out on the page and easy to read. The pieces are perfect for the solo harper who sings, or for the harper who enjoys working with a vocalist. The book comes with a companion CD.

    Collection covers a wide range of tunes capturing the Irish traditional flavor. Both versions have chords. Nice repertoire! Harp part does not contain melody line. Seven pages in length, key of C. Vocal range spans an octave and one note: G below middle C to A above middle C. Several lever changes in most pieces. Introductions, interludes and endings, accompaniment. Lyrics included. Book includes how to figure out keys and lever settings for songs, what to do about chords not within the key. Also includes fingerpicking library with 80 patterns in four different time signatures.

    Twenty fun songs with lyrics and chords, companion CD. Songs are transcribed for lever harp and voice or any melody instrument. Chord names are also included. Song for Three Voices and Harp. From Carol: Mermaids and their kindred water spirits such as naiads, lorelei, and sirens are often musical creatures. They sing and even play harps or lyres in our myths, art, and poetry, like the nereids in Walter de la Mares Sunk Lyonesse.

    A collection of harp music about mermaids, therefore, seemed like an attractive idea to me. Ive used several watery musical devices, including parallel fourths, whole-tone glisses, and arpeggios built on diminished and halfdiminished sevenths, to suggest the element in which mermaids live and play and sing. The Little Blue Barcarolle is somewhat different from the typical barcarolle, the rhythm of which is usually meant to suggest the gentle roll of a small boat. Here, the rhythm and the blues mode suggest, I hope, that mermaids are playfully rocking the boat.

    Ionas Mermaid is based on the medieval story of a mermaid who wanted to be baptized by the monks living on the holy island of Iona. Though the poor mermaid swam round and round the island, the pious monks refused to baptize her, presumably because they believed a mermaid had no soul. From the Rocks is the kind of song that mermaids might sing to lure sailors onto the rocks that will destroy their ships.

    The Forsaken Merman, by the Victorian poet Matthew Arnold, is a touching poem about a despondent merman and his children, left alone by the human woman who returns to her life on land. The Victorians were particularly fascinated by mermaids. Many painters of the period depicted them, including the late Pre-Raphaelite, J. His painting A Mermaid, is reproduced on the cover of this collection, by kind permission of the Royal Academy of Art London.

    Harp parts are easy, nice accompaniment. Few lever changes, separate voice part. Left hand has moving quarter notes, right hand melody is uncluttered with parallel thirds and sustained notes. Lovely composition in A minor. Appropriate for funerals, memorial or worship services. Four pages in length, easy to play. Vocal part is for mezzo soprano, highest note the E an octave and third above middle C. Uppper Beginner to Intermediate, All Harps. Original, simple, and can be played on 26 string harp. Key of D, basic accompaniment. Nondenominational, essentially the words speak of being blessed and grateful for life.

    Full score included, pull-out voice part. Lever and pedal changes indicated. Steady eighth note motif in right hand requiring a fluid sense of rhythm, and skill required to follow a soloist makes this a challenging piece. Advanced, All Harps.

    Melodys Traditional Music and Harp Shoppe

    Guitar chords included, suggested fingerings and dynamics are included. It is from Three Canticles of Myrrh. The harp part is an unmetered frame, written as a grand staff and easy to play. The words are within the staff, and the harp is expected to follow along. It is interesting, and avante garde. This is a tiny booklet, 8 and by 5 and inches. The music is a total of 9 pages. The type is very small, and you may need to enlarge it. If you are in need of an unusual presentation for an art club, or for 12th Night, this would be it! Kennedy, The Beasts of Bethlehem associates animals with the Christmas story.

    Written for alto voice, accompaniments work as support for melody and words. Harp parts are intermediate, cello and flute parts are move nicely, creating pleasant texture. Edited for several playing levels, has fingerings. Contains both lever and pedal harp parts, easy to intermediate. Numerous pedal or lever changes, fingerings, muffles, and dynamic markings clearly defined. Lever markings are notated between staves, accidentals are clearly marked.

    Pedal markings are notated below the staff. Keys of F, G, Am, C. Key of B flat major with no accidental changes. Flowing harp part and easy piano accompaniment. Pedal and lever changes are clearly marked, but sparse. Excellent fingerings. Easy piano part. Some C and D accidentals. Melody with chords in inversions in the left hand, arpeggios as an introduction. String parts are fairly easy. Four 1st violin, three 2nd violin, two viola, one cello, one bass part. Fellows, Sylvia A Renaissance Harpers Notebook Wonderful collections contain parts for lead sheet, harp solo, and four-part consort.

    In four volumes, music sheets are in loose leaf folders.