This excellent book by Beth Kolle will add some interesting "northern land" tunes to your repertoire! This 117-page book contains music from Ireland, Scotland, Sweden, Norway, Cape Breton, France, Manx, and Finland, 25 tunes in all. Each piece has an introductory page of background information. The following tunes have flute parts in addition to the harp part: Carrickfurgus, Innisheer, Brae Lochiel, Schottis 1, and The Shepherd's Daughter. The following tunes have a Harp 2 duo part: Innisheer, Reinlendar 1, and Mazurka Michel. Chords are included and measure numbers are marked at the beginning of each system.
Table of Contents:
The Bold Princess Royal, Carrickfergus, Fair-Haired Child, Inis Siar, Kitty Magennis, Morgan Meaghan, The Raven, Brae Lochiel, Harris Air, JB Reel, Long-Dance, Polska, Schottis I, Slangpolska, Huldrevals, Reinlander I, Sirivisa, Brenda Stubbert's Reel, John McColl's Favorite, Lily's Waltz, Reinlandar II, Mazurka Michel, The Shepherd's Daughter, Ti-ti-ti.

An original composition
In dorian mode. Very much in folk song style
Inspired by animal welfare
Lovely arrangement. Quite easy.
Has impovised section in middle
The original lyrics are:

The Horse of Beckmann?s Mill



Pray, have you seen that chestnut foal o'er there uponthe hill?

The finest foal you've ever seen was born at Beckmann'sMill.

They let her play within her yard, tie ribbons in hermane,

They train her to the grinding stone that crushes up thegrain.

Now many times I've thought about that foal at Beckmann'sMill,

And many times I've wondered how that man can do so ill.

They use you up, they throw you out and turn their backsin scorn.

All because by chance it came to be the place where youwere born.





Pray, have you seen that chestnut filly o'er there besidethe hill?

The finest filly you're ever seen was worked at Beckmann'sMill.

They drive her from the morning sun until it's very late,

They thrash her hard to pull the wheel that's bonded toher fate.

Now many times I've passed her by and oft I've turned myface.

Yet many times I've wondered what if I were in her place.

They take advantage of the young and those without avoice.

And it seems to me that nowhere did she really have achoice.





Pray, have you seen that chestnut mare o'er there underthe hill?

The finest mare you've ever seen has died at Beckmann'sMill.

One day she fell upon her kness, the man he brought hisknife.

The tread mill won the battle, and the miller took herlife.

Now many times I've thought about the mare at Beckman'sMill,

And many times I've wondered how that man can do so ill.

They use you up, they throw you out and train anotherfoal,

Yet every death they cause will leave a stain upon theirsoul.

The Water Music was composed by George Frideric Handel in 1717 in response to a request from King George I of England for a concert on the River Thames.

King George boarded the royal barge at Whitehall Palace, (accompanied by dukes and duchesses, earls and countesses) and floated leisurely up the Thames, followed by another barge carrying the orchestra of 50 musicians, who performed as they floated down the river. The king was so pleased by Handel?s music that he commanded it to be repeated at least 3 times, both on the way to Chelsea and on the return to Whitehall.

The celebratory mood of the ALLA HORNPIPE movement makes it a wonderful wedding recessional! It is also appropriate for any other joyous occasion.

This arrangement for pedal harp solo by Stephanie Bennett (?One of our country?s top harpists? - the Hollywood Reporter) is meticulously notated with fingerings, pedal changes and muffles where needed. All markings are explained in the Performance Notes.

In its traditional AABA form, it is 4 minutes long. It is easy to make it shorter by playing fewer sections, or longer by repeating sections as needed.

Solos and duets from Celtic lands with additional flute or fiddle parts. Some selections are for duets.

Table of Contents:
A Bruxa, (The Sorceress) by Anton Seoane, Glaicia, Spain with flute/fiddle parts; Bianco Fiore, an Italian piece, with flute/fiddle parts; The Earl of Essex Galliard, by J. Dowland; Summer Morn, by B. Kolle; Summer Night by Geirr Lystrup and Aslaug L. Lygre; The Streams of Bunclody, traditional Irish with flute/fiddle parts; When Morning is Breaking, traditional Welsh, with flute/fiddle parts; Have You Been to Carrick?, traditional Irish; Hardiman the Fiddler, traditional Irish slip-jig; Los Bilbilicos (The Nightingales), traditional Sephardic with flute/fiddle parts; Sheba?s Bellybutton, by B. Kolle with flute/fiddle parts; Bonnie at Morn, traditional Northumberland lullaby with flute /fiddle parts; Voyage South, by B. Kolle; The Lass of Aughrim, traditional Irish ballad with separate solo, duet score, and harp one and two; The Humours of Ballyloughlin, traditional Irish; Saguaro by L. Riley & M. MacBean, harp one and two parts.

The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him?.

In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.

Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück?. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".

On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.

By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.

On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.



P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition.

The first version is in the original key of g minor, the second is transposed to ?a minor?, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.

A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts.

I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself.

May be the staccatos suites you best, and you should try it.

The score was written on Finale.

The sound file was produced with samplers from Garritan,

intended as an audio support for the presentation of the score.

A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you enjoy the music.

A collection of Scottish tunes from the nineteenth century and earlier have been carefully selected for their suitability on harp. They lay well under the fingers, are enhanced by the rhythmic and tonal properties of the plucked string and its overtones, and are musically interesting. Airs were chosen for their melodic beauty. Arrangements are traditional in style with ornamented melodies, open chords, and spare harmonies. Tunes are given in two keys, one in all naturals or one sharp, the other in one or two flats. Suggestions for fingering are given, levers or pedals need to be set only at the beginning of each piece, except for the Boat Songs, which require one lever or pedal change. Finally, historical and performance notes on the music are provided, together with a list of sources that are available from U.S. or Scottish distributors.
Table of Contents:
Highland Boat Song and Arran Boat Song (medley), MacDonald Lord of the Isles, Mary Young and Fair, Soldier?s Joy, Garthlands, Niel Gow?s Lament for the Death of His Second Wife, Cradle Song, and St. Mungo?s Welcome to Scott Skinner.

This book contains two pieces of music from late French Romanticism, arranged for lever harp. In all the pieces the timbre resources of the instrument are exploited to the maximum, with the use of harmonics sounds, notes at the soundboard, glissandos etc. Nevertheless, the arrangements are of intermediate difficulty, accessible to non-professional instrumentalists and students.
The collection includes:
Théodore Dubois (1837 ?1924)
Chanson Lesbienne (Song of Lesbo)
Chanson d?Orient (Oriental Song).

Eine Kleine Nachtmusik (Serenade No. 13 for strings in G major) is one of Mozart?s most beloved works. Written in 1787, it was scored for two violins, viola, and cello with optional double bass. The German title means ?a little serenade,? though it is often translated more literally as ?a little night music.?

In this arrangement of the second movement (?Romanza,? meaning ?Romance?), I have omitted two sections that were too chromatic to work well on lever harp. What is left is uniformly gracious, calm and romantic - lovely for concerts, for background music or for wedding processionals.

Meticulously notated with fingerings and muffles. Lever changes are indicated by diamond-shaped notes.

There are 3 pages of music, plus a page explaining all the notations.

For an easier version, you could play just the first section (the first page of music), in which there are NO lever changes. For advanced lever harpers wishing to play the entire arrangement, there are 21 lever changes (not counting the repeats). Full levers needed (there are Bb?s, F#s, C#?s and D#?s.)

Range of harp needed: at least down to the G at the bottom of the bass clef.

On Christmas night all Christians sing to hear the news the angels bring.
On Christmas night all Christians sing to hear the news the angels bring.
News of great joy, news of great mirth,
News of our merciful King's birth!

This joyous Christmas song was first published by Luke Wadding, an Irish bishop, in a 17th century collection called Small Garland of Godly and Pious Songs. It became known as ?Sussex Carol? in the early 20th century upon being collected by British composer Ralph Vaughan Williams, who heard it being sung by a folk singer in Sussex, England. He later included it in his choral settings, Eight Traditional English Carols and Fantasia on Christmas Carols.

This lever harp arrangement is in the key of G (with a short section in D mixolydian for variety, from measures 56 to 65). There are no lever changes. It is suited for harps with at least 34 strings.

The right hand has the melody most of the time, with the left hand accompanying; but the left hand gets to take center stage from measures 33 through 47; again from measures 86 through 89; and again at the end, from measures 100 through 106.

This arrangement is great for all Christmas events, from church services to concerts to parties.
The YouTube video shows the pedal harp arrangement, which is exactly the same as the lever harp arrangement except that it is in the key of G flat instead of G; and it has ONE extra very low note at the very end.

For more harp arrangements by Stephanie Bennett, please subscribe to HarpworldMusicCo on Youtube, and visit www.harpworld.com/sheetmusic.html.
I hope you enjoy sharing this cheerful song with your listeners, during many happy holidays! - Stephanie Bennett

Item Number: S0.940053

On Christmas night all Christians sing to hear the news the angels bring.
On Christmas night all Christians sing to hear the news the angels bring.
News of great joy, news of great mirth,
News of our merciful King's birth!

This joyous Christmas song was first published by Luke Wadding, an Irish bishop, in a 17th century collection called Small Garland of Godly and Pious Songs. It became known as ?Sussex Carol? in the early 20th century upon being collected by British composer Ralph Vaughan Williams, who heard it being sung by a folk singer in Sussex, England. He later included it in his choral settings, Eight Traditional English Carols and Fantasia on Christmas Carols.

This pedal harp arrangement is in the key of G flat (with a short section in D flat mixolydian for variety, from measures 56 to 65). There are no pedal changes.

The right hand has the melody most of the time, with the left hand accompanying; but the left hand gets to take center stage from measures 33 through 47; again from measures 86 through 89; and again at the end, from measures 100 through 106.

I?ve also made a lever harp arrangement of this song, which is similar except that it?s in the key of G. If you ever wanted to play this arrangement in G instead of G flat, you could do so just by setting the pedals to the key of G at the beginning (and ignoring the key signature).

Perfect for all Christmas events: from church services, to concerts, to parties.

For more harp arrangements by Stephanie Bennett, subscribe to HarpworldMusicCo on YouTube, and visit www.harpworld.com/sheetmusic.html.

I hope you enjoy sharing this cheerful song with your listeners, during many happy holidays! ? Stephanie Bennett

Cool, unique, FUN! If you or your students are tired of the "same old", this book is for you! Eight original pieces in varying styles: waltz, jazz, variation, Irish, contemporary, and more. Appropriate for both C and Eb tunings. A special effects guide can be found at the beginning of the book. Some of the songs are very simple, some are intermediate and some are upper intermediate. Many use the full range of the harp. All are excellent teaching material, and the upper intermediate selections can be used as background music or in recitals.

Table of Contents:
Dos Gatos, 18 Seconds, The Bugle Blues, Funky Fred, Old Farm Road, Goin' Fer a Lope, Emerald Dream, Rainy Day Waltz.

A lyrical and beautiful pedal harp solo, advanced-intermediate level. As heard on Stephanie Bennett's CD "Stories Seldom Told", available on iTunes, CDBaby.com and harpworld.com. The style moves from a peaceful folk-music feel to flowing impressionism and back again The composer says "I composed this piece one afternoon while watching my beloved cat sleeping. At the end of the recording, I had the engineer add the sound of a cat purring; so I recommend that for full effect, you purr at the conclusion of the piece. Or ask your audience to purr, as I usually do." Fingerings are included, and notations are explained in footnotes at the bottom of each page. If you print it out on paper, make sure the ODD numbered pages are on the RIGHT and the EVEN numbered pages are on the LEFT, which makes the page-turns doable (you turn the page after the right, ODD numbered pages).

Old Songs is a small lovely piece from Pièces de Genre op.10 by Jules Massenet
this edition for lever harp include two different arrangements

The score is taken from the book Four Romantic French Songs (Quatre Chansons Romantiques) arranged for lever harp
​This book contains four pieces of music from late French Romanticism, arranged for lever harp. In all the pieces the timbre resources of the instrument are exploited to the maximum, with the use of harmonics sounds, notes at the soundboard, glissandos etc. Nevertheless, the arrangements are of intermediate difficulty, accessible to non-professional instrumentalists and students.

A Medley of Popular Sea Shantys for solo harp
Only one lever change at the beginning which could be ignored if you like.
Featuring Drop of Nelson's Blood (Roll the Old Chariot Along), Drunken Sailor, High Barbaree and Leave Her Johnny, Leave Her
Easy arrangement.
Has A Drop of Nelson's Blood recurring throughout.
I have used the Port Isaac's Fisherman's Friends version of this shanty.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.