The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone.
Fazil Say\'s arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work\'s improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra.

It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart\'s interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.

The very popular piece was now arranged for harp by Ekaterina Afanasieva.

ISBN 9781619118331.

Folk Harp for the Young Beginner is designed for beginning harpists with no prior musical experience. The book presents two new methods for reading notation built around recognizing common musical patterns over traditional single note reading. Each group of songs has fun, engaging exercises that will build the studentas coordination and confidence. The material draws from timeless melodies from classical, Renaissance, Celtic, English, old-time and traditional folk repertoire.Topics covered in this method include: aC/ How to tune the harp aC/ Reading music notation and counting rhythm, including two methods for reading ledger lines aC/ Recognizing basic fingering and bass patterns aC/ Changing keys with sharping levers aC/ Using brackets to help see note patterns aC/ Chord inversions Additional resources include rhythm practice and workout pages to test your musical knowledge. Helpful reference photos can also be found inside. Includes access to online audio.

Folk dance and music are a large part of everyday life in parts of Scandinavia. This is a collection of seventeen Nordic songs, ballads and dance melodies,arranged with as few lever changes as possible. Scandinavian music reflects a rich tradition dating back to Viking times, with ballads, songs, song-dances, couple-dances, and set-dances.
Table of Contents:
The Willow Flute Song, Dance from Nes, Riðum, Riðum (Riding, Riding), Tantoli, Polska from Säfnäs, Young Åslaug, Schottis, Dance from Asker, Äppelbo Walking Tune (includes flute part), The Woodlands Wanderer, Josefin's Waltz, Frisell's Walking Tune, Springpols, Springleik, Reinlendar from Dovre, Nidelven, and Trollmother's Lullaby.

Arirang - pedal harp solo
On an old traditional melody from Korea.
Arranged by Regina Ederveen - harpist in The Netherlands
Also playable on piano.
Level: advanced intermediate.
Duration: 3'24''
There's also a version for folk harp (no lever changes!) by Regina Ederveen, on this website.
For information contact via www.reginaederveen.nl

This is a study of ear training through melodic development. Small melodic fragments from familiar nursery rhymes, folk, patriotic and hymns tunes are used. The numbers 1 through 7 are used instead of using ?Do, Re, Mi?? to identify the notes in the scale. Melodies are categorized by range, beginning with a range of only three notes, progressing through a total of nine categories. Skills in ear training are highly useful to musicians who might be asked to take requests at hotels, parties and restaurants, or those involved in harp therapy. With the melodic fragments that are the focus of study, performance by ear can be highly strengthened and developed.
Table of Contents:
All Through the Night, Amazing Grace, America, Angels from the Realms of Glory, Angels We Have Heard on High, Au Clare de la Lune, Away in a Manger, Be Thou My Vision, Billy Boy, Cindy, Clementine, Day is Done (Taps), Down in the Valley, Drink to Me Only with Thine Eyes, For He's a Jolly Good Fellow, Frere Jacques, Go Tell Aunt Rhody, Go Tell It On the Mountain, Goin' Home, Good King Wenceslas, He's Got the Whole World in His Hands, Here We Come A'Wassailing, Home on the Range, Home Sweet Home, Hot Cross Buns, I'm a Little Teapot, Jingle Bells, Joy to the World, Kumbayah, Lightly Row, London Bridge, Lonesome Valley, Mary Had a Little Lamb, Michael Row the Boat Ashore, Morning Has Broken, My Bonnie Lies Over the Ocean, Ode to Joy, Oh Susanna, Oh How Lovely is the Evening, Old Folks at Home, Old Hundredth, On Top of Old Smokey, Over the River and Through the Woods, Row Row Row Your Boat, Shenandoah, Silent Night, Skip to my Lou, Swing Low Sweet Chariot, The Farmer in the Dell, The First Nowell, The Harp that Once Thro' Tara's Halls, The Star Spangled Banner, This Old Man, Three Blind Mice, Twinkle Twinkle Little Star, We Wish You Merry Christmas, When the Saints Go Marching In.

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.

A revised collection of Jewish melodies from around the Mediterranean and Celtic music from the British Isles, woven together to celebrate the unique role harp has played in folklore and music from both traditions. Intermediate level, harmonics, well-marked accidentals, guitar chords, keys of C, Bb, G, F, and D. The accompaniment is very "harpistic" in nature with nice arpeggiated chords and flowing lines.

Table of Contents: Adio Querida, Árvoles Lloran, Carolan's Draught, Carolan's Farewell, Eleanor Plunkett, Garfalia, Jerusalem, La Rosa Enflorece, The banks of the Suir, Scarborough Fair, Ya Ribon (two versions), Yo m'enamori d'un aire.

?Anthology? is a collection of fifty themes and melodies in a smart format developed by Ray Pool. It is in ?enhanced lead sheet? format that includes fully fingered melody lines, and in-depth liner notes, unlike traditional fake books. Conveniently indexed according to topic (folk, Celtic, children, hymns, spirituals, plainsong, Jewish, Christmas, opera, and classical), alphabet, and level so that no matter what, the harpist may always find his/her music. It includes four pages of basic chord progressions, and helpful performance notes. Perfect for the harpist of any type or level!
Includes: Air (?Water Music?), All Through the Night, Amazing Grace, Angels We Have Heard on High, Aura Lee, Away in a Manger, Barcarolle, Blest Be the Tie That Binds, Candle Blessing, Chanuka Chag Ya?fe, Cockles and Mussels, Creator of the Stars of Night, Down By the Salley Gardens, Eine Kleine Nacht Musik, Erev Shel Shoshanim, Fairest Lord Jesus, Hinnei Mah Tov, Humbly I Adore Thee, I Gave My Love a Cherry, I Know Where I?m Goin?, I?m a Little Teapot, Intermezzo, Jacob?s Ladder, Kum Ba Yah, Let All Mortal Flesh Keep Silence, Let Us Break Bread Together, Loch Lomond, London Bridge, Lord, I Want To Be a Christian, Lullaby (Brahms), Morning, Musetta?s Song, O! mio babbino caro, Old Hundredth, Polovetzian Dance #1, Rondo in C (Clementi), Shalom Chaverim, Sheep May Safely Graze, Shenandoah, Silent Night, Sonata in C (Haydn), Swing Low, Sweet Chariot, The Farmer in the Dell, The Harp That Once, The King of Love, This Old Man, To a Wild Rose, Traumerei, Un bel di vedremo.

A tremendous welcome to the repertoire available to modern harpists. The double-strung harp, consisting of two parallel rows of strings, has gained popularity over the past several years, probably since the 1996 International Folk Harp Conference chaired by Laurie Riley. Included are valuable instructions on double-strung harp history, harp techniques possible on a double strung harp, doubling melodies, dividing melodies in half, overlapping chords, setting levers for accidentals, getting your hands working, repeated notes, left hand exercises, two-handed exercises, getting used to looking at the strings, and the actual arrangements themselves.

Contains:
The Rooftops of Langley, Mazurka Michel, Scarborough Fair, Dinny Delaneys, Whelan's Jig, Are You Sleeping Maggie, Slides, La Noche Pasa, Refraction, Greyhound, The Reel of Mullinavat, Fantasy on Leyenda, Noel Nouvelet, Masters in this Hall, and Carol of the Bells.

ISBN 9781619118676.

This collection of melodies for quiet times draws mostly on the rich repertoire of the Celtic folk tradition. The song Tender Shepherd is not included in this book.

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

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

Beautiful, timeless melodies transcribed from Sunita Staneslow's recording of the same title. These flowing arrangements lay nicely under the fingers, well edited with some fingerings marked.
Titles: Wild Mountain Thyme, She Moved Through the Fair, Cape Clear, Down by the Salley Gardens, Skye Boat Song,
My Love is Like a Red, Red, Rose, Highland Boat Song, Jock O?Hazeldean, Bridget Cruise, Third and Fourth Airs, The Water is Wide.