The French Romantic composer Charles Gounod added a beautiful melody to the Prelude in C by Baroque master Johann Sebastian Bach, to create this beloved and inspiring Ave Maria.

This pedal harp solo arranged by Stephanie Bennett (ASCAP) has been meticulously notated with fingerings, as well as tempo and dynamics markings.

Great for any classical-music setting, & for any Christian occasion (weddings, funerals, christenings, Christmas, etc.)

If you print it out on paper, remember that the ODD numbered pages go on your LEFT and the EVEN numbered pages go on your right. Laid out this way, there will be only one easy page turn (from page 3 to page 4).

If you take the repeat, it?s about 4 minutes long. If you skip the repeat (go directly to 2nd ending), it?s about 2 minutes & 15 seconds.

Gentle and flowing, you'll find a lyric right hand melody supported by lush chords. Truly inspired, these compositions can be used for any type of situation: for yourself, for healing music, for background music, for recitals. The music is not difficult, but the left hand does require some crossing over and under. True to the Italian flavor, some of the melodies incorporate triplet and mordent ornamentation. There are a few lever changes, some fingerings are included. All music is written in keys of either C or G. The final tune, All the Colors of Rome, a 5-minute plus performance piece, is gorgeous.

Titles: Bellagio Blue, Warm Sienna, Sicilian Scarlet, Tuscan Gold, Venetian Red, Naples Yellow, Vatican Violet, All the Colors of Rome.

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.

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.

Your audience?s memory of this Eighties rock anthem by Journey will be playing along in their head?from the original album, a live performance, The Sopranos, Glee, karaoke, or all of the above. But they?ve never heard it before on a harp.

This arrangement makes good use of the double-strung by using both sides for repeated notes and letting the accompaniment hand overlap the melody. The result is beautiful but still ballsy.

Range and key: F major (one flat). 23x2 strings. C below middle C through D.
Lever changes: None.

Good for: Weddings, parties, performance, therapeutic settings.

Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Finger placements are suggested for playing echoed notes with alternating hands to work around or emphasize ringing strings. Since the alternate-hand echoing is not required, it?s a great piece to learn this technique on.

Characteristics: Arpeggios and a syncopated melody. The RH never places more than an octave spread; the LH places 1-9 twice. There are a few four-note chords (LH 1-3-5-8); the rest of the chords are three notes, usually not inversions. The RH has almost no chords. There are two bars of sixteenth notes that can easily be substituted for eighths. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has only two cross-overs.

Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with ?R? or ?R#? when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with ?L? or ?L#? when they occur in the top staff). To see what I mean, view the PDF of finger placement examples in ?Don?t Stop Believin?: www.EnjoyTheHarp.com/s/dont-stop-believin-notes-enjoy-the-harp.pdf

Notation: Chord symbols and lyrics are provided. Treble clef in both staves. To avoid switching between bass clef and treble in the accompaniment, 8vb lines are used for the low Cs, Ds, and Es (which means that you play an octave below what?s written). Low Fs use 8vb sometimes, so if you see a lot of low ledger lines, don?t worry: it?s that F below middle C. Instead of counting the lines, you can look at the chord symbols to confirm.

Length: 6 pages. 106 measures. 4:00?5:00 minutes, depending on tempo.

Page turns: If you are printing, double-side pages 2-3 and 4-5 to minimize page turns. Line breaks have been made with printed or single-page-tablet turns in mind; you can pick up some accompaniment notes in the RH to turn with the LH.

Analysis and performance notes at www.EnjoyTheHarp.com/dont-stop-believin

This is an arrangement of the iconic theme from Gustav Holst's Jupiter from "The Planets" for harp solo. This piece contains no lever or pedal changes and can be played on any harp with 36 strings and above. The performance time is approximately two minutes. This piece is perfect to play on several joyous occasions, including weddings.