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 book contains 50 one-page harp solos, ordered progressively from easiest to most difficult. The actual difficulty range is approximately easy to intermediate. You can use these pieces as melodic studies, as teaching/learning pieces, at gigs, etc.

There are several sample pages for you to view. The audio sample is an excerpt from "Meditation."

Many of the pieces contain some fingerings and brackets. None of the pieces include chord symbols. There are no lever changes within any of the pieces. You will need levers on C, F and B strings. The solos are in C, F, G and D, along with related minor keys.

My website: https://www.blevinsmusic.com

My YouTube Channel: https://www.youtube.com/channel/UCuTv5LTRQW-uI_pIxg94IkQ?

ISBN 9781619114586. This book for the Celtic harp encompasses diverse songs and tunes from the British Isles, commonly described as Celtic Music. This type of music is often associated with the English publisher John Playford. In the 17th century, he published The English Dancing Master, which contains traditional music as well as tunes of his day (up to the Renaissance).Author Monika Mandelartz, a specialist in historical performance practice, follows Playford's tradition by arranging parts of the collection for Celtic harp. Thereby, Mandelartz points out that her arrangements constitute a snapshot in time. Her work emphasizes the idea that lively music always allows for change and variation - it must in order to survive. The book includes tunes such as The Duke of Lorraine's March, Nonesuch, Black and Grey, Virgin Queen, I Will Give My Love an Apple, The Scots Rant, Duke of Grafton's March, Kettle Drum, Nobody's Jig, Spanish Jig, Sidh Beag Agus Sidh Mor, She Rose and Let Me In, Oranges and Lemons, and The Scotish Gigg.

This book is filled with short exercises and excellent descriptions and drawings. Even though this book assumes the reader is a beginner, it does not cover note-reading. However, it covers the basics of playing the double strung harp (two parallel rows of strings.) Exercises explain the unique sounds this instrument can produce. Focuses on placing, echoing, rolled chords, crossing over and under, scales, wandering thumb, and more.

Tunes are: All Through the Night, Rose Rose, Reflecting Moon, For Ruth, Nonesuch, Chanter?s Tune, Einini, Mairi?s Wedding, Si Beag Si Mor. All of these tunes have variations using methods unique to the double strung harp

Medieval and Renaissance Airs, Songs and Dances. The left hand uses open harmonies and single notes.

Table of Contents:

Medieval

Alle, psallite, Alleluya Anonymous (England, 13th c.)
Cuncti simus Libre Vermell (Spain, 14th c.)
Dansse Real Anonymous (France, 13th c.)
Edi be thu, Heven-Queene Anonymous (England, 13th c.)
Kalenda Maya Raimbaut de Vaqueiras (France, 12th c.)
Non sofre - CSM #159 Cantigas de Santa Maria (Spain, 13th c.)
Ondas do mar de Vigo - Martin Codax (Spain, 13th c.)
Ondas do mar de Vigo - Estampie ? Therese Honey
Salterello ? Anonymouns (Italy, 14th c.)
Santa Maria amar CMS #7 - Cantigas de Santa Maria (Spain, 13th c.)
Santa Maria, strella do dia CMS #100 - Cantigas de Santa Maria (Spain, 13th c.)
Stella splendens ? Libre Vermell (Spain, 14th c.)


Renaissance
Branle de Cheveaux Thoinot Arbeau (France, 1589)
Branle d?Escosse Thoinot Arbeau (France, 1589)
Branle de la Torche Michael Praetorius (Germany, 1612)
Complaint John Dowland (England, 16th c.)
Jhon Come Kisse Me Noue Anon. (Scotland, 17th c.)
Joy to the Personne of My Love Skene Manuscript (Scotland, 17th c.)
Ladie Laiton?s Alman John Dowland (England, 16th c.)
L?espagnoletta Francisque Caroubel (France, 16th c.)
Nonesuch Playford Collection (England, 17th c.)
Mr. Dowland?s Midnight John Dowland (England, 16th c.)
Round Battle Galliard John Dowland (England, 16th c.)