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 Bach standard arranged by Bette Vidrine. Solo with only two well-marked accidentals. Left hand motif of arpeggiated broken chords is repeated throughout.