How to Add Finger Markings to Non-Fingered Harp Music-?Sylvia Woods has done it again! Harp Fingering Fundamentals is a must for every teacher and student. It clearly and concisely shows how to approach harp fingerings in her accessible and charming style. It will be a staple in my studio and should be in your collection too.? ? Felice Pomeranz Professor of Harp Berklee College of Music Boston MA ?Chock-full of common-sense suggestions on fingering from the simplest to the trickiest passages. A real boon for do-it-yourself Harp players and good ideas even for experienced players on how to make the unplayable playable.?? Joyce Rice Harp instructor

The composer writes: 'This volume constitutes new works written for pedal harp alongside some pieces reworked from my earlier volume of the same name for lever harp which lended themselves equally well to the pedal environment. As with the the former works these aim to exploit the idiosyncrasies of the instrument while opening up new technical challenges to the player within a stylistically familiar environment. Nocturne 2 for example explores rolled chords and balance of melody over an active accompaniment whilst Sunny Sunday plays with irregular time signatures and shifting accents and Tara???s Dream Waltz challenges your pedaling and explores more exotic sonorities. Ihope you enjoy them as much as I enjoyed writing them !'

Two solos in jazz idiom for pedal or non-pedal harp-Two solos in the jazz idiom for Pedal or Non-Pedal Harp by Stewart Green. Stewart Green began writing music for the Piano at an early age. Taking up the Viola and Oboe in his teens he later went to the University College of North Wales (Bangor) where he studied composition with among others William Matthias and Reginald Smith Brindle. Gaining a B. Mus. (hons) degree in 1960 he returned to his old school in Richester to teach class and instrumental music. Four years later he enlisted as oboist to the Band of HM Coldstream Guards which opened many doors including performances of his compositions and arrangements in many National venues on discand broadcast by the BBC on Radios 2 & 3. His years at Bangor had enabled him to fulfil a childhood dream of learning the Harp which he was later able to develop when he left the army and moved with his wife Sue and young family to Lowestoft as a peripatetic woodwind tutor for Suffolk County Music Service. His Flights Of Fancy and Blistering Along! appear on ABRSM and Trinity College Harp examination syllabuses while the Spartan Press publication Saxofun is on Suffolk's own exam syllabus. Since 1999 Stewart has been senior Woodwind Tutor for Suffolk and since 2002 Harp tutor as well! Stewart's recent publication She'll Be Comin' Round The Mountain was written for the North Suffolk String Orchestra as was Haunted House. Spookily this received its first performance at Lowestoft accompanied by a July Thunderstorm!

très faciles pour la harpe-French born harpist and composer Marcel Grandjany (1891-1975) studied at the Paris Conservatoire before spending much of his working life in America. His Trois petites Pièces were composed in Grandjany's early career and are simple and enjoyable works suitable for beginner harpists. Grandjany was a teacher of Harp at the Julliard School for 37 years whilst also composing and transcribing many works for the instrument. Made up of three movements Trois petites Pièces begins with a delicate Rêverie (daydream). The second piece a Nocturne contains variations in tempo time signatureand dynamics. The Barcarolle third movement is the most challenging of the three pieces accommodating the key of G? major 6/8 time signature and semiquaver flourishes. All these combined aspects of Trois petites Pièces by Grandjany make for a thrilling performance for beginner harpists.

This wonderful book contains a variety of songs and dances originally written in the the twelfth through to the sixteenth centuries which have been arranged for the harp. The majority of the pieces have been drawn from the medieval period and often existed in their original form as melody line only. All of the pieces in this book are playable on the folk harp. A few do have accidentals which require level changes. An excellent collection of pieces for the harpers of today to enjoy the music of another time.