By Peter Ilyich Tchaikovsky (1840-1893). For harp. Romantic. Advanced professional. Duration 4 minutes 30 seconds. Published by Fatrock Ink Music Publishers

By Foundation, Melody From The Sacred Harp, 1844. Arranged by Emma Lou Diemer. Music from Duke Chapel. Sacred. Level: Medium Adult. 22 pages. Published by Hinshaw Music Inc.

Chamber Music harp

SKU: PO.PE017

Composed by Gareth Farr. Sws. Performance Score. Promethean Editions #PE017. Published by Promethean Editions (PO.PE017).

ISBN 9781877218170.

Commissioned by Carolyn Mills, principal harpist of the New Zealand Symphony Orchestra, this mysterious solo work dwells somewhere between consonance and dissonance, evoking the otherworldly quality of the ancient. The work's spacious, senza misura opening gradually reveals its scalar material, coloured with harmonics, before eventually settling into an undulating odd-metered pattern. Musical elements never remain static, with incremental harmonic changes taking place alongside gentle tempo fluctuations.

By Charles Wuorinen. For tenor & harp. This edition: Photoprint Edition. Photoprint editions are made to order. Printed on high quality paper and cover stock, they are made on a Canon digital printer from clean digital masters. Most of the photoprint editions are saddle stitched, but larger books have wire spiral binding. Duration 3'30. Published by C.F. Peters.

(Harp Solo). By Claude Debussy (1862-1918). Edited by H. Renie. Editions Durand. 8 pages. Editions Durand #DD0711000. Published by Editions Durand

Chamber Music harp

SKU: PR.110406720

Composed by Samuel Adler. Classical. Softcover. With Standard notation. Duration 14 minutes. Theodore Presser Company #110-40672. Published by Theodore Presser Company (PR.110406720).

UPC: 680160001316.

I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler.

from Angela's Ashes for Solo Harp. By John Williams. John Williams Signature String. Size 9x12 inches.

For Pedal and Lever Harpists. Berklee Guide. Instruction, Technique. Softcover Media Online. Duration 7200 seconds. Published by Berklee Press

Composed by Michele Albano Pietro Mascagni. Edited by Emanuela Degli Esposti and Sara Simari. Saddle stitching. Classical. Ut Orpheus #HS 257. Published by Ut Orpheus

Composed by Johann Sebastian Bach. Arranged by Anna Pasetti. Magadis. Classical. Ut Orpheus #MAG 278. Published by Ut Orpheus

Edited by James R. Briscoe. Music from the Paris Conservatoire. Score. Published by A-R Editions (A2.S024).