Arranged for Harp-Say Something is an original song by the American duo A Great Big World. The lyrics are about letting go when a relationship ends. It became an international hit when Christina Aguilera joined A Great Big World on a re-recorded version in 2013. Sylvia Woods has made a 4-page advanced beginner to intermediate arrangement playable on either lever or pedal harp. This music features a pedal point (also called a pedal note or pedal tone) which is a sustained or continually repeated note that is held constant while harmonies change in other parts. A pedal point is usually found in the bass but here it is in the middle register. Virtually every measure includes a middle Cnote on the downbeat. Sometimes it is played with the right hand and at other times with the left. But it is almost always there. This pedal point harmony is what originally drew me into this beautiful piece of music the first time I heard it on the radio. The music is in the key of C and no sharping levers are required as there are no lever changes. Fingerings lyrics and chord symbols are included. The harp range required is 24 strings from a low C up to an E. It can be played on 24-string to 26-string harps with a C as the lowest string if you play both hands an octave higher than written.

Before the 1700s Celtic music was kept alive through the long oral tradition of learning and memorizing tunes without the aid of pen and paper. This collection by Star Edwards features pieces found inhistorical collections dating from the late 1700s and 1800s. These fresh vibrant melodies connect us to our ancestors' desire to capture the distinctive qualities of native traditional music. Suitable for advanced beginnersto intermediate level Harp players the Celtic Harp Anthology is a compilation from twenty-one collections that were the proud work of spirited countrymen and women. Within these pages you will find the strainsof music that filled gleaming white-thatched homes with joy and boundless energy. Connect with the heart and soul of a timeless culture and experience the music that eased the hardships of living.  This book isdesigned for use with lever folk Harps (or pedal Harps) that have thirty-three strings or less with G (one and a half octaves below middle C) as their lowest note in the keys of F C G D and A. The tunes are appropriate fornylon or wire-strung Harps and two songs require lever flips.

Sonata for Flute Viola and Harp-The middle work in the three late chamber music sonatas was composed in spring 1915 directly after the Cello sonata (HN 633). The innovative combination of sounds a Wind instrument a Stringed instrument and a Pluckedinstrument greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it saying: ?It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the sametime?? On another occasion he emphasised the similarities with his own compositional style of the 1890s remarking of the sonata: ?It reminds me of a very old Claude Debussy the one of the Nocturnes?.

Arranged for Harp-This publication includes two harp arrangements of the theme from the HBO series â??Game of Thrones.â? The first arrangement requires a harp with two octaves below middle C. The second arrangement is for smaller harps with one octave below middle C.

22 classics from the Fab Four arranged especially for folk harp. They are written on a double-treble grand staff and playable on 22-string or larger harps. Beginning with G below middle C all of the songs stay within the three-octave range. Semi-tone levers are not required.

This beautiful emotional prayerful entreaty from Les Misérables has been arranged for lever or pedal harp by Sylvia Woods. It is in the key of G (1 sharp) with several D# lever changes. Fingerings and lyrics are included as well as lever and pedal changes. This 4-page arrangement is for lower intermediate to intermediate players. The range required is 22 strings from the G that is 10 strings below middle C up to the G 11 strings above middle C. The final chord has a higher B but it can be omitted if necessary.

Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Sonatas - Six Pieces of Music for Large Wind Ensemble Percussion Harp and Piano by Poul Ruders (2011). Preface / Programme Note Normally when being confronted with the term ´sonata´ we tend tothink of a substantial composition for piano solo in three movements predominantly by Mozart or Beethoven. The word however derives from the Italian ´sonare´ meaning ´to play´. In the 16th. Century acomposition entitled ´sonata´ merely indicated a piece of music forinstruments as opposed to the ´cantata´ - a piece involving voices. The Italian cantare simply means´to sing´. The present suite SONATAS is a composition subtitled ´six pieces of music for large wind ensemble percussion piano and harp´. It opens with a REVEILLE a short ´wake-up call´ a fanfare opening the gate into what follows. The second movement is called PASTORALE and certainly is that a peaceful unfolding of gentlechords and sounds of a bucolic nature. Nothing dramatic happens whereas in the third movement SCHERZO the wood winds chaseeach other in a wild relay run. Then all of a sudden the mood changes and we are plunged rightinto the middle of the darkest night. In the NOCTURNE unnervingly subtitled sinistro the low rumbling chords in the trombones and prickly outburst in oboes and horns form the sinister back drop to this wordless Grand Guignol. Which merges seamlessly into PANORAMA an unfolding festive almost pageant like ´sound-scape´of dancing rhytms and jubilant scales. Slowly however the tempodrops and the former boisterous body of sound is being slowly and mercilessly ´skeletonized´ - and at the end there is nothing left. RETRAITE - 'the last post'. The day is over the sun sets. Parts are for hire: hire@ewh.dk. Orchestration: 4444/6441/timp.3perc/hp.pf

Trilogie Sacrée. Par BERLIOZ HECTOR. The history of the composition of the oratorio is odd: the kernel of this three-part work were the movements from the middle section, the “Flight to Egypt, ” which Berlioz composed on a whim in 1850 and which he passed off as the work of a baroque composer whose existence he himself had invented. In 1854 the triptych, which was completed with the parts entitled “The dream of Herodes” and “The arrival at Sais, ” had its celebrated first performance. Starting from the Gospel of St. Matthew, with the visit of the astrologer to Herodes and the flight of the Holy Family to Egypt, Berlioz chose to relate the story of the events of Christmas from another angle, other than as it is almostalways depicted, after the Gospel of Luke. This skillful dramatisation, with impressive instrumental sections, such as the independent trio for two flutes and harp as well as the effective choruses with local color, make this “sacred trilogy” a genuine alternative for performance at Christmas time. The score, published in 1855, contained a second singing text in German which had been translated from the French by Peter Cornelius. The critical edition by Carus presents a new translation by Klaus Kreuser which, as opposed to the text by Cornelius, adheres more closely to the French original and avoids becoming an embellished idyll. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière

Trilogie Sacrée. Par BERLIOZ HECTOR. The history of the composition of the oratorio is odd: the kernel of this three-part work were the movements from the middle section, the “Flight to Egypt, ” which Berlioz composed on a whim in 1850 and which he passed off as the work of a baroque composer whose existence he himself had invented. In 1854 the triptych, which was completed with the parts entitled “The dream of Herodes” and “The arrival at Sais, ” had its celebrated first performance. Starting from the Gospel of St. Matthew, with the visit of the astrologer to Herodes and the flight of the Holy Family to Egypt, Berlioz chose to relate the story of the events of Christmas from another angle, other than as it is almostalways depicted, after the Gospel of Luke. This skillful dramatisation, with impressive instrumental sections, such as the independent trio for two flutes and harp as well as the effective choruses with local color, make this “sacred trilogy” a genuine alternative for performance at Christmas time. The score, published in 1855, contained a second singing text in German which had been translated from the French by Peter Cornelius. The critical edition by Carus presents a new translation by Klaus Kreuser which, as opposed to the text by Cornelius, adheres more closely to the French original and avoids becoming an embellished idyll. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière

Trilogie Sacrée. Par BERLIOZ HECTOR. The history of the composition of the oratorio is odd: the kernel of this three-part work were the movements from the middle section, the “Flight to Egypt, ” which Berlioz composed on a whim in 1850 and which he passed off as the work of a baroque composer whose existence he himself had invented. In 1854 the triptych, which was completed with the parts entitled “The dream of Herodes” and “The arrival at Sais, ” had its celebrated first performance. Starting from the Gospel of St. Matthew, with the visit of the astrologer to Herodes and the flight of the Holy Family to Egypt, Berlioz chose to relate the story of the events of Christmas from another angle, other than as it is almostalways depicted, after the Gospel of Luke. This skillful dramatisation, with impressive instrumental sections, such as the independent trio for two flutes and harp as well as the effective choruses with local color, make this “sacred trilogy” a genuine alternative for performance at Christmas time. The score, published in 1855, contained a second singing text in German which had been translated from the French by Peter Cornelius. The critical edition by Carus presents a new translation by Klaus Kreuser which, as opposed to the text by Cornelius, adheres more closely to the French original and avoids becoming an embellished idyll. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière