Woodwinds (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-30

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; Folder. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Set of parts. 116 pages. Duration 52'. Breitkopf and Haertel #OB 5562-30. Published by Breitkopf and Haertel (BR.OB-5562-30).

ISBN 9790004342329. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Viola (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-19

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-19. Published by Breitkopf and Haertel (BR.OB-5562-19).

ISBN 9790004342305. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Basso (cello/double bass) (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-26

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-26. Published by Breitkopf and Haertel (BR.OB-5562-26).

ISBN 9790004342312. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Chorus (with soloists) and piano (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.EB-8654

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; Softbound. Edition Breitkopf. The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. Mass; Classical. Piano/Vocal Score. 116 pages. Duration 52'. Breitkopf and Haertel #EB 8654. Published by Breitkopf and Haertel (BR.EB-8654).

ISBN 9790004184882. 7.5 x 10.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Organ (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-11

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by C. M. and Kemme Grunert. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 32 pages. Duration 52'. Breitkopf and Haertel #OB 5562-11. Published by Breitkopf and Haertel (BR.OB-5562-11).

ISBN 9790004343548. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Continuo (figured) (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-12

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 24 pages. Duration 52'. Breitkopf and Haertel #OB 5562-12. Published by Breitkopf and Haertel (BR.OB-5562-12).

ISBN 9790004344460. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.BV-374

Bach-Festschrift Klaus Hofmann. Composed by Ulrich Bartels and Uwe (Hrsg.) Wolf. Edited by U. Wolf and Ulrich Bartels. Softbound. Buchverlag Breitkopf & Hartel (Music Books). Besetzung, Bearbeitung und Auffuehrungspraxis bei Johann Sebastian Bach - Klaus Hofmann zum 65. Geburtstag. Baroque period. Book. 200 pages. Breitkopf and Haertel #BV 374. Published by Breitkopf and Haertel (BR.BV-374).

ISBN 9783765103742. 6.5 x 9.5 inches.

Besetzung, Bearbeitung und Auffuehrungspraxis bei Johann Sebastian Bach - Klaus Hofmann zum 65. Geburtstag Die vorliegende Ausgabe stutzt sich auf die bei Breitkopf & Hartel erschienene Gesamtausgabe Johannes Brahms Samtliche Werke der Gesellschaft der Musikfreunde Wien.

,,Wieder ist das Neuerscheinen der Studienpartitur einer Brahms-Sinfonie zu melden diesmal der Nr. 2 in D-Dur op. 73. Und wieder muss der klare Druck und die geschickte Seitenaufteilung geruhmt werden. (Das Liebhaberorchester)

The present edition is based on the complete edition Johannes Brahms - Collected Works of the Gesellschaft der Musikfreunde in Vienna which was published by Breitkopf & Hartel. The Urtext edition presented here is based on the Brahms Complete Edition of the 'Gesellschaft der Musikfreunde' in Vienna published by Breitkopf & Hartel. Die vorliegende Ausgabe stutzt sich auf die bei Breitkopf & Hartel erschienene Gesamtausgabe Johannes Brahms - Samtliche Werke der Gesellschaft der Musikfreunde Wien. The present edition is based on the Complete Edition Johannes Brahms - Samtliche Werke of the Gesellschaft der Musikfreunde in Vienna which was published by Breitkopf & Hartel. proficiency.

NE W! Free MP3 files of all pieces. Piano duets, get ready! Here comes Michael Proksch's A Spaniard for Elise, a collection of twelve exquisite pieces that are an irresistible treat for lovers of four-hand playing. The Spaniard offers something for every level of proficiency. You'll feel blissful In Seventh Heaven and full of joie de vivre on Paris's Pont-Neuf in Seine Scene. You can join Erik Satie, Surprised by the Fresh Country Air and engage in a temperamental dialogue of styles in A Spaniard for Elise. Enhancing the pedagogical value of this singular collection are comments on how to play the pieces, as well as a CD which can not only be listened to and enjoyed, but also used as a play-along version, as it carries individual tracks for the primo and secondo parts

To music and notes sample No. 5 High Spirits
Primo : Staccati with a dynamic, forward drive produced with a nimbly reacting wrist and calm arm. Strongly accentuate the first note at legato slurs. The appoggiaturas can be initially left out. mm. 1-8: Right hand plays alone; mm. 9-16 divided between l.h. and r.h.
Secondo: four-measure-long accompaniment pattern (can also be used as a basis for original melodies!). The fourth beats are stressed through slurred eighths.

Cover design by Doris Jausly, illustrations by Dorothea Lindenberg

Soloists, Mixed choir (SATB), Orchestra (Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed choir (SATB), Orchestra)

SKU: BA.BA11310-90

Composed by Wolfgang Amadeus Mozart. Edited by Michael Ostrzyga. This edition: urtext edition. Paperback. New Completion. Vocal Score. Baerenreiter Verlag #BA11310_90. Published by Baerenreiter Verlag (BA.BA11310-90).

ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin.

This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.

When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.

At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.

â?¢ Scholarly-critical edition of the â??Requiemâ? fragment
â?¢ With performance material for presentation of
1) the fragment,
2) a version with completions of the authentic Mozart sections or
3) a full completion consistent with Mozartâ??s musical idiom
â?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozart
â?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment
â?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ?
â ?¢ Easy-to-play piano reduction
â?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critique
� Detailed Critical Commentary (Eng), partly available on the Bärenreiter website
â?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)

You will find a detailed brochure on the new completion of Mozart's Requiem here.

Folk Harp; Harp

SKU: HL.131541

Arranged for Harp. By A. Great Big World. Arranged by Sylvia Woods. Harp. Pop. Softcover. 4 pages. Published by Hal Leonard (HL.131541).

ISBN 9780936661667. UPC: 888680025564. 8.5x11.0x0.031 inches.

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 C note 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.