Composed by Monika Mandelartz. For harp. Saddle-stitched. Intermediate-Advanced. Book. 24 pages. Published by Mel Bay Publications, Inc

Composed by Monika Mandelartz. For Folk Harp and Pedal Harp. Saddle-stitched. Intermediate-Advanced. Book. 28 pages. Published by Mel Bay Publications, Inc

Composed by Susan Raimond. Book and Online Audio. Published by Mel Bay Publications, Inc (MB.96704M).

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.

(Arranged for Harp). By John Legend. Arranged by Sylvia Woods. For Harp. Harp. Softcover. Published by Hal Leonard

Chamber Music harp

SKU: CF.H84

Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84).

ISBN 9781491165539. UPC: 680160924530.

Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.

(Reading, Improvisation, and Arranging for Pedal and Lever Harpists). For Harp. Berklee Guide. Softcover Audio Online. Published by Berklee Press

Arranged for Harp. Composed by Sting. Arranged by Sylvia Woods. Harp. Softcover. 8 pages. Published by Hal Leonard

Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical,Folk,Feat ured Products,Method. Young Beginner. Book and Online Audio. 80 pages. Published by Mel Bay Publications, Inc

Harp

SKU: UT.MAG-221

Composed by Martin-Pierre Dalvimare. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Ut Orpheus #MAG 221. Published by Ut Orpheus (UT.MAG-221).

ISBN 9790215318625. 9 x 12 inches.

Martin-Pier re Dalvimare, born in 1770, in Dreux (Eure-et-Loir), from a distinguished family, learnt music as an entertainment art, and was obliged to make it a resource for his existence, after the troubles of the Revolution in 1789. He had acquired a remarkable talent for the harp; when he arrived in Paris he made a very good impression. Then, man of the world, knowledgeable in many fields, which is rare for a musician, he was welcome everywhere, and very soon came in friendly terms with some of the most renowned artists and men of letters of his times. The marriage certificate of the poet Legouve (15 pluviose of the year XI, or February 1803, 12th municipality of Paris), shows that Dalvimare was one of his best men and that at the time he was thirty-two years old. He became harpist of the Opera in the year VIII (1800), and was definitively confirmed in the month of fructidor of the year IX. At the time of the institution of the emperor Napoleon's private music, M. Dalvimare was appointed as his harpist. In September 1807 he obtained the title of harp master of the empress Josephine. A lucky change of his fortune allowed this artist to renounce to practise his talent for living, he resigned from all of his positions on March, 12th, 1812, and he retired in Dreux, where he still was living in 1837. For a peculiar weakness, he does not like to speak about his artist career, which had been entirely honourable, and he would like to forget his success too. His first composition was a symphonie concertant for harp and horn, which he composed with Frederic Duvernoy, and published in the year VII (1798); notwithstanding, he counted as his first opus a collection of romances with accompaniment of piano or harp, which he later published with Pleyel.

In 1809 Dalvimare composed, for the theatre Feydeau, a one-act opera-comique called The Marriage for Imprudence. The music was weak; the work did not succeed, and people used to say that the greatest imprudence had been the one of the authors who had it performed. Nevertheless, the score of this opera was published in Paris by erard. (Francois-Joseph Fetis).

by Leslie McMichael and Laurie Riley. For folk/celtic harp. Celtic/Irish. Level: Intermediate. Book. Solos. Size 8.75x11.75. 76 pages. Published by Mel Bay Pub., Inc.

Harp

SKU: HL.48182311

Composed by Marcel Grandjany. Leduc. Classical. Softcover. 12 pages. Alphonse Leduc #AL23442. Published by Alphonse Leduc (HL.48182311).

UPC: 888680787066. 9.25x12.25x0.055 inches.

Written by Marcel Grandjany on a tune of Haydn, Fantasy is a piece for Harp that includes 5 variations of the main theme. Ideally to be played on pedal Harp, it would fit the skills and abilities of advanced Harp players. The technical difficulties encountered are various as this piece involves some hand-crossings, arpeggios, natural harmonies, accidental alterations as well as some pedal changes. Marcel Grandjany is a French-born American who lived in the 20th century. He studied with Alphonse Hasselmans at the Paris Conservatoire from the age of 11 and got the First Prize at 13 years old. He composed numerous pieces for Harp, of all levels: '3 Very Easy Little Pieces, Op. 7', 'Divertissement, Op. 29', 'Variation on the Londonderry Air, Op. 20' and 'Two Duets for 2 harps, Op. 26' among many others..

For Harp. Composed by Marcel Tournier (1879-1951). Leduc. Classical. Softcover. 18 pages. Alphonse Leduc #AL20059. Published by Alphonse Leduc

Harp

SKU: HL.48180090

[Variations On an Ancient Tune]. Composed by Carlos Leon Salzedo. Leduc. Classical. Softcover. 20 pages. Alphonse Leduc #AL15280. Published by Alphonse Leduc (HL.48180090).

UPC: 888680795412. 9x12 inches.

“Vari ations on an Ancient Tune” by Carlos Salzedo is the third and final work of a series called Three Pieces'for Solo Pedal Harp. Difficult to play, it requires good mastering of the instrument and of its technique, including the pedals. Using the full range of the instrument, this work features numerous trills, glissandos and accidentals among other technicalities and is divided between really fast and more quiet parts. Really delightful, this melodious piece is composed of a main theme and eleven variations: Main Theme (Maestoso) is composed of chords I. A tempo, Graziamente II. Tempo di Bourrée III. Scherzando IV. L'Istesso tempo V. Maestoso VI. Vigorosamente VII. Molto piú lento VIII. Vivo risoluto IX. Lento, tempo di Barcaruola X. Como un preludio XI. Fuga Finishing on the main theme “A Tempo,” this wonderful work is an amazing piece to include in a concert or a recital. Carlos Salzedo (1885-1961) was a French harpist and composer who wrote and transcribed numerous pieces for the harp. He also wrote some pedagogical publications for harpists.

Harp

SKU: UT.MAG-276

Composed by Ludwig van Beethoven. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Ut Orpheus #MAG 276. Published by Ut Orpheus (UT.MAG-276).

ISBN 9790215326880. 9 x 12 inches.

Johannes Snoer is not one of the most remembered harpists today, but his didactic work was really important and can still be useful today.
For didactic purposes, he also published collections of simple pieces by great composers transcribed for harp.
Among his transcriptions there is the Adagio from Sonata n. 5 in C minor, op. 10 no. 1, by Ludwig van Beethoven, subject of this edition. The original musical text has been left unchanged, only the ornamentation has been written in full and the harp fingerings and indications relating to the movement of the pedals have been added. The work brings the dedication to Mr. H. Rutters, probably a relative of his wife Antoinette.

(A Traditional Irish Christmas Carol Arranged for Solo Harp). Arranged by Sylvia Woods. For Harp. Harp. Softcover. Published by Hal Leonard