Harp SKU: PR.574007950 Composed by Teruyuki Noda. Full score. With Standa...(+)
Harp
SKU:
PR.574007950
Composed
by Teruyuki Noda. Full
score. With Standard
notation.
Ongaku-No-Tomo-Sha
Corporation #574-00795.
Published by
Ongaku-No-Tomo-Sha
Corporation
(PR.574007950).
(with Selected Arrangements for the Folk Harp). By Mary Umbarger. For Harp (Folk...(+)
(with Selected
Arrangements for the Folk
Harp). By Mary Umbarger.
For Harp (Folk/Celtic).
Solos. Acoustic Music.
Intermediate-Advanced.
Book. 88 pages. Published
by Mel Bay Publications,
Inc
Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical...(+)
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: HL.14043600 Harp. Composed by Simon Holt. Music Sales Am...(+)
Harp
SKU:
HL.14043600
Harp. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
12 pages. Chester Music
#CH82940. Published by
Chester Music
(HL.14043600).
9.0x12.0x0.058
inches.
Simon Holt
's the man in the wind
and the west moon was
composed for Solo Harp in
2013, having been
commissioned by The Tanza
Trust. The piece takes
its title from a line in
a Dylan Thomas poem named
'And death shall have no
dominion'. The four
sections of the work see
shifting harmonies
throughout, with the
first section repeating
but also changing ever so
subtly. The unique thing
about the piece is that
each section is
dynamically different,
but is left open to
interpretation by the
player. The man in
the wind and the west
moon was
first performed on the
2nd of June 2014 at
Milton Court Concert Hall
in London by Alex Rider.
The piece lasts around
7minutes, and the bottom
C and D strings should be
tuned to C# and D#
respectively.
Books and Journals; Harp SKU: UT.LB-4 Composed by Mirella Vita. Paperback...(+)
Books and Journals; Harp
SKU: UT.LB-4
Composed by Mirella Vita.
Paperback (Soft Cover).
Classical. Books and
Journals. Ut Orpheus #LB
4. Published by Ut
Orpheus (UT.LB-4).
ISBN 9788881094479.
6.5 x 9.5
inches.
â??During
my career spanning half a
century, like all my
fellow harpists I
constantly had to grapple
with the commonly held
view that the harp has
neither music nor history
of its
own. Fortunately, over
the years I have been
able to give the lie to
this myth and have tried
to bring to light some of
the vast repertoire, both
early and modern,
expressly composed for
this instrument which has
been treated somewhat as
an outsider in the
musical world. The
research work for my
books on Italian and
Swiss harp music was
plain sailing because
source materials were
specific titles and title
pages. Were I to write
books on French, German,
Austrian, British,
Bohemian, Spanish,
Portuguese or
Scandinavian harp music,
the work involved would
be equally smooth and
straightforward. Howev
er, where Dutch music is
concerned, the approach
is rather different,
because here it is the
painters,
treatise-writers and
historians who provide
the evidence and guidance
necessary to discover the
musical customs and
traditions where the harp
played a significant
part. Performers
looking for pieces of
music may use this book
as follows: chapter II
deals with treatises,
chapter III with
paintings, chapter IV
with history and research
accounts. Chapters V and
VI are concerned with
confusions in
terminology. Chapter VII
describes recent
developments and chapters
VIII and IX cover
composers and pieces of
music. Libraries and
publishers are listed
with their addresses in
chapters X and XI, and
finally chapter XII
consists of the index
based on the various
groups of
performers. In this
last chapter harpists
will find the composers
most suited to their
programme, and can then
turn to chapters VIII and
IX for details. The
actual pieces can be
obtained by consulting
chapters X and XI. I wish
you every success in your
search, in your
rehearsals and in your
concerts ! In order to
define what is Dutch or
non-Dutch in early music,
I have followed the
current approach, i.e.
all art and history prior
to the separation of the
â??Seven ProvinÂces
in the 16th century is
the common heritage of
the Low Countries,
whereas everything
pertaining to those
courageous lands from
then onwards is
specifically Dutch..
