Page last modified on: 31 Oct 2011
Sheet music Harp Method
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This book of harp exercises was designed by Deborah Friou to help harp players develop and maintain strength, suppleness and agility in the fingers and hands. It is intended for use by players of all levels, and on any type of harp. A few pieces of music have been included where additional practice of the skills involved is helpful. The pieces, exercises and etudes are in the key of C. 93 pages, spiral-bound. Includes: |
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It's hard to learn to improvise, especially when you're playing alone! This CD gives you a "friend" to play along with and the booklet provides an introduction to the principles of improvisation. The package has special instructions for harp players, but it can be used for ANY instrument, from the ukelele to the saxophone! |
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The creative teaching method. Eine Schule für absolute Anfänger. A school for absolute beginners - Volume 1. It is in three sections. Section one includes over 90 pages of excercises and studies with notes in German. Part two has some great tunes composed by Ushi Laar. Includes a CD recording of the excercises and tunes. Totally 126 pages.
Tunes: Die Frau im Wind, Renada, Cheno, Sinerella, Full of Spring, Dreher, Little Lilly, Goldwind, Tanz in Quaré, Flinn, Herbstmärchen - Lore Schätzlein, arr. Uschi Laar, Zwei alte Deutsche Tänze - trad arr. Uschi Laar, Zweiter Deutscher Tanz - trad arr. Uschi Laar, Abendklang - Lore Schätzlein, arr. Uschi Laar, Cingrena, Spagneoletta - trad arr. Uschi Laar, Tristeza - Anon arr. Uschi Laar, Desiree Improvisation: Übung 1-2
Theory and exercises sample pages: |
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Volume 2, with study CD is aimed at the 'advanced' beginner and follows on from the creative teaching method in Volume 1 - A school for absolute beginners. It is in three sections. Section one includes 30 pages of excercises and studies with notes in German. Part two has some great tunes. With a CD recording of the excercises and tunes. 60 pages.
Tunes:
Fole a desmesura |
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Etudes 1 to 9 : for pedal harp with simple or double mouvement |
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The originals transcriptions as engraved almost 250 years ago can be found in this book. A modern re-set edition of each lesson, to which phrasing and suggested dynamics have been added, precedes its eighteenth century counterpart, facilitating comparison with the original. As presently published, the Four Lessons for Harp or Harpsichord may be played on keyboard, triple harp or pedal harp. In transferring the Lessons to performance on the pedal harp, it should be remembered that a triple harp is much more lightly strung than today's concert harp, and less resonant, despite its bright sound. The speed, dexterity and clarity essential to successful transference to the pedal harp will be greatly helped by short articulation, and as much damping as is feasible, particularly in the left hand. Those familiar with Welsh music may well be struck by the similarities between the melodic lines of some movements and those of certain old Welsh tunes, for example, Lesson I (Dafydd y Garreg Wen / David of the White Rock), Lesson II (Hela'r 'Sgfarnog / Hunting the Hare) and the Musette of Lesson III (Merch y Melinydd / The Miller's Daughter). Ever aware of his Welsh heritage, John Parry ends the sequence with the Welsh word Diwedd - The End.
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For pedal and lever harp! Beginner to intermediate level! Includes a play-along CD. Five new tunes, blues history, improvisation, wonderful and clever illustrations, hands on training, the four special scales! 108 pages! Everything you ever wanted to know about how to play the Blues on your PEDAL or LEVER HARP! The Four Special Scales used by blues players From Carol Robbins, jazz harpist with many TV credits: "Congratulations on a book that is creative, well researched, and beautifully illustrated" From Louise Trotter, "A book on blues for harpists is long overdue, since the subject has been sorely neglected. I. Mac Perry has given us a practical workbook to appeal to classical and pop harpists alike. A valuable contribution." |
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John Thomas was the eldest of seven children, four of whom became harpists. His father, also named John Thomas, was a tailor by trade, but he was a good amateur musician who played clarinet in the town band. Little John wanted to play the harp and an old one was obtained for him. This was a Welsh triple harp and John Thomas was playing it in traditional style (with his left hand playing the treble and his right hand playing the bass) when he won a new Bassett Jones triple harp at the Eisteddfod organised by Lady Llanover at Abergavenny in October 1838. John Thomas went to London. He learned to speak English and he re-learned his harp technique, abandoning the triple harp for one of Erard’s grand new pedal harps, and changing from the traditional Welsh method he had been taught, transferring the harp to his right shoulder, so that now his right hand played the treble and his left hand played the bass. He later acquired the title of Harpist to the Queen and became harpist to the Royal Italian Opera. John Thomas composed, arranged and published a vast amount of music, especially music for the harp. The four studies selected for this volume include his unique Study for the Left Hand, and are taken from the series of 12 which he composed between 1863 and 1868. |
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Included in the new Associated Board of the Royal Schools of Music exam syllabus for harp. Beginner to intermediate level. |
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Included in the new Associated Board of the Royal Schools of Music exam syllabus for harp. Intermediate to advanced level.
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