Chenette, Jeanie, Sine Bahn |
 |
|
|
|
| Sine Bahn |
| 4 Available |
A traditional Scottish lullaby arranged for three beginner lever or pedal harps by Jeannie Chenette. |
|
|
A traditional Scottish lullaby arranged for three beginner lever or pedal harps by Jeannie Chenette. |
|
|
Chertok, P., Around the Clock Suite |
 |
|
|
|
| Around the Clock Suite |
| 3 Available |
This suite for pedal harp by harpist Pearl Chertok (1918-1981) incorporates elegant classical traditions with contemporary harp techniques and jazz rhythms. With introductory sections to each piece that describe the extramusical inspiration for the work, this collection is a perfect choice for intermediate-advanced pedal harpists looking for something a little different to incorporate into their repertoire. |
|
|
This suite for pedal harp by harpist Pearl Chertok (1918-1981) incorporates elegant classical traditions with contemporary harp techniques and jazz rhythms. With introductory sections to each piece that describe the extramusical inspiration for the work, this collection is a perfect choice for intermediate-advanced pedal harpists looking for something a little different to incorporate into their repertoire. |
|
|
Chertok, Pearl, Classics For Troubadour |
 |
|
|
|
| Four easy classical solos for lever harp arranged by Pearl Chertok |
| 2 Available |
Four solos arranged by Pearl Chertok for advanced beginner to early intermediate lever harp, also playable on pedal harp. Lever changes are not marked. 4 pages on 9" x 12.5" quality paper. |
|
|
Four solos arranged by Pearl Chertok for advanced beginner to early intermediate lever harp, also playable on pedal harp. Lever changes are not marked. 4 pages on 9" x 12.5" quality paper. |
|
|
Chopin, Frederic: trans. Piana, Prelude #15 Op. 28 (Raindrop) |
 |
|
|
|
| Chopin Prelude transcribed for solo pedal harp by Dominique Piana |
| 1 Available |
Chopin's unique style is derived from devices such as dwelling on the dissonant note of appogiaturas, moving between major and minor modes or, as illustrated in this prelude, lingering in a "harmonic daydream" upon repeated notes and chords acting as a hypnotic drone. The fifteenth in a collection of pieces written in each of the 24 keys, in imitation of Bach. |
|
|
Chopin's unique style is derived from devices such as dwelling on the dissonant note of appogiaturas, moving between major and minor modes or, as illustrated in this prelude, lingering in a "harmonic daydream" upon repeated notes and chords acting as a hypnotic drone. The fifteenth in a collection of pieces written in each of the 24 keys, in imitation of Bach. |
|
|
Clementi, Muzio; arr. M. Boren, Sonatina Op 36, No 1 in C Major |
 |
|
|
|
| Clementi sonata adapted as work for intermediate level harp solo with orchestra |
| 3 Available |
An arrangement for harp and orchestra of Muzio Clementi's famous Sonatina in C Major for piano. Murray Boren has created an orchestral accompaniment for flute, oboe, B-flat clarinet, bassoon and strings. Included is the full score, parts for the orchestra plus a harp part that includes a piano reduction of the orchestra part. This adaptation is intended to provide new and manageable performance opportunities for an intermediate level harpist to perform as a soloist with an orchestra or a pianist. |
|
|
An arrangement for harp and orchestra of Muzio Clementi's famous Sonatina in C Major for piano. Murray Boren has created an orchestral accompaniment for flute, oboe, B-flat clarinet, bassoon and strings. Included is the full score, parts for the orchestra plus a harp part that includes a piano reduction of the orchestra part. This adaptation is intended to provide new and manageable performance opportunities for an intermediate level harpist to perform as a soloist with an orchestra or a pianist. |
|
|
|
