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Harp Sheet Music By Composer - Arranger 

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Labarre, Variations sur Beatrice di Tenda de Bellini, Op. 113

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Variations sur Beatrice di Tenda de Bellini, Op. 113
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Théodore Labarre (1805-1870) succeeded Naderman at the Paris Conservatory, and his compositional style shows him to have inhabited a transitional space in the harp's technological development, half way between the established single-action pedal harp school and the development of the double-action pedal harp that we know today. The compositional innovations of Parish Alvars and the Godefroid brothers are the end result of the double-action pedal harp's development. Labarre's music bridges the space between Naderman's music and that of these later Romantic composers.

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Théodore Labarre (1805-1870) succeeded Naderman at the Paris Conservatory, and his compositional style shows him to have inhabited a transitional space in the harp's technological development, half way between the established single-action pedal harp school and the development of the double-action pedal harp that we know today. The compositional innovations of Parish Alvars and the Godefroid brothers are the end result of the double-action pedal harp's development. Labarre's music bridges the space between Naderman's music and that of these later Romantic composers.

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Labarre, Theodore, Twenty Etudes

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Twenty Etudes
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Born in Paris in 1805, Theodore Labarre came of the aristocratic family of du Berry, and he was a foster-brother of Napoleon III. He studied the harp with Bochsa, Cousineau, and Naderman. In England, he became an influential teacher, numbering amongst his students the brilliant harp virtuoso Elias Parish Alvars, who benefited greatly from the technical innovations Labarre developed for Erard's new double-action harp.

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Born in Paris in 1805, Theodore Labarre came of the aristocratic family of du Berry, and he was a foster-brother of Napoleon III. He studied the harp with Bochsa, Cousineau, and Naderman. In England, he became an influential teacher, numbering amongst his students the brilliant harp virtuoso Elias Parish Alvars, who benefited greatly from the technical innovations Labarre developed for Erard's new double-action harp.

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Lai, Francis; arr. Eleanor Fell, A Man and a Woman

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Movie theme song arranged for intermediate level pedal harp
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Song by Francis Lai arranged by Eleanor Fell from the Salvi Pop Series. This is the theme song to the French film Un homme et une femme ( A Man and a Woman ) from 1966. Intermediate level. 3 pages.

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Song by Francis Lai arranged by Eleanor Fell from the Salvi Pop Series. This is the theme song to the French film Un homme et une femme ( A Man and a Woman ) from 1966. Intermediate level. 3 pages.

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Landy, Mitch, Dithyramb for Lever or Pedal Harp

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Solo for lever or pedal harp inspired by ancient Greece
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In classical Greece, the dithyramb was a song in honor of Dionysus. Mitch Landy's lively, energetic piece evokes a feeling of ancient Greece in a work for solo harp. Intermediate level and playable on both pedal and lever harp, with no lever or pedal movements. 7 pages.

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In classical Greece, the dithyramb was a song in honor of Dionysus. Mitch Landy's lively, energetic piece evokes a feeling of ancient Greece in a work for solo harp. Intermediate level and playable on both pedal and lever harp, with no lever or pedal movements. 7 pages.

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Landy, Mitch, Five Diatonic Pieces

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Music by Mitch Landy for solo lever or pedal harp
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Four preludes and a bagatelle, all Mitch Landy originals. They are presented in four different modes and four different styles. Three of them employ the C scale, one requires F#, and one requires both G# and F#. No accidentals, appropriate for either lever or pedal harp. Interesting, non-conventional melodies, a contemporary harmonic language with many seventh chords. Simple three and four finger placements, nothing really difficult for a player beyond beginner level. Early intermediate level, good sightreading material for more advanced players. 14 pages.

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Four preludes and a bagatelle, all Mitch Landy originals. They are presented in four different modes and four different styles. Three of them employ the C scale, one requires F#, and one requires both G# and F#. No accidentals, appropriate for either lever or pedal harp. Interesting, non-conventional melodies, a contemporary harmonic language with many seventh chords. Simple three and four finger placements, nothing really difficult for a player beyond beginner level. Early intermediate level, good sightreading material for more advanced players. 14 pages.

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