5) by Robert Schumann begins with the left hand starting an accented section in triplets and the right hand playing a chordal pattern of sixteenth notes. A sprightly dance, “Phantasietanz” ( Albumblatter op. Originally written in A Major, Piana has transposed it to A-flat to avoid the modulation to C-sharp major, allowing for richer resonance on the instrument. There are some enharmonic substitutions and they are notated by encircling the note to be substituted.Ī pretty waltz by Schubert, “Valse Sentimentale” (op. Like most of this music, there are a lot of pedal changes, and they are clearly marked either below the staff or in the center. It’s the only piece that requires a page turn. The works are arranged in historical order, beginning with “Bagatelle in D Major” (op. Dominque Piana has transcribed the pieces and the book is reminiscent of her previous publication, Tendresses (reviewed in the July/August 2006 issue of Harp Column). Pastels is a collection of 12 short descriptive works from the masters for the intermediate pedal harp student or performing harpist. Pedal harpists should find a new book from Harpiana Publications of interest. ”…a nice collection that could be used for short recital pieces or to further develop pedal skills and artistry for intermediate players.” It’s also convenient to have a source for seasonal hymns. The arrangements offer enough diversity to make them interesting while still being easy enough for beginners to play without too much difficulty. One thing that could make these collections useful to a wider range of players would be the inclusion of chord symbols above the staff. The music in Book 2 is in the keys of G, C, F, B-flat, and E-flat. The final piece, “Hallelujah! What a Saviour!” is short and sweet and is simply played up an octave the second time. “In the Garden” has a few manageable lever changes. “At the Cross” has the most variety within the arrangement, as it includes a section with triplets. However, a couple of the lever markings aren’t positioned properly on the staff (m. There are several lever changes in the latter piece, but they are manageable. A few suspended chords in “Must Jesus Bear the Cross Alone?” and “The Old Rugged Cross” add harmonic interest. There are a few sixteenth notes for a little more complex rhythm in the introduction, interlude, and ending, as well as a short section with the melody in the left hand. The first hymn in Book 2, “Near the Cross,” is the only one that requires a page turn and it is well planned. The left hand is slightly more challenging in “Jesus Paid It All” and “There is a Fountain.” The only lever changes within a piece appear in “Christ Arose” and “In the Cross of Christ I Glory.” They are easy and clearly marked with both diamond-shaped notes and pedal markings below the staff. The second verse of “When I Survey the Wondrous Cross” switches the melody to the left hand. “My Jesus I Love Thee” incorporates some scale glisses, and the second verse is played up an octave. The music in Book 1 is in the keys of C, F, or B-flat. Each volume contains six hymns suitable for the advanced beginner level. ![]() Joy Slavens has published two volumes of hymns for lever or pedal harp, titled Joy of Easter. Two “Joy of Easter” collections provide easy seasonal hymns, while “Pastels” is a “useful assortment of transcriptions” for intermediate pedal harpists.Įaster is just around the corner, and there aren’t many books focused on hymns for the season of Lent and Easter.
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