Three German Carols arranged for harp by Anne Sullivan
Designed with a harpist’s busy December in mind! The carols are short (and NO lever or pedal changes!) but they can easily be played as a set if you need something longer.
These carols are ideal for students. My students are often so busy that it is hard to think of adding holiday music to their practice load. But these carols make it easy. The intermediate level gives a more accomplished student something they can learn and perform quickly, and gives the less advanced student something with just enough challenge to help them grow.
Three German Carols includes:
Kling, Glöckchen (“Ring, Little Bell”), is a favorite Christmas carol of German children. The lyrics were written in the 19th century and set to a traditional German folk tune. I have included two versions of this carol arrangement. One has no lever or pedal changes, but the melody has been slightly altered to allow this. The other version has the...
Away in a Manger
Two Famous Tunes
Arranged for lever or pedal harp by Anne Sullivan
Like many Christmas carols, the text to “Away in a Manger” has been set to music by multiple composers. These two famous tunes are often identified as “the English one” and “the German one,” but interestingly both were written by American composers.
William Kirkpatrick, a Pennsylvania native, was trained in Philadelphia and worked at various times as a composer, carpenter, military Fife-Major, and church organist. His tune “Cradle Song” was written in 1895 for a musical production called “Around the World with Christmas.” This is the “English” tune for “Away in a Manger,” commonly identified in hymnals as the tune “Kirkpatrick.”
The “German” tune for “Away in a Manger” was said to be an original melody by Martin Luther. In recent years, this has been viewed as a 19thcentury...
Here’s a challenge Sherlock Holmes would enjoy:
Take the members of a professional orchestra. Put them in civilian clothes, no tails or black gowns. Line them up. Now try to guess which instrument each plays. There are the telltale calluses, marks, fingernails, etc., that you could use to identify the masters of particular instruments. But aside from those features, the stereotypical images may steer you wrong.
Not all trombone players are barrel-chested men, nor are all flutists dainty, well-manicured ladies. The truth is, all different physical types of people play each instrument.
We tend to think that masters of a specialized skill, like world-class musicians, are “built” for their instruments....
If your left hand slows you down when the chords show up, then this video is for you. Work through these patterns and watch the transformation in your sightreading and music learning. And it will help your improvisation too!
And you can receive your own copy of a PDF of the exercises I demonstrate here by subscribing to Harpmastery. Just click the link below!
When is music big-R “Romantic” and when is it only little-r “romantic?”
Much harp music sounds “romantic” in the little-r sense of the word: beautiful, lush, expressive. But in musical academia, big-R “Romantic music” is something more. And since we play so much music that is little-r and big-R romantic, the topic seems worthy of a little discussion.
First, it helps to understand the what, when and who of the Romantic era: the composers, time frame and characteristics that represented a new outlook on musical expression. Then we will look at how you can make the most of the Romantic music you play.
The Romantic era in music covers most of the nineteenth century and the early years of the the twentieth, roughly 1815 – 1910. Beethoven is often recognized as the first Romantic composer, but there are dozens more whose names are familiar to you: Tchaikovsky, Chopin, Schubert,...
What is your technique? Which method do you play? Which of those potentially conflicting factions do you belong to?
Like other musicians, we harpists certainly have many choices. There is French method and Russian method, Salzedo, Grandjany and more, plus equally specific folk harp methods. Do you even know which one you use? Or – horror of horrors – don’t you use any particular method?
This technique issue can be a big stumbling block, dividing students, teachers and performers into camps where loyalty and partisanship can end up excluding and dividing people who all love and play the same instrument.
I believe that having and following a technique is essential to the development of any musician, but I don’t believe that any one method is intrinsically superior to the others. If that were the case, we would only have fabulous performers from one of those many schools of thought.
So rather than trying to determine the “best” technique or method,...
It’s Labor Day here in the US, a day our nation honors the contributions workers have made to the strength, prosperity, and well-being of our country. And how do we observe it? By taking the day off, and having one last barbecue to celebrate the end of summer vacations and our return to school and work.
Today I am celebrating Labor Day by sharing with you a dozen of my favorite quotes from my special file of quotes about music and musicians. Some are inspirational; some thought-provoking; some humorous. I hope you find one that will brighten your day. And I would love it if you would share one of your favorite music quotes in the comments below!
Where words fail, music speaks. – Hans Christian Andersen, Danish author (1805-1875)
When you play, never mind who listens to you. – Robert...
Let me start with a story:
There once was a music teacher who had two students, approximately the same age and skill level. One week, she assigned each student the same new piece. The students were equally excited about learning the piece. When the students came back for their lessons the next week, however, there was a significant difference in their results.
The first student walked in saying, “It was so much fun – I learned the whole thing!” And though the student was able to get through the whole piece, there were countless misread notes, uneven tempos, rhythmic mistakes and thoughtless dynamics.
The second student started by saying, “I made pretty good progress.” This student had only learned the first section. It was very slow, but all the details were there: fingering, dynamics notes and rhythms. Good progress, yes, but it would clearly take many weeks before the end of the piece...