Method for Harp in the Elementary Orchestra A

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METHOD FOR HARP IN THE ELEMENTARY ORCHESTRA

A Project

Presented

to the Faculty of

California State University, Chico

In Partial Fulfillment

Of the Requirements for the Degree

Master of Arts

Music

Fall 2009

METHOD FOR HARP IN THE ELEMENTARY ORCHESTRA

A Project

Lauren C. Sharkey

Fall 2009

APPROVED BY THE INTERIM DEAN OF THE SCHOOL OF GRADUATE, INTERNATIONAL, AND INTERDISCIPLINARY STUDIES:

Mark J. Morlock, Ph.D.

APPROVED BY THE GRADUATE ADVISORY COMMITTEE:

Warren R. Pinckney, Ph.D., Chair

Royce Tevis, D.M.A.

Richard D. Winslow, M.M.

PUBLICATION RIGHTS

No portion of this thesis project may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author.

iii

ACKNOWLEDGEMENTS

Many thanks to Warren Pinckney, Ph.D., Royce Tevis, D.M.A, and Rick

Winslow, M.M. for their knowledge and expertise in assisting me with this project.

TABLE OF CONTENTS

PAGE

Publication Rights ...... iii

Acknowledgements ...... iv

Abstract ...... vi

CHAPTER

I. Prologue to the Project ...... 1

II. Introduction ...... 5

Introduction to the Project ...... 5 Purpose of the Project ...... 7 Description of the Project ...... 8 Significance of the Project ...... 10 Limitations of the Project ...... 11 Definition of Terms ...... 12

III. Review of Related Literature ...... 13

IV. Methodology ...... 19

V. Summary ...... 22

Recommendations ...... 23

Bibliography ...... 24

Appendices

A. Beginning Harp Method ...... 27 B. Tuning the Harp ...... 137 C. Additional Resources ...... 140

ABSTRACT

METHOD FOR HARP IN THE ELEMENTARY ORCHESTRA

 Lauren C. Sharkey 2009

Master of Arts in Music

California State University, Chico

Fall 2009

Evidence suggests that a method for harp in the elementary school ensemble has not been published, to date. This project, a harp method book for music educators who want to include the harp in elementary school ensembles, is a response to a need for such a method. The following method can be used in conjunction with other beginning string methods in primary school to allow music educators to systematically include a harpist (or harp section) in their orchestra class on a regular basis.

CHAPTER I

PROLOGUE TO THE PROJECT

Seated between piano teacher and mother, the twelve year old piano student sat excitedly on the edge of the pew. The cold evening was perfect for an orchestra concert. Everyone bustled into the church bundled in their coats and jackets and looking forward to an evening of music. The young student’s eyes darted from instrument to instrument as the musicians began the concert.

During intermission, a few men wheeled out the most beautiful instrument the student had ever seen. Unlike the other wooden instruments, or like the ebony piano at home, this instrument was ornately carved and shone with bright gold. It appeared larger than a piano as it towered over the rest of the orchestra. Following the instrument was a girl who was hardly older than twelve and dressed in the most gorgeous and flowing red dress the piano student had ever seen. As the harpist sat down at the instrument and the dress billowed around the carving and gold, the young musician thought, “I want to do that; I have to do that; I’m meant to do that.” Through the entire piece, the young student hardly took a breath, afraid to miss one beautiful note.

At that concert, provided with a free ticket from my piano teacher, my heart’s desire was stirred and so began my love for the instrument they called the harp. Through the years that interest and love has increased. Sharing that love either in performance or teaching about the instrument has always been something that brings me great joy. Many

2 people that I meet while pushing the harp down the street or to my car wonder what it is; some, never having seen the instrument before, have even asked if it was a cello.

In reality, the double action pedal harp that is seen with orchestras and many ensembles was first patented in 1801 by French instrument maker Sebastien Erard. Other instruments, such as the saxophone, were not patented until much later, but are more widely understood and recognized. Forty five years after the modern harp, the saxophone was patented in 1846 by Belgian musical instrument designer Adolphe Sax. Few in the general public have knowledge about the “majestic instrument”-- the harp; it seems just out of reach. Students begin to play other instruments, such as the saxophone, while they are in elementary school, learning about them as they progress in their studies. What would happen if the harp was included as one of those instruments? Would people be able to learn more about the instrument? Would it become more accessible?

Since other students start learning their respective instruments in an ensemble setting early on in their education, they develop ensemble skills as they go. Harpists, not regularly included in the elementary ensemble, then struggle with basic abilities when they join an ensemble later on. For instance, following a conductor and counting rests can be difficult when one has never experienced it before.

One solution that is developed through this project is a method to allow learning the harp in a classroom string ensemble setting to be more accessible. In this way, harp students will learn to follow a conductor along with their peers. The method begins with note reading and basic notation and continues to take the student through different musical forms and harp techniques that will be found in more advanced ensemble music. The material presented in this method is meant to be general and not

3 specific to one harp technique (Salzedo or French) or string method so that it will be able to be adapted to any string ensemble method.

When I started my research, it began as research for a resource for music educators to use to more effectively incorporate a harpist into their school program.

Through research for that idea I located a book published by the American String

Teachers Association, A Harp in the School: A Guide for School Ensemble Directors and

Harpists , edited by Chelcy Bowles.1 This book provides a secondary school music educator with (1) a guide to effectively incorporate a student harpist into their ensemble

(or assist a music educator who already has a harpist in their ensemble); (2) basic information about the parts and workings of the instrument; (3) suggestions on repertoire for the instrument; and (4) how to rehearse and conduct a young harpist. To my surprise, the book fulfilled the ideas I had for my original thesis topic; yet, the publication provided me with another important problem to solve. The harpist authors of the book emphasize the dilemma of lack of ensemble knowledge in student harpists once they reach a junior high or high school ensemble. As a solution, the book recommends that music educators spend extra time to work with the harpist and their private teacher and to find repertoire that is challenging for the ensemble with solutions to bring the student harpist up to the same level of ensemble performance as their peers. My current project is an attempt to address the problem of lack of ensemble knowledge in a more effective manner, specifically, by composing and collecting appropriate songs and pieces for the

1 Contributing authors include: (in order of chapter contribution) Patricia McNulty Wooster, Cheryl Dungan Cunningham, Wendy Kerner Lucas, Gail Barber, Linda Wood Rollo, Chelcy Bowles, Delaine Fedson, and Ann Yeung.

4 beginning harpist and organizing them into an instructional method for use in the classroom setting.

I began my project by researching the ways that strings are currently taught in elementary schools, methods they use, as well as different harp methods and the order musical material is presented. This string method for harp in the elementary school can now allow music educators to include a student harpist the ensemble on a day to day basis, enabling the harpist to acquire valuable experience before reaching junior high and high school ensembles.

A free concert ticket opened a young girl’s eyes to the beauty and majesty of the harp. Through the years, many people have helped along the way, making this project possible. Many thanks go to all of my music teachers, professors and encouraging friends and family who have promoted my love for the harp, allowing me to pass it on to others.

CHAPTER II

INTRODUCTION

Introduction to the Project

When trying to learn a new language, experts often say it is necessary to be immersed in the language. Learning a new language is especially beneficial in a group setting so that we can hear others say the new words and have a chance to practice and converse. Writing and thinking in the new language are necessary in order to achieve a degree of proficiency. Music is a language. It is a means of sharing information that many people can understand. Becoming proficient in the language of music is what creates a good ensemble.

The Hungarian composer and music education reformer Zoltán Kodály said,

“the characteristics of a good musician can be summarized as follows: a well-trained ear, a well-trained intelligence, a well-trained heart, and a well-trained hand.” 2 A well-trained ear is developed through hearing what is correct; notes played in tune, a chord played in its entirety and hearing a musical phrase all develop a well-trained ear. Well-trained intelligence is developed through the understanding of how to express music in ways that can be universally understood; this includes music theory and history and the ability to read and write music. A well-trained heart can feel and express emotion through the

2 Zoltán Kodály, “The Selected Writings of Zoltán Kodály” ed. Ferenc Bónis and trans. Lili Halápy and Fred Macnicol (London: Boosey and Hawkes, 1974), 197. 5

6 music and in turn touch the hearts of listeners. The best means to express these are through a well-trained hand so that what is in the ear, head and heart can be shared and presented in the clearest means possible.

A music educator has a great responsibility to teach these various categories.

Thankfully, experience in an ensemble can develop multiple areas at the same time. In seeing their own part, a student is learning to read the music as well as hear their own part in relation to the ensemble as a whole. Whether or not they are playing the melody, by listening to the other instruments and the instruction to other instrumentalists, they are learning phrasing. In watching a conductor’s face as he or she conducts and encourages students, the students are learning how to respond, follow and understand the emotion in music and how that is shared with others.

Not only is the experience of creating music with friends and peers fun, but it is an outstanding group learning experience. In an ensemble, students can make intellectual connections and learn to apply standards of music, such as perception of the art, creative expression, the historical and cultural context of the music and the aesthetic value of their music. Although private lessons are invaluable in their ability to tailor the pace to each student’s learning style, there is something missing when that is the only music education they are receiving.

As can be seen when looking at any published elementary string method or music education pedagogy book, the harp has not been included in these elementary ensembles on a regular basis. This project proposes a way to more effectively incorporate a student harpist into an elementary string ensemble so that the harpist’s ensemble skills

7 and the quality of musical education will keep pace with the other musicians in the ensemble. In this way the harpist can learn not only a “solo dialect” in the language of music, but an ensemble one that will carry them into a larger world of music.

Purpose of the Project

The purpose of this project is to provide elementary school harpists with a method book that enables them to develop essential ensemble skills at the beginning of their musical education. Starting from the beginning as an ensemble member will solve the problems that many middle and high school educators have had to face with a harpist.

Becoming familiar with conducting patterns is one issue addressed in this method. A visual aid of how the conducting pattern looks from the ensemble and how it is created by the conductor is provided each time a new time signature is introduced. Counting sections of rest and then entering correctly is introduced and practiced as the student acquires more confidence as a performer. The fact that the harp rarely has a “section” and commonly plays a part different from any other instrument is addressed and the student is advised when this will be happening. This is important so the student does not stop playing and wonder if he or she is on the correct part since it appears they are playing alone. Through this early ensemble experience, the harp student will learn how to listen to other instruments and understand how the harp and its special effects 3 fit within the group as a whole.

3 Special effects such as harmonics and glissandos are included in this beginning method.

Description of the Project

Method for Harp in the Elementary Orchestra is organized in a way similar to existing string methods. Music theory and notation is presented in a logical manner that builds concepts on previous ideas. The student harpist will learn fundamentals of music along with the ensemble and at the same time be challenged learning the fundamentals of the harp and harp technique.

This project contains seventeen chapters, which include pictures and graphic illustrations. The chapters primarily focus on instrumental technique, such as hand position and instrument position, and ensemble performance skills, such as listening to the other performers and learning conducting patterns. In addition to music theory, the sections provide an introduction to music history and conducting, which improves musicianship.

The first chapter focuses on fundamentals of the instrument, for instance, proper care of the harp, accessories and related topics. In chapters II-VI the fundamentals of musical notation are listed and illustrated. With the introduction of the time signature, the conducting patterns are demonstrated. Instrumental instruction begins with a series of lessons: open strings of D and A; use of appropriate fingers on the strings; explanation of sharps, flats and naturals; playing two notes at once; note names and pedal names; and the placement of all four fingers on the strings at once. In the next section, the topics include common harp notation – the bracket, octaves of G strings, how harp parts sound versus other parts, theory exercises (note names and musical notation basics),

9 symbol for a rolled chord, and techniques to create the correct sound. After that, the student learns to count the beats (before playing them on the instrument). Then, the student is encouraged to look at the piece ahead of time and make their own decision about pedal changes. The next section describes the term “gesture,” discusses intervals, and illustrates accompaniment-style harp parts.

As for chapters VII-IX, the major tetrachord is introduced, quarter rests are covered, new notational symbols and the key of D is introduced. A theory assignment reinforces the new notation. Next is the key of D major where corresponding lever and pedal changes are explained. The next topic is the glissando. This lesson explains the position of the hand, finger and the overall effect of the glissando. The focus shifts to a new key, A major, and related information on pedal and lever settings. A series of lessons follow, including a discussion of the term D.S. al Fine in the harp part, a condensed string ensemble score, etudes and harmonics.

Chapter X begins with the introduction of AABA form and continues with additional work with a common interval for the left hand of a harpist to play, a tenth.

Chapter XI includes lessons on time signatures, a new note value and a new conducting pattern. Chapter XII introduces new musical expression markings 8va and 8vb , the difference between a slur and a tie and how those relate to the harp, strengthening of the left hand, and new important symbols such as the breath mark 4 and damp symbol.

Chapter XIII covers arpeggios using three and four fingers and harmonics.

Chapter XIV contains a review of the scale degrees and introduces tonic and dominant

4 The breath mark is described because even though the harpist does not need to produce wind for their instrument, the understanding of phrase and silence is important.

10 chords and first and second endings. In this section, the harpist revisits the subject of a shared part. In chapters XV and XVI, the eighth note and eighth rest are introduced in familiar tunes. Then, the harpist is introduced to “twentieth century” harp notation.

Tempo markings and terms such as fermata are defined and then put into practice with recognizable pieces. Next, the harpist encounters an advanced exercise that mixes the rhythm of eighth notes, crossing hands, left hand playing notes written in the treble clef, rolled chords and a new term, ritardando . The key of C is presented and a new note value

– the triplet. A series of lessons presents dynamic markings with their Italian terms and crescendo and diminuendo symbols, counting and coming in after the rest of the ensemble and interpreting other instrumental parts along with the harp part. Chapter XVII covers theme and variations form, review of D.C. al Coda and dotted rhythms and warm- up exercises.

Significance of the Project

This project, a resource that provides the practical ability to start elementary harpists in an ensemble with their peers, will address the fundamental skill set of the emerging orchestral harpist, therefore providing a level of ensemble training comparable to that of other classically trained string players. One of the main problems of elementary ensembles is that, “a relatively small number of student ensemble works published for beginner ensembles have harp parts.” 5 Due to this fact, when a music educator is faced

5 Wendy Kerner Lucas and Gail Barber, “Choosing Appropriate Repertoire,” in A Harp in the School: A Guide for School Ensemble Directors and Harpists , Ed. Chelcy Bowles (American String Teachers Association, 2006), 27.

11 with a student harpist, he or she frequently is left without a harp part. To solve this, the music educator needs to compose their own part or seek out a harp instructor to do so.

This project provides a simpler way to benefit music educators and honor their time constraints and still provide the harpist with an ensemble education. This harp method changes the educational path of the harpist so that it now may include similar ensemble training as that of their orchestral peers.

Limitations of the Project

There are numerous elementary string methods currently in use; each of these includes a different set of lessons and different layout. The creation of a separate harp method to correspond with each existing string method would be infeasible. This project is therefore a general harp method – able to be modified and adapted in future use to a particular published string method used by the music educator. Many string methods also have multiple volumes that carry the student from beginning method to more advanced music and technique. In the interest of this project, the scope is limited to a first level method.

This method is not intended to be a replacement for private studio instruction, but instead a supplement to provide the student with an ensemble opportunity at an early level. Tailored information for the specific student and technical corrections will need to be addressed by a harp instructor. 6 Music theory and music history are two important topics in music education that will need to be addressed only briefly in this project.

6 The AHS can be contacted for a list of harp teachers in any area of the United States, and some international teachers.

Although there are various music theory exercises, they function as reviews and reminders to information that will be provided by classroom or private instruction.

Definition of Terms

AHS

The American Harp Society is non-profit harp society founded in 1962.

Lever harp

A lever harp is a triangular shaped harp with a lever at the top of each string to raise the pitch a half-step up. This harp is tuned to the key of C or key of E-flat.

Pedagogy

Pedagogy is the principles and methods of teaching.

Pedal harp

A pedal harp is a triangular shaped orchestral harp with seven double action pedals that raise the pitch of the string two half steps. This harp is tuned to the key of C- flat

CHAPTER III

REVIEW OF RELATED LITERATURE

The justification for the need of a harp method for elementary string ensembles is supported by three areas of research. The first area of research comes from the author’s personal experience. The second area of research investigates existing string methods and their mode of utilization in elementary schools, as well as the harp pedagogical education of music educators. The third area of research develops the evidence of basic ensemble skills of harpists when they enter an ensemble for the first time.

Many orchestral harpists receive ensemble skills through experiences with a different instrument other than the harp. My own ensemble experience started in middle school when I played the piano for the orchestra. There, I learned how to follow the conductor and listen to other instruments playing at the same time. At this time, I also learned to follow the music, make sure my fingers were on the correct notes, and count the rests until the next time my part entered again.

In high school, there was an opportunity to incorporate the harp in the high school orchestra, but no harp parts. Since I had the past experience of understanding how the piano accompanied the orchestra, I was instructed to take the cello and violin parts and create my own harp parts. Other experiences in concert choir, a capella choir and the high school band assisted in my ability to take part in an ensemble. It was not until late in

14 high school that I had an opportunity to play an actual harp part with the Sacramento

Youth Symphony. I had heard the word “cadenza” before, but until I heard how the harp cadenza in Rimsky-Korsakov’s “Capriccio Espagnol” fit with the rest of the ensemble, I did not understand the role of the harp in an orchestra. It was through personal experience and physically being in an ensemble that skills necessary to be an ensemble harpist were developed. Another method of gaining orchestral experience was performing alongside my teacher when there were two harp parts for a piece. In this rare occurrence, the harp has a section and harpists are able to learn skills from each other, such as timing of when to pull the instrument back and place it down.

Generally, the harp is a solo instrument. In an orchestra there is normally only one harpist; few large works have parts written for multiple harps. The career of a professional harpist consists primarily of solo work for weddings and parties or small chamber groups in a performance setting. As composers through the years have learned more about the harp, there have been increasing numbers of orchestral works including the distinct timbre 7 of the instrument. This has increased the role of the harp to now be considered an essential member of orchestral ensembles. 8 The pedal harp has the special ability to play the same note on two different strings at the same time, known as enharmonics. Glissandos, pedal slides, and the pure ring of a harp string along with its percussive sound are all unique to the harp.

7 For more information on the timbre of a harp, see Mark Adamo, “On Babes and Angels,” New Music Box (May 2007), http://www.newmusicbox.org/article.nmbx?id=5095 (accessed September 24, 2008). 8 Roslyn Maria Rensch, “The Harp in School Music,” Music Educators Journal 37, no. 5 (April-May 1951): 39.

French romantic composer Hector Berlioz first included a harp into a symphonic orchestra in the 1830's 9 in both Symphonie Fantastique and Harold en Italie.

The number of compositions for harp steadily continued until a larger growth in the

1950’s due to an increase in education about the instrument. Rosalyn Rensch in her article, “The Harp in School Music” mentions that by the 1950’s, the

. . . harp [had] become a permanent part of the symphony orchestra and concert band. The instrument [was] now fast establishing itself as an essential member of college and university musical groups, and an important member of high school band and orchestra. 10

More recently, in 1995, harpist and retired professor, Sue Carol DeVale posted a call on the internet for composers to compose works for the instrument. With that request, 80 more works had been produced by the year 2000. 11 Now more than ever, a professional harpist must be able to follow a conductor and play with a large group as well as pursue a solo career. Amateur harpists need similar skills in community orchestras and other local ensembles. Every harpist must be able to perform with an ensemble when requested.

In order for the student and music educator to successfully work together, the music educator must be taught about the instrument and the student must have an opportunity to learn in the classroom ensemble setting. At this time, music educators

9 Sue Carol DeVale, “Harp: Modern Technique and Repertory,” Oxford Music Online , http://www.oxfordmusiconline.com.mantis.csuchico.edu/subscriber/article/grove/music/45738pg5#S457 38.5 (accessed September 10, 2008). 10 Roslyn Maria Rensch, “The Harp in School Music,” Music Educators Journal 37, no. 5 (April-May 1951): 40. 11 Sue Carol DeVale, “Harp: Modern Technique and Repertory,” Oxford Music Online , http://www.oxfordmusiconline.com.mantis.csuchico.edu/subscriber/article/grove/music/45738pg5#S457 38.5 (accessed September 10, 2008).

16 have little to no education about the harp when they graduate from college. Those that do receive some education usually receive that education in instrumentation and arranging courses instead of any pedagogical courses. Also, any string pedagogy books that would be available to the educator during their undergraduate or post graduate courses do not include harp as one of the instruments. Most education for music educators mentions the harp as a part of the orchestra, but does not provide the resources for the educator to practically utilize the instrument in their ensemble or daily class. Education about the harp instead occurs during the music educator’s own quest for information after their graduation, or if they happened to come in contact with a harpist during their schooling.

There are increasing numbers of resources for educators to learn more about utilizing the harp, but to date there has not been material that would assist them in using the harp in conjunction with the rest of the class instruction. There is now a resource for educators who are presented with a harpist in their program, but who have not had harp specific education. The American String Teacher’s Association has a publication written and edited by harpists called, A Harp in the School: A Guide for School Ensemble

Directors and Harpists . This book was written by multiple authors for music educators as well as harpists and covers the many details that go into successfully integrating a harp into a school music program. Throughout the book, it is noted that student harpists are routinely unprepared for the ensemble experience. This leads to numerous frustrations on both the part of the music educator and of the student. It is necessary for music educators to be prepared to deal with the harp in their musical group and understand the technical aspects and challenges of the instrument. One common issue is the conductor

17 understanding the harpist’s need to see the strings while they play. Even the most advanced harpists still look at the strings from time to time.

In general, harpists do not have opportunities to perform as a member of an ensemble until they reach middle school or high school, 12 causing them to lag behind other musicians who have experienced ensemble performance since elementary school. 13

Learning to play in an ensemble early in their musical career can help develop a better musical ear, improve rhythm and challenge the musician in new ways. In an article,

Roslyn Rensch lists essential skills such as understanding of tempo, rhythm and chord structure, as well as the dexterity an ensemble harpist must possess.14 A harpist can study these skills and work on them on their own in private lessons, but until they have been able to successfully demonstrate these skills in an ensemble setting, they cannot be considered proficient. Wendy Kerner Lucas and Gail Barber, in “Choosing Appropriate

Repertoire” provide a list of ensemble skills a harpist should have:

1. Can the harpist count rests and enter correctly? If she has not had much ensemble experience, she may not be familiar with standard conducting patterns. 2. Can the harpist maintain the beat? With an instrument that has so much technical difficulty, can the harpist keep her place in the music even if there is a technical demand or a difficult lever or pedal change to execute? 3. Can the harpist follow cues for rubato and changes in tempo? And can she hear cues from other instruments and place her music to hit with other parts?

12 Roslyn Maria Rensch. “The Harp in School Music.” Music Educators Journal 37, no. 5 (April-May 1951): 40. 13 Patricia McNulty Wooster, “Need a Harp? Need a Harpist?” in A Harp in the School: A Guide for School Ensemble Directors and Harpists , Ed. Chelcy Bowles (American String Teachers Association, 2006), 14. 14 Roslyn Maria Rensch, “The Harp in School Music.” Music Educators Journal 37, no. 5 (April-May 1951): 39-40.

4. Can the harpist set the pedals or levers correctly at the beginning of a piece or passage? 15

Many student harpists are able to proficiently play prior to joining an ensemble, but spend hours of practice on one piece. Playing in an ensemble forces any musician to use their ear to listen to more than one instrument and to use their eyes to read the music and follow the conductor. Unless a student harpist has prior ensemble experience on a different instrument, they will be behind the rest of their peers from the beginning of the rehearsal.

Although the focus of this project is on the benefits for the harp student to have ensemble experience, there are many other benefits for the other students, as are also listed by Roslyn Rensch: beginning composers need to be acquainted with the instrument, theorists will find their work “more fascinating when applied to the harp,” 16 and it provides those students who have always wanted to learn the instrument or about the instrument with a valuable opportunity.

15 Wendy Kerner Lucas and Gail Barber, “Choosing Appropriate Repertoire,” in A Harp in the School: A Guide for School Ensemble Directors and Harpists , Ed. Chelcy Bowles (American String Teachers Association, 2006), 28. 16 Roslyn Maria Rensch. “The Harp in School Music.” Music Educators Journal 37, no. 5 (April-May 1951): 39-40.

CHAPTER IV

METHODOLOGY

Before creating the project, other beginning methods were researched. During initial research it was found that string pedagogy books and methods do not include harp.

This was further confirmed with additional searching through popular string methods in local music stores. A knowledgeable music store owner shared which beginning age groups certain methods appealed to, and guided the author toward those most popular for elementary school programs.

One of the primary methods consulted was All for Strings by Gerald E.

Anderson and Robert S. Frost, another was String Builder by Samuel Applebaum. In these methods, it was noticed that some information is presented in a different order than other beginning harp method books. Key signatures, for instance, are presented in harp methods with the Key of C Major first, and then progress toward the sharp keys. String methods, however, begin in the key of D Major due to the location of half steps on the strings. It was decided that in order for the harp to join the string ensemble, this harp method would have to present key signatures in the same order as the already established string pedagogical methods.

If a student is choosing an instrument for the first time in an elementary school and has no other musical experience, they may have the opportunity to choose from a variety of string instruments. This harp method, therefore, would have to be

20 presented to an elementary aged student with no musical background and no prior experience with any instrument. Detailed care and handling of the instrument have to be presented first, so that the student will understand the responsibility they will be undertaking.

To allow an ensemble to play together and each read different parts, the basics of the music staff and notation are presented next. This brings each student to the same understanding of music and their part. As an ensemble, the ability to follow a conductor and understand what they see is another necessary beginning skill, so basic conducting patterns are included. Since class time is limited, theory games and activities are presented sporadically through each topic so that the music educator can decide to do them as in class exercises or homework assignments.

Preparation for each topic and section comes from personal knowledge and teaching experience, as well as various harp and string method books. Some topics are simplified or explained in a variety of ways to make the concept easier to grasp and more interesting. Music history and interesting facts are also added with the intent to make the topic more fun to learn and give the student a story or idea to connect with the musical idea.

The initial method book was created following a similar general outline to All for Strings by Gerald E. Anderson and Robert S. Frost, but then revised to include more theory exercises and interesting facts and stories. The purpose of this method book, with its variety of presentation means and ideas, is such that it could be modified to assist any

21 music educator in incorporating a harp in their program and create a well-rounded musician.

CHAPTER V

SUMMARY

In light of having developed an elementary string method for harp, educators now have an additional resource at their disposal when presented with a harp student.

Educators, harp instructors, harp students and the community will all benefit from a harp being included in the elementary string ensemble.

Educators will be able to include the harp student with the rest of the class when teaching conducting patterns, basic theory and new musical terms. Instead of seeking out a private harp instructor to volunteer his or her time creating harp parts, the music educator now has a method with harp instruction and harp parts already arranged for popular beginning ensemble works. This solves the daily challenge an instructor may face when dealing with such a unique instrument.

The harp student will have a valuable opportunity to gain the same ensemble education as their peers and learn to play as part of a group instead of performing only solo works. This will not only give the harp student a better basic and well-rounded musical education, but give them the tools needed to succeed in later ensembles.

Additionally, the ability for this project to be practically used in elementary schools will promote education about the harp in the other students, faculty and the community in which the method is being utilized. As an increasingly important part of

23 ensemble repertoire, the harp will now be able to be enjoyed and understood by a larger portion of the general public.

Recommendations

It is recommended that this harp method be used in an elementary classroom along with other string instrumentalists. In no way is this method comprehensive or subscribing to any of the major harp schools of technique. Instead, it is meant to be general and able to be adapted to other string ensemble methods. Also, it should not be used solely in place of private education from a competent harp teacher. Specific issues a student may have with the technique and creative solutions specific to the student are only able to be presented in person by a competent harp instructor.

BIBLIOGRAPHY

Adamo, Mark. “On Babes and Angels.” New Music Box (23 May 2007).

http://www.newmusicbox.org/article.nmbx?id=5095 (accessed September 24, 2008).

Allen, Michael, Robert Gillespie and Pamela Tellejohn Hayes. Essential Elements for

Strings. Milwaukee: Hal Leonard, 1994.

Anderson, Gerald E. and Robert S. Frost. All for Strings . San Diego: Neil A. Kjos Music

Company, 1985.

Applebaum, Samuel. String Builder, Book I . Van Nuys, CA: Alfred Publishing, 1988.

Bowles, Chelcy, ed. A Harp in the School: A Guide for School Ensemble Directors and

Harpists. American String Teachers Association, 2006.

DeVale, Sue Carol. “Harp: Modern Technique and Repertory.” Oxford Music Online .

http://www.oxfordmusiconline.com.mantis.csuchico.edu/subscriber/article/grove/mus

ic/45738pg5#S45738.5 (accessed September 10, 2008).

Kodály, Zoltán. “The Selected Writings of Zoltán Kodály” Edited by Ferenc Bónis.

Translated by Lili Halápy and Fred Macnicol. London: Boosey and Hawkes, 1974.

Lawrence, Lucile and Carlos Salzedo. Method for the Harp . New York: G. Schirmer,

Inc., 1929.

Pocket Music Dictionary . Hal Leonard,1993.

Rensch, Roslyn Maria. Harps and Harpists. Bloomington: Indiana University Press,

1989. 25

Rensch, Roslyn Maria. “The Harp in School Music.” Music Educators Journal 37, no. 5

(April-May 1951): 39-40.

Renié, Henriette. Complete Method for Harp . Translated by Geraldine Ruegg. Paris:

Alphonse Leduc, 1966.

Stolba, K. Marie. The Development of Western Music: A History . Boston: McGraw-Hill,

1998.

APPENDIX A

TABLE OF CONTENTS

PAGE

Index of Tunes ...... 30

List of Figures ...... 34

Chapter Fundamentals of Music ...... 35 Care of Instrument ...... 37 Fundamental Considerations ...... 38 Accessories ...... 38 Instrument Position ...... 38 Hand Position ...... 40

Chapter II Fundamentals of Music ...... 42

Chapter III Beginning with the Strings...... 44

Chapter IV Introduction of Additional Strings ...... 52

Chapter V Half Rest ...... 56

Chapter VI Addition of F# into the Melody Line ...... 59

Chapter VII Introduction of the Tetrachord ...... 63

Chapter VIII Quarter Rest and Key of D...... 65

Chapter IX Introduction of a New Form ...... 80

Chapter X Taking the Next Step: New Time Signature and Note Value ...... 82

Chapter XI New Markings ...... 88

Chapter XII Arpeggios ...... 93

Chapter XIII Tonic and Dominant Chords ...... 100

Chapter XIV New Musical Terms: Eighth Note, Tempo Markings and Fermata ...... 105

Chapter XV Key of C and Dynamics ...... 113

Chapter XVI New Musical Form: Theme and Variations ...... 124

Extra Warm Ups ...... 126

Glossary ...... 128

Answer Key ...... 131

INDEX OF TUNES

1. D String 2. A String 3. Dance of D and A 4. Half Notes 5. Quarters and Halves 6. Fingers Other Than 2, Exercise 1 7. Fingers Other Than 2, Exercise 2 8. Fingers Other Than 2, Exercise 3 9. Fingers Other Than 2, Exercise 4 10. Changing Rhythms 11. Introduction of G 12. Center on D 13. Three by Three 14. Three by Three, Exercise 2 15. C and E Strings 16. Circle Dance 17. Theory Game, Note Names 18. Rolling Along 19. Tricks 20. Half Rest 21. Theory Game, Counts 22. Highs and Lows 23. Hands Together 24. Two by Two 25. Two by Two, Exercise 2 26. Two by Two, Exercise 3 27. Exercise 28. Theory Game, Counts 29. Review of 3 Note Pattern, Exercise 1 30. Review of 3 Note Pattern, Exercise 2 31. Review of 3 Note Pattern, Exercise 3 32. Review of 3 Note Pattern, Exercise 4 33. Mary Had a Little Lamb 34. Hot Cross Buns 35. French Folk Song 36. Exercise 37. The Countdown 38. The Answer 39. Theory Game, Note Names 40. Major Tetrachord 41. Major Tetrachord, Exercise 2

42. Exercise 43. Ode to Joy 44. Theory Game, Note Names 45. Quarter Rest 46. Theory Game, Counts 47. Climbing 48. Norwegian Folk Song 49. 3 Note Chords 50. Theory Game, Counts 51. Key of D 52. Lightly Row 53. Theory Game, Counts 54. Theory Game, Finish the Measure 55. Jingle Bells 56. Octave 57. Octave, Exercise 2 58. Theory Game, Note Names 59. Traditional French Folk Song 60. Interval Fun 61. Interval Fun, Exercise 2 62. Interval Fun, Exercise 3 63. D Major Scale 64. Half Note Scale 65. D.S. al Fine 66. Etude #1 67. Etude #2 68. Etude #3 69. Two Hands 70. Whole Note 71. Bohemian Folk Song 72. Twinkle Twinkle Little Star 73. Theory Game, Scales 74. Picking-Up the Pieces 75. Exercise 76. In 3 77. Theory Game, Counts 78. Pit Stop 79. French Folk Song 80. Theory Game, Counts 81. D.C. al Fine 82. Scotland’s Burning 83. Theory Game, Counts 84. New Lines 85. Slur

86. Exercise 87. Hand Stretches 88. Theory Game, Note Names 89. Go Tell Aunt Rhody 90. Exercise 91. In Three 92. Hickory Dickory Dock 93. Exercise 94. Arpeggios 95. Arpeggios, Exercise 2 96. Exercise 97. Harp Solo 98. Theory Game, Bar Lines 99. Rolled Chords Review 100. Replacing the Fourth Finger 101. Left Hand Acrobatics 102. Exercise 103. London Bridge 104. G Major Scale 105. Crossing Over 106. Etude #4 107. Etude #5 108. Etude #6 109. Chord Progression 110. Peter Peter 111. Reuben and Rachel 112. Exercise 113. Exercise 114. Theory Game, Rhythm 115. String Quintet 116. Eighth Notes 117. Lavender’s Blue 118. She’ll Be Comin’ ‘Round the Mountain 119. Theory Game, Counts 120. Yankee Doodle 121. Long Long Ago 122. Away in the Manger 123. Can-Can 124. Theory Game, Bar Lines 125. Niccolò Paganini 126. Kookaburra 127. Jolly Old St. Nicholas 128. Ritardando 129. Theory Game, Counts

130. Key of C 131. Good Morning to All 132. Theory Game, Key Signature 133. Keep the Music Ringing 134. A Tisket A Tasket 135. Etude #7 136. Theory Game, Matching 137. Etude #8 138. Oh Where, Oh Where Has My Little Dog Gone? 139. Exercise 140. C Major Scale 141. Exercise 142. Etude #9 143. Ebb and Flow 144. Evening Hymn 145. French Folk Song 146. On the Bridge of Avignon 147. Arpeggio Warm-Up 148. When Love is Kind 149. Oh When the Saints 150. Skip to My Lou 151. Shepherd’s Hey 152. Arpeggio Warm-Up #2 153. Trio 154. Theme and Variations 155. Lullaby 156. Extra Warm-Ups 1. Treble Clef 2. Bass Clef 3. Three note chords 4. In Thirds

LIST OF FIGURES

FIGURE PAGE

1. Orchestral Pedal Harp ...... 35

2. The seven pedals of the double action pedal harp ...... 36

3. Lever Harp ...... 36

4. Levers of a lever harp ...... 37

5. Sitting correctly at a pedal harp with the instrument on the floor ...... 39

6. Sitting correctly at a lever harp with the instrument on the floor ...... 39

7. Sitting correctly at a pedal harp with the instrument pulled back...... 40

8. Sitting correctly at a lever harp with the instrument pulled back ...... 40

9. Hand position for the right hand ...... 40

10. Hand position for the left hand ...... 40

11. Correct closed hand position ...... 41

12. F Pedal in sharp position ...... 59

13. F Lever in sharp position ...... 59

14. Left hand octave on G ...... 69

15. Right hand crossing under from F to G for the ascending scale ...... 72

16. Right hand harmonic on F...... 77

17. Left hand harmonic on A ...... 77

18. Right hand harmonic on F...... 97

Chapter I

BEGINNING FUNDAMENTALS

Column

Tuning Pins

Rotating Discs

Curving Neck

Neck

Body of Harp

Sound Board

Base

Feet

Pedals

Figure 1. Orchestral pedal harp

Figure 2. The seven pedals of the double action pedal harp.

Tuning Pins

Column

Levers

Neck

Curving Neck

Sound Board

Body of Harp

Base

Feet

Figure 3. Lever harp

Down

Figure 4. Levers of a lever harp.

Care of Instrument

1. Always handle your instrument with care. Be careful not to bump the wood with

anything around the instrument, such as your chair or music stand, as it may cause

the instrument to go out of tune and need adjusting.

2. Tune your instrument daily. Not only is it better to develop your ear as a musician

by hearing an instrument that is in tune, but it is better for the instrument to retain

the intended tension of the strings. For help on tuning, see Appendix B.

3. Never leave the tuning key on the tuning pegs as it may fall and could damage the

instrument.

4. Always cover your instrument when you are not using it.

5. The harp should never be in extreme hot or cold temperatures. It is best, if

possible, to keep the harp along an inside wall in a room that will keep a constant

temperature between about 65˚F and 75˚F.

6. Do not attempt your own repairs. Only a trained harp technician should handle

repairing your harp.

7. Always wash your hands before handling your instrument.

8. Do not let others play your instrument.

Fundamental Considerations

1. Fingernails should always be kept short.

2. Clothing should always cover your knees when playing your instrument. Oils and

dirt from your skin can damage the wood.

3. The red strings are note name “C” and the black or blue strings are note name

“F.”

Accessories

1. Tuning key

2. Chromatic Tuner

3. Seat or bench of the correct height

4. Soft cloth

5. Music stand

6. Music folder

7. Metronome

Instrument Position

1. Sit in the middle of the chair or stool, neither too close to the edge nor all the way

to the back.

a. Sit erect, without slouching or being too tense.

b. Pay attention to your shoulders as you play, they should not rise up.

Figure 5. Above left, Sitting correctly at a pedal harp with the instrument on the floor Figure 6. Above right, Sitting correctly at a lever harp with the instrument on the floor

2. The correct height of the chair or stool is determined by where the harpist’s hands

rest on the strings. If the hands are too high on the strings, the seat is too high. If

the hands are too low on the strings, the seat is too low. The hands should be

placed comfortably at the middle of the strings.

3. The instrument should be placed very straight in front of the right shoulder, so

that when pulled back it rests on the right shoulder as well as the inside of both

knees.

Figure 7. Above left, Sitting correctly a t a pedal harp with the instrument pulled back Figure 8. Above right, Sitting correctly at a lever harp with the instrument pulled back

4. When not on pedals, both feet should be flat on the floor, not crossed or tucked

under the bench.

Hand Position

Figure 9. Above left, Hand position for the right hand . Figure 10. Above right, Hand position for the left hand.

1. Hands should be curved, maintaining a hollow in the palm as if holding a tennis

ball.

2. Fingers should be slightly slanted downward. Only four fingers are used. The fifth

(pinky) is too short and too weak. The fifth finger should instead follow the fourth

(ring finger).

3. Knuckles should be curved slightly out and the strings plucked with just finger

tips.

4. Wrists should be in a natural positio n, as they are when resting the entire forearm

on a table.

5. Forearms are generally parallel to the floor.

6. Thumbs should be raised higher than the rest of the fingers, creating a curve

between the thumb and second (index) finger and creating a hollow in the palm.

7. Both hands should be almost the same level on the strings, with the left slightly

lower than the right.

8. After playing, the hand should close completely, loosely, with the fi ngers flat and

not curved under.

Figure 11. Correct closed hand posit ion

CHAPTER II

FUNDAMENTALS OF MUSIC

The Staff ledger line Ledger lines are the lines above or below the staff that extend it. To find out what the note name is, keep counting the letters in order.

The Grand Staff

F E D C B Treble Clef A The treble clef is also called the “G” clef- G F E The curve goes around the G line.

A G F E Bass Clef D The bass clef is also called the “F” clef. The C B A dots are on each side of the F line. G

Measures ↓ ↓ Measures are the spaces between the bar lines . Bar lines separate the measures.

Bar lines ↑ ↑

Quarter Note = = 1 beat  Half Note = = 2 beats  Whole Rest = = 4 beats of silence 42

Time Signature

4 indicates the number of beats in a measure 4 means a quarter note receives one beat

Watching the Conducting Pattern

When looking at the conductor from your seat, you will see: Counting the Beats

1 2 3 4 4     4 3 1 2   4   

   What the conductor is doing is reversed from how the musicians see it:

2 1 3

CHAPTER III

BEGINNING WITH THE STRINGS

D A D is located one string up from C (the red string).

A is located two strings up from F (the blue or black string).

Activity: Take a blank piece of paper and trace around your hand. Label your finger numbers, starting with your thumb as “1,” index finger as “2” and so on. D A • Remember – only use fingers one through four.

D A

The Strings

• Use your 2 nd finger, closing your hand completely after each note. • Count out loud.

D String Repeat sign : repeat the previous section of music. ↓ 1.

A String 2.

String Recognition Label the strings on the harp below:

Symbols and Their Names

# Sharp A sharp makes the note higher. Raise levers or set the correct pedals when you see a sharp. Flat  A flat makes the note lower. Place pedals into the flat position when you see a flat. Lever harps must have their strings retuned in order to play flats. § Natural A natural cancels out a sharp or a flat. When pedals are in the “natural” position, they are all in the middle. When levers are in their “natural” position, they are all down.

Pedal Diagram D C B E F G A UP or Flat (b) position

MIDDLE or Natural (§) position

DOWN or Sharp (#) position

3 4

Marks the middle of the harp, or where the pedals split

Dance of D and A

• Before you begin, move all levers on the black strings to the UP position Pedal harps: set pedals with F# 3.

Theory Activity – Label the pedals.

Db C§

Intervals 17

An interval is the distance between two notes.

Fingering of Two Notes at Once

2nd 3rd 4th 5th 6th 7th 8th /Octave

• Intervals are fingered the same way in both the right and left hand. • To name an interval, count the first note as “1” and count up lines and spaces like a ladder. The distance from C to D is a 2 nd , because if you count C as “1,” the second note is D. In the same way, if C is “1” then a third above is E.

C D E 1 2 3

Theory Assignment- Name the notes:

17 Qualities such as major, minor, augmented and diminished would be covered with additional study of music theory. For this beginning method, the numerical interval will be covered.

Half Notes

Lever harps: add C#. Keep F# (all black strings) in the UP position. Change all red string levers to the UP position. Pedal harps: set pedals with F# and C#

• Place your hands on the strings. Check hand position. At the end of each measure, be sure to close your hands completely. • Name the intervals.

Quarters and Halves 18

• A good way to remember the difference between quarter notes and half notes is: Quarter note is a filled in circle and a half note is empty inside 5.

18 For the instructor: A useful illustration would be to show the students four quarters to represent the quarter notes; a tennis ball that has been cut in half shows the open circle which is representative of a half note.

• Sometimes a harpist will play notes in the treble clef with the left hand. To help you see this better, there is a curved dotted line where this occurs.

When the curve looks like: Play these notes with your left hand (L.H).

When the curve looks like: Play these notes with your right hand (R.H).

Using Fingers other than 2

• Place all 4 fingers in each hand on the strings as indicated by the notes and diamond shaped notes. Do not play the diamond shaped notes, but keep those fingers on the strings. • Throughout this piece, you will keep your hands in the same place. When playing your 1 st finger (thumb) in measure 3, keep your 2 nd , 3 rd and 4 th fingers on the strings. • Check that your thumbs are higher than the rest of your fingers.

• Are just the tips of your fingers on the strings?

• Be sure that when you are playing an interval- two notes at the same time, that you place your fingers on the strings at the exact same time.

Bracket A bracket shows which fingers should be placed on the strings at the same time, but the notes are often played one at a time. 8.

• Make circles with, or roll, your shoulders to make sure they are relaxed. • Keep your thumb high.

9. In the following: In measure 5, place both the 3 rd and 1 st finger at the same time. The first group, keep the thumb (1 st finger) on the string while playing the 3 rd finger. The second group is the opposite. Keep the third finger firmly on the string while the 1 st finger plays. Be sure to close the thumb and touch it to the side of your 2 nd finger. 5

Changing Rhythms 10.

• Close hand completely at the end of each group.

Theory Assignment –

Draw five notes like the example provided.

Draw the Clefs - Trace the gray clef as an example. - Draw 1 clef per measure.

 |  | | | | | | | | |  

CHAPTER IV

INTRODUCTION OF ADDITIONAL STRINGS

G G G

G (same note)

Activity: Sit at your harp and play every “G” string you can find, one at a time. If you play them at the same time, do they sound alike? Every G should sound alike.

• Close hand completely after each note. 11.

Center on D

• Notice the top note in the L.H. is the same as the bottom note in the R.H. • The harp does not always have someone else on the same part. In the next piece you will be playing at different times than other instruments. • Set F# for this piece.

12.

Three by Three

• You will need F# and C# set for this piece.

13.

• Look through the entire next piece. What sharps (#) do you see? Make sure you change the F’s to F#.

14.

C and E Strings

• With the first notes in the right hand, place all three. Play the third finger alone and then the first and second together. 15.

Circle Dance (Set F# and C#) 16.

17. Theory Activity – Fill in the name of each note.

Rolling Along

Rolled chords : To the left is the squiggly line symbol for a rolled chord. Slightly roll the half note chords by placing the fingers the same as you would to play them together, but play the notes from the bottom up, in rapid succession.

18.

Tricks

• Play each section four times. Carefully place fingers to avoid making a buzzing noise on other strings. • Only use your second finger and thumb. Set F# and C# before you begin.

19.

Theory Assignment – Draw a line from the symbol to its correct name. Be careful! Some might have more than one match!

1. A. Treble Clef  2. # B. Half Note 3. C. Quarter Note  4. D. Bass Clef

5. E. One Beat

6. F. G

7. G. Two Beats

8. H. C Sharp  9. I. Sharp  J. F Sharp

K. D

CHAPTER V

HALF REST

Half Rest Counting the Beats 1 2 3 4

= 2 beats of silence or rest 4

4  

   

Activity : Before you play the next piece, count out loud and clap the rhythm.

20.

• Set F# and C#. Always place your fingers in the order they will be played.

Move L.H. quickly and place it.

21. Theory Assignment – Write in the counts.

Highs and Lows 22.

• Look at the music before you play. Do you need to change any levers or pedals to the sharp position?

Hands Together 23.

• Close hands after every beat.

Two by Two 24. • Place bracketed groups at the same time, play one at a time.

25.

26.

• Be sure to close your hand completely and LIFT between the bracketed groups.

Additional Information: A slight lift or movement out and away from the strings allows the sound to travel farther. Experiment by playing a note and not moving your hand at all. The sound hits your hand and does not seem to ring as long. This movement is called a gesture .

27.

• Check for any levers or pedals that will need to be set before you play.

28. Theory Assignment – Write in the counting.

CHAPTER VI

ADDITION OF F# INTO THE MELODY LINE

Half Steps and Whole S teps

A half step is the distance between a note and the next closest note A whole step is equal to two half steps.

The distance from F to F# is a half step. This happens when you lift the lever UP, or press the F pedal DOWN.

Figure 12. Above left, F Pedal in sharp position Figure 13. Above right, F Lever in sharp position

Activity: Play an F on your instrument. This is also called a natural . Now move the F lever UP or the F pedal down, depending on your instrument. Play the F again, now a half step higher, it is an F#. Can you hear the difference? Do this five times. Try different F strings.

Review of 3 Note Patterns

• Change F# and C# 29.

30. • Close each finger completely as it plays.

31.

• Practice Tip: Practice each hand separately before putting them together. • Interval of a 6 th : Count from the bottom note to the top, counting each line and space. You can also count by letter names. For example, A to F is a 6 th : A B C D E F 1 2 3 4 5 6

• The sixths that you see below go from a space to a line. Use your 3 rd finger and thumb when you play a sixth.

32.

• Replacing – Play 3, 2, 1, but before you actually play your thumb, put your second and third fingers back down on the strings.

Mary Had a Little Lamb 19 33.

Hot Cross Buns 20

• You can roll these half note chords. 34.

French Folk Song 21 35.

36.

19 The harp part is an accompaniment to the ensemble playing this well known melody. Original text was written by Sarah Josepha Hale as a poem and then set to music by Lowell Mason in the 1830’s. Public Domain, 1866. 20 Traditional Nursery Rhyme, Hot Cross Buns , Public Domain. Harp part is accompaniment for other instruments to play the original melody. The harp student would hear the other parts and melody in a class rehearsal. 21 Harp part can be used to accompany the traditional French folksong, Au Clair de la Lune , Public Domain, 1811.

The Countdown – Name the Intervals 37.

The Answer 38.

39. Theory Activity – Write in the note names.

CHAPTER VII

INTRODUCTION OF THE TETRACHORD

Major Tetrachord

A major tetrachord is a common tetrachord, made up of 4 notes with the distance between being –

Whole Step (W), Whole Step, Half Step (H).

“Tetra” means four! Take a look at the piano D E F# G keyboard to see how a whole step skips a note and half steps are the note right next door. W W H

40.

• Place all four fingers at the same time. Close each finger when done playing. Change F#

41. Change F# and C#

Review: Do you remember what this is called?  How many beats does it get? 42.

Ode to Joy 22 43. Beethoven

A Little Bit of History: Ludwig van Beethoven (1770-1827) wrote Ode to Joy as part of his Ninth Symphony. The Ninth Symphony was written when Beethoven was completely deaf.

44. Theory Activity – Write in the notes for the letter names using quarter notes. Name the given notes.

22 Beethoven, Ludwig van, Ode to Joy , Public Domain, 1823.

CHAPTER VIII

QUARTER REST AND KEY OF D

Quarter Rest Counting the Beats

1 2 3 4 equals 1 beat of silence     4     4    

   

45.

46. Theory Assignment – Write in the counts.

Climbing 47.

Norwegian Folk Song 23

48.

3 Note Chords

49.

• A chord is a group of three or more notes played at the same time. • Place all three notes of the three note chords at the same time. • Roll each chord that is made up of half notes as indicated by this symbol:

50. Theory Activity – Write in the counts.

23 Traditional, Norwegian Folk Song , Public Domain.

New Key Signature: Key of D

This is the key signature for D Major .24 Notice that there is a sharp sign (#) on the F line and a sharp sign on the C line. When you see this, set your pedals or levers with the F’s and C’s in their sharp position.

51.

Lightly Row 25

• Roll every chord. 52.

24 This key signature is also the key signature for b minor. Further study in music theory is needed to acquire a more broad understanding of key signatures. 25 Traditional, Lightly Row , Public Domain, 1885.

53. Theory Assignment – Write in how many counts each note will receive if = 1 beat. 

54. Theory Activity – Finish each measure by adding notes to make the total of each measure equal to four beats.

Glissandos

A glissando is when you move your second finger or thumb along the strings, making each note sound without closing your hand in between.

When playing a glissando, keep your hand in its normal position. Make sure the knuckle of your second finger is rounded and move your entire arm toward you. Be sure to begin and end on the notated notes at the beginning and end of the glissando.

Jingle Bells 26 55.

26 Pierpont, James, Jingle Bells , Public Domain, 1857. Harp part is an accompaniment to the known melody. The harp student would hear the melody and parts during class rehearsal.

New Key Signature: Key of A

When there are three sharps, the key signature is A Major. 27 Notice that the newest sharp is on the “G” space.

When playing in A Major, set your G levers or G pedal in the sharp position as well as F and C.

Interval of an O ctave

An octave is eight notes apart and goes from same letter name to same letter name. For example, G to the next closest G is an octave.

Use your thumbs (first fingers) and fourth fingers for intervals of an octave . Your hand will look straighter on the strings in order to stretch the distance. Figure 14 . Left hand octave on G

56.

• Roll the half note chords . As always, close your hand completely between each chord.

27 This is also the key signature for f -sharp minor. Further study in music theory is needed to acquire a more broad understanding of key signatures.

57.

• Place your fingers and then look at your hands. Do they look like the picture above?

58. Theory Activity – Write each note name.

Traditional French Folk Song 28 59.

Interval Fun 60.

28 Harp part can be used to accompany the traditional French folksong, Au Clair de la Lune , Public Domain, 1811. This is a more challenging accompaniment for the student than the earlier exercise with the same melody.

61. Theory Activity – Name the interval.

62.

• Place your hands for all four notes in the 3 rd measure at the same time. Your hands will overlap.

D Major Scale

The major scale is made up of two major tetrachords that are separated by a whole step (See Chapter VII for more on the Tetrachord).

This is how it looks on a piano: This is how it looks on harp strings:

W W H W W H

Tetrachord 1 Tetrachord 2

D E F# G A B C# D W W H W W H

Tetrachord 1 Tetrachord 2

D E F# G A B C# D

63.

Scale with One H and When playing a scale with one hand, the fingers must cross under or over one another. Going UP a scale, keep your thumb HIGH and place the fourth finger LOW on the next string. When coming DOWN, keep your fourth finger LOW and place the thumb HIGH on the next string.

Figure 15 . Right hand crossing under from F to G for the ascending scale

• Cross under where you see the “X.” 64.

X X

In a scale, each note can be assigned a number. We will call this a scale degree.

Degree: 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 (or 1) (or 1)

• Notice that D is the first note, and therefore scale degree number one. An octave, or eight notes above it is also a D. This note could be considered the eighth scale degree or again the first scale degree because it has the same letter name.

New Term – D.S. al Fine D.S. al Fine is an abbreviation of Dal Segno al Fine which means, return to the sign ( )  and play until you see the word Fine. An ensemble is a group of musicians.

Music organized like this:

Intro A B

Fine D.S. al Fine 2 6 8    

Is performed like this:

Intro A B A

Fine D.S. al Fine Fine 2 6 8 6     

65.

Etude #1 An etude addresses a specific instrumental technique. This etude focuses on four-finger chord patterns. There are four positions of four finger chord patterns, shown below. As you place each group of four notes, note how the distance between them changes. This causes your hand to look slightly different in each position. Place all four fingers at the same time.

Position 1 Position 2 Position 3 Position 4

• To connect ascending chord patterns with descending chord patterns, replace your second, third and fourth fingers before playing your thumb.

66.

Note Stems

Normally, the stems on notes change direction on the third line of the staff. Below the third line they go up on the right side of the note, and above the third line they go down on the left side of the note.

Stem UP on right side → ← stem DOWN on left side

Frequently in harp music, the stems show which hand you should use to play the notes.

In the following piece, the notation of which hand should be used is marked in the first five measures. Continue this through the rest of the piece, paying close attention to the direction of the stems.

• Lever harps have fewer strings than pedal harps. The notes in parenthesis ( ) are optional, play only if your harp has strings that low.

Etude #2 67.

Theory Game – Note name review

Harmonics

A harmonic on the harp is produced when the string is pressed in the middle with one part of the hand, and the top half of the string is plucked. This produces a pure sound that is the same as one octave higher than the note played.

Sounds here A harmonic played here

For the right hand: The second finger will be pressed against the string. Place the second finger against the string between the first and second knuckles, but closest to the first. Keep the thumb high and with the edge of the thumb, pluck the string. Immediately take the hand away as to let the string vibrate.

For the left hand: The outside of the lower palm is pressed against the string. The string is plucked with the outside edge of the thumb, as with the right hand. The rest of the fingers are upright, but slightly bent. Again, as with the right hand, immediately take the hand away and let the string vibrate.

Hands look like this:

Right Hand: String is plucked here Left Hand:

Finger or hand presses string here

Figure 16. Above left, Right hand harmonic on F Figure 17. Above right, Left hand harmonic on A

Etude #3 68.

Two Hands 69.

New Note – Whole Note Counting the Beats

1 2 3 4

= 4 beats 4 www

4  

   

70.

• Check your hand position for the octaves in the left hand. Gesture and close hands completely. • Roll each chord.

Bohemian Folk Song

• Cross over with the right hand at the “X.” Round 71.

CHAPTER IX

INTRODUCTION OF A NEW FORM

AABA Form Activity: Many standard popular songs of the 1930s through 1960s In AABA form, the first musical section, or “A,” use this form. See if you can name is played twice. This is followed by a contrasting some songs that use this form. Section, “B.” Section A is then restated.

Interval of a 10 th

Because the strings on a harp are closer together than other instruments, such as the piano, it is easier to play intervals over an octave. The interval of a 10 th is common in harp music. Use the first and fourth fingers when playing a 10 th . The hand will appear even straighter on the strings than with an octave. The distance from G to B is a 10 th :

G A B C D E F G A B 1 2 3 4 5 6 7 8 9 10

Twinkle Twinkle Little Star 29 72.

29 Traditional, Twinkle Twinkle Little Star, Public Domain, 1765. The harp part is an accompaniment to this tune. The student would hear all parts and the actual tune played during a class rehearsal.

73. Theory Assignment – Using whole notes, draw the D major and A major scales. Mark the correct sharps (#), then write in the letter names.

Above, write the symbol or key signature, as indicated.

Pickup A Pickup is a note or notes that come before the first full measure of a piece. It is also called an upbeat or an anacrusis .

Interesting Fact: Music is math! 30 The beats in the last measure and the pickup beat should add up to the number of beats in a normal measure. In this case, they add up to four.

Picking Up the Pieces 74.

30 More information on the relationship of music and mathematics can be found with further study of the philosophies of Plato in Timaeus which determined the relationship of intervals of our musical scale. Other Greek philosophers such as Aristotle also wrote about the relationship of music and mathematics.

CHAPTER X

TAKING THE NEXT STEP: NEW TIME SIGNATURE AND NOTE VALUE

New Time Signature Counting the Beats 1 2 3 3 indicates the number of beats in a measure 3 .  4 means a quarter note equals one beat 4   

 

 

New Note

Dotted Half Note = 3 beats

Two beats + 1 beat = 3 beats

A half note ( ), 2 beats, plus a dot (.), 1 beat, equals 3 beats (the dot adds half the value of  the note).

Watching the Conductor:

What you see when you look at What the conductor sees when he or the conductor: she employs this conducting pattern:

3 3

2 1 2 1

75.

• Play the entire piece with your L.H., and then play the entire piece with your R.H.

In 3

• Be sure to end your glissando on D. 76.

77. Theory Activity – Write in the counts.

Harp Check Up

78. Check the following:

1. Are your feet flat on the floor? 4. Do you close your hand when you play? 2. Are you sitting up straight? 5. Are your fingernails short? 3. Are your thumbs up? 6. Are you gesturing when you finish a line?

French Folk Song 31

• Look at the piece before you play. Practice crossing your hands over one another before you start, as in measures 9-16.

79.

80. Theory Activity – Write in the counts. Count out loud.

31 Traditional, French Folk Song , Public Domain. Harp accompaniment can be played with the string parts in All for Strings , exercise 89.

D.C. al Fine D.C. al Fine means to return to the beginning and play until you see the word Fine .

81.

• Check the time signature. Count the rhythm before you play.

New Key Signature – Key of G

When there is one sharp, the key signature is G Major.32 Notice that the only sharp is on the “F” line. You will only need to make your F’s sharp.

Scotland’s Burning 33 82. English Round

32 This is also the key signature for e minor. Further study in music theory is needed to acquire a more broad understanding of key signatures. 33 Traditional Round, Scotland’s Burning , Public Domain.

83. Theory Activity – Make both sides equal each other by notating up to two notes or rests that equal the given side.

. = | = | = | = | = | = | = |    w      

CHAPTER XI

NEW MARKINGS

8va means to play one octave (eight notes) higher than they are written. In the same way, 8vb means to play one octave below .

• Since all the music below is on the same staff, play the notes with the stems UP with the R.H. and the notes with the stems down with the L.H.

84.

Slur

A slur is a curved line connecting two or more notes of different pitches, indicating that they are to be played legato , or smoothly. Press the string harder before you play the first note of the slur to create a smooth effect on the harp.

• When playing four notes at once, as in the R.H. in measure 8, be sure to close the hand completely. Fourth finger and pinky must end up in the palm. 85.

86.

Hand Stretches

87.

• Place your L.H. notes at the same time. Check your hand position regularly to be sure your thumb is high and the fingers that are not on notes are relaxed. When using the fourth, second, and first fingers, the first and fourth fingers should be almost parallel on the strings. The second finger should be curved down in the normal position. Watch to see that your third finger stays tucked in instead of tensing and curving upwards, and that your pinky remains next to the fourth finger and not sticking out on its own.

88. Theory Activity – Name the notes. Play the piece.

Go Tell Aunt Rhody34

• Before you play, review the piece below, can you remember what D.C. al Fine means? See page 92 for review.

89. American Folk Song

• Place the groups at the same time. Practice “blocking” the chords, playing all four notes at the same time, and then play each note as written. 90.

34 Traditional, Go Tell Aunt Rhody , Public Domain, 1844.

In Three 91.

Tie A tie is a curved line connecting two notes on the same pitch that shows they are to be played as one note.

3 beats + 1 beat = 4 beats

Hickory Dickory Dock 35 92. A breath mark means there should be a break in the sound. The symbol  means to dampen (stop them from vibrating) all the strings on the harp.

• The glissando at the end should be played entirely with you R.H. Place your L.H. on the octave and be ready to play when the R.H. reaches the end of the glissando.

35 Traditional, Hickory Dickory Dock , Public Domain, 1765.

New Time Signature

2 indicates number of beats in a measure Counting the Beats 4 means a quarter note equals one beat 1 2 2   4 

  Watching the Conductor

What you see when you look at What the conductor sees when he or the conductor: she employs this conducting pattern:

2 2

1 1

• When starting a new piece, be sure to check the key signature to determine which levers or pedals need to be changed. 93.

CHAPTER XII

ARPEGGIOS

An arpeggio is a chord that is written out to notate that the notes are played in rapid succession in the written rhythm. This is different from a rolled chord in that a chord that is rolled is notated as a chord with the notes stacked on top of one another. The notes of a rolled chord are played in rapid succession of one another on one beat.

A little bit of history: The word “arpeggio” comes from the Italian word arpeggiare which means, ‘to play the harp.’ 36

• Practice these chords “blocked” first. Get used to crossing the hands over one another. Pay attention to the direction of the stems, and then play as written.

94.

36 “Arpeggio.” Oxford Music Online . Oxford University Press. 25 October 2008. 93

95.

96.

Harp Solo

• Pay attention to the notes in the L.H. in measure seven. Notice the interval of a 3rd . 97.

98. Theory Activity – Draw the bar lines in the correct location for each time signature.

Rolled Chords Review – Roll each chord from the bottom note – up. 99.

Replacing the Fourth Finger

• Practice L.H. alone before adding the R.H. 100.

Left Hand Acrobatics

• In measures 5-8, the quarter note chords should not be rolled, but instead played altogether. 101.

Right Hand Acrobatics

• Do not roll the chords in the L.H. in the following piece. 102.

London Bridge 37

• Watch the conductor and count the four beats of the first measure in your head (or quietly to yourself). Be ready to come in on the second measure. 103.

G Major Scale

• Fingering is the same as a D Major scale – just start on a different note. 104.

37 Traditional, London Bridge , Public Domain, 1744.

Crossing Over

• Have your left hand ready for beat three before you play the chord on beat two. 105.

Etude #4

• In this next piece, all harmonics will be played with your right hand. Place th e first knuckle of your second finger against the string and pluck the top half with your thumb.

Figure 18 . Right hand harmonic on F

106.

Etude #5

• Be sure to place each group before you play them. Do this without touching any of the surrounding strings. Touching the surrounding strings will cause them to buzz. • Continue placing the right hand as the brackets in the first three measures show.

Etude #6

• Place each set of three at one time, crossing the L.H. over the R.H.

Theory Activity – Name the Key Signatures.

CHAPTER XIII

TONIC AND DOMINANT CHORDS

Review: In Chapter VIII, when we learned scales, we gave each note a scale degree.

When we stack notes on top of each other on any scale, it is called a chord.

The tonic is a chord built on the first note of the scale. It is represented by the Roman numeral “I.” The tonic chord occurs when the 1 st , 3 rd and 5 th notes of the scale are stacked on top of each other.

The dominant is a chord built of the fifth note of the scale. It is represented by the Roman numeral “V.” The dominant chord occurs when the 5 th , 7 th and 2 nd notes of the scale are stacked on top of each other.

Scale Degrees: 1 2 3 4 5 6 7 8/1

(Tonic) I (Dominant) V

109.

100

101

Peter Peter 38

• Practice hands separately.

110. Traditional

Reuben and Rachel 39 111. American Folk Song

112.

• Watch the conductor and count.

38 Traditional, Peter Peter , Public Domain, 1765. 39 Traditional, Reuben and Rachel , Public Domain, 1871.

102

113.

114. Theory Activity– Rhythm. Fill in the missing notes to make the correct number of beats per measure.

First and Second Endings

When a musician comes to the first ending, he or she goes back to the beginning and repeats the section of music as indicated in the score. When the musician comes to the first ending again, he or she will skip it and continue to the second ending.

103

String Quintet A quintet is made up of five musicians or parts. 115.

104

CHAPTER XIV

NEW MUSICAL TERMS: EIGHTH NOTE, TEMPO MARKINGS AND FERMATA

New Note – Eighth Note and Eighth Rest

An eighth note is half the duration of a quarter note. They can be notated either in a group, or alone. An eighth rest is one half the duration of a quarter rest.

Counting the Beats 1 + 2 + 3 + 4 + 4 i i i i 4   

       

    i i 116.

• Count out loud before you play.

105

106

Lavender’s Blue 40 117. Write in the beats. English Folk Song

She’ll Be Comin’ ‘Round the Mountain 41

118. American Folk Song

• When replacing fingers on the same strings in quick succession, be ready with the correct shape of the hand, but wait until the last second to place your fingers on the strings. This will avoid the buzzing noise caused by other fingers bumping already vibrating strings.

40 Traditional, Lavender’s Blue , Public Domain, 1750. Harp part is an accompaniment to the traditional melody, but still retains the effect of the original piece. 41 Traditional, She’ll Be Comin’ ‘Round the Mountain , Public Domain, 1899. Harp part is an accompaniment to the traditional melody. The student would hear the melody and parts in the class rehearsal.

107

119. Theory Activity – Write in the counts.

Yankee Doodle 42 120. British War Song

Activity – Now be the drum with your left hand. Use the padded part of the second, third, and fourth fingers to tap on the sound board.

42 Unknown, Yankee Doodle , Public Domain, 1775. Harp arrangement by Lauren C. Sharkey.

108

Tempo 43

• A tempo marking provides the musician with the pace of the music, or how fast it should go. Some common tempo markings are: Largo = very slow Andante = walking pace, moderately slow Moderato = moderately, medium speed Allegro = fast and lively

Long Long Ago 44 Bayly

121.

• Practicing Technique: Look for patterns in a piece that are repeated. This will make a piece easier to learn. Many pieces have repeated sections that are identical to one another. Be careful to check all the notes. Sometimes a composer will change just one note.

43 The use of tempo markings started in Italy in the 1600s. Italy was the leader in Western music at that time and the use o f their standard tempo markings has continued into ppresentresent times. Although some non - Italian composers use their native language, the Italian terms are most common. Hoffman, Miles, The NPR Classical Music Companion: Terms and Concepts from A to Z, New York: Houghton Mifflin Company, 245. 44 Bayly, Thomas Haynes, Long Long Ago , Public Domain, 1843. Harp part is an accompaniment to the traditional melody. Student would hear the melody in a classroom ensemble rehearsal.

109

122. Theory Activity – Write in the counts. Name the key. ______

123. Away in a Manger 45

Can-Can 46 124. Offenbach

45 Traditional, Away in a Manger , Public Domain, 1887. Harp part can be played as a solo. 46 Offenbach, Jacques, Can Can , Public Domain, 1858.

110

125. Theory Activity – Draw the bar lines in their correct locations.

Fermata A fermata is a hold or a pause in the music. The note is held longer than its normal value. Be sure to watch the conductor whenever you see a fermata. He or she will guide the ensemble through the fermata into the next passage. Gesture through the length of the note, then damp when the conductor cuts the entire ensemble off.

Niccolò Paganini 47

• Pay attention to the pickup before the first full measure. The conductor will bring other musicians in on the beat where the harpist has a quarter rest. Be sure to come in on the first actual downbeat.

126. Paganini

47 Niccolò Paganini is based on a theme composed by the late composer. This harp part is intended as an accompaniment for the version in All for Strings , exercise 136.

111

A Little Bit of History: Niccolò Paganini (1782-1840) was a virtuosic Italian violinist and composer. Many of his compositions inspired other composers to write pieces based on Paganini’s works.

127. Kookaburra 48

• In the second to last measure, measure seven, play the first D with your R.H., then the second two with your L.H.

128. Jolly Old St. Nicholas Traditional

48 Sinclair, Marion, Kookaburra , Larrikin Music, 1932. The harp part is an accompaniment to this tune, which is also a traditional Welsh folk tune.

112

Ritardando

Ritardando means to delay, or become gradually slower. It is commonly shown in music as: ritard. or rit.

• Always watch your conductor when you see a ritardando, they will guide the whole ensemble so that everyone slows together.

129.

• In measure five, quickly roll the quarter note chords. In measures six and seven, roll the half note chords slower.

CHAPTER XV

KEY OF C AND DYNAMICS

The key of C Major has no sharps or flats. 49 All pedals or levers should be in their natural position.

130.

Good Morning to All 50 131. Patty S. Hill and Mildred J. Hill

49 This is also the key signature for a minor. Further study in music theory is needed to acquire a more broad understanding of key signatures. 50 Hill, Patty S and Mildred J. Hill, Good Morning to All , Public Domain, 1893. 113

114

132. Theory Activity – Name the Key Signature

Key Key Key Key

Keep the Music Ringing 51

• Before playing this piece, practice measure two. Place fingers three, two and one on F, A and D, respectively. Keeping the thumb anchored on the D, play the second and third fingers only. Be sure to close the fingers into the palm.

133. Hungarian Round

Interesting Fact: A common Hungarian folk music instrument is the bagpipe. Bagpipes have a “drone” or a note that continues on the same pitch. In this piece, the harp is functioning as the drone with the left hand playing the same notes throughout.

A Tisket A Tasket 52 134.

51 Traditional Hungarian, Keep the Music Ringing , Public Domain. Harp part is an accompaniment to the string parts from All for Strings , exercise 147. 52 Traditional Nursery Rhyme, A Tisket A Tasket , Public Domain. The harp part is an accompaniment to the traditional melody. The student would hear the melody and parts at the class ensemble rehearsal.

115

Etude #7

• In measure five, place all four notes of the right hand at one time. Play them in order.

135.

136. Theory Activity – Draw a line to match the musical symbols, notation, and tempo markings on the left with the correct definition on the right.

1. a. Half beat  2. w b. One beat 3. Rit. c. Walking speed 4. d. Damp  5. Allegro e. Slow down 6. f. One beat of silence  7. 4 4 g. Two beats 8. h. Four beats  9. i. Fast and lively  10. Andante j. Four beats in a measure

116

Etude #8

• Tap and count the rhythm before you begin. Practice hands separately to start. 137.

Oh Where, Oh Where Has My Little Dog Gone?53

138. Traditional

139.

C Major Scale – Write in the counts below your music. Clap the rhythm before you begin.

140.

53 Traditional, Oh Where Oh Where Has My Little Dog Gone , Public Domain. The harp part is an accompaniment to the traditional melody.

117

141.

New Note – Triplets A triplet is a group of three notes played in the same amount of time as two notes of the same value. For instance, here we have eighth note triplets. Two eighth notes equal one beat. The three eighth notes of a triplet equal one beat. 3 = i iiq 1 beat = 1 beat

Etude #9 142.

118

Ebb and Flow

• Pay close attention to the direction of the stems for guidance on which hand to use. 143.

Dynamic Markings Dynamic markings give musicians direction as to how loud or soft to play. Some common dynamics are: p = soft (It. 54 piano) mf = medium loud (It. mezzo forte) f = loud (It. forte)

Evening Hymn 55 144. Tallis

54 “It.” is the abbreviation for Italian. The Italian word for this symbol is piano . This is a common term in musical verbiage. 55 Tallis, Thomas, Evening Hymn, Public Domain, 16 th Century. The harp part is an accompaniment for the traditional melody.

119

French Folk Song 56

145.

On the Bridge of Avignon 57

146. French Folk Song

56 Traditional, French Folk Song . Harp part is composed as an accompaniment to the string parts in All for Strings , exercise 163. 57 Godowsky, Leopold. On the Bridge of Avignon , Public Domain, 1915. Harp accompaniment composed based on the original key and melody, to be used as accompaniment for the traditional melody.

120

Arpeggio Warm-up

147.

Other Dynamic Symbols

Crescendo means to gradually become louder

Diminuendo means to gradually become softer

121

When Love is Kind 58 148. Irish Folk Song

Oh When the Saints 59

• Notice that there are three beats in the first measure where other instruments will be playing. Be sure to watch the conductor and come in on the second beat of the second measure.

149. Traditional

58 Moore, Thomas and Liza Lehmann, When Love is Kind , Public Domain. 59 Traditional, When the Saints , Public Domain, 1896. Harp part is an accompaniment to the traditional melody. The student would hear the other parts during ensemble class rehearsal.

122

Skip To My Lou 60

150. American Folk Song

Shepherd’s Hey 61

• Roll the half note chords.

151. English Folk Song

60 Traditional, Skip to My Lou , Public Domain, 1844. 61 Traditional Morris Dance Song, Shepherd’s Hey , Public Domain. Harp part is an accompaniment for the traditional tune. The student would hear the melody and parts with an ensemble rehearsal.

123

Arpeggio Warm-up #2 152.

Trio 153.

Violin

Cello

Chapter XVI

NEW MUSICAL FORM: THEME AND VARIATIONS

Theme and Variations A theme and variations has a statement of a tune followed by alterations on the same tune. 154.

Activity-Look at the above Theme and Variations. Can you find all the D major chords? How about the A major chords?

124

125

D.C. al Coda

D.C. al Coda means to return to the beginning, and then when you see the coda sign ,  skip to the coda and play until the end.

D.C. al Coda Coda  8  12  8  4 

Review of Dotted Rhythms

• When a dot follows a note, half the duration of the note is added to the value.

For instance: . equals 1 and a half beats and . equals 3 beats   Lullaby 155.

126

Extra Warm-Ups 1.

127

128

GLOSSARY

Play one octave higher. Play one octave lower.

Allegro Fast and lively Andante Walking pace, moderately slow

Bar Lines | Lines that separate the measures

Bass Clef The “F” clef that curves around the fourth line of the staff

Bracket Shows fingers that should be placed all at the same time Chord Group of three or more notes played at the same time

Crescendo Gradually become louder

Damp  Indicates all sound from strings should be stopped D.C. al Fine Go back to the beginning and play until you see the word Fine. Diminuendo Gradually become softer

D.S. al Fine Go back to the sign and play until you see  the word Fine.

Ensemble A group of musicians playing together Fermata Hold or pause in the music First and Second Endings Play the first ending, and then go back to the beginning and repeat. When you get to the first ending again, skip it and continue to the second ending.

129

Forte f Loud Glissando A rapid scale produced by sliding the fingers along the strings.

Half Note  2 beats Half Step Distance between a note and the next closest note

Harmonic º The note sounds an octave higher.

Interval Distance between two notes Key Signature Sharps or flats at the beginning of a piece to indicate which notes should be changed throughout the piece

Largo Very slow

Measure The staff between the bar lines

Mezzo Forte mf Medium Loud

Moderato Medium speed

Natural § A note in its normal state. Cancels a sharp.

Piano p Soft Pickup A note or notes that come before the first full measure of a piece.

Quarter Note  1 beat Ritardando Rit. Gradually slow down

Repeat Sign Go back to the beginning and play again.

130

Sharp # Raises the note by a half step. Slur Curved line connecting two or more notes indicating that they are to be played smoothly

Tempo Speed of the piece Tetrachord W-W-H Four notes with the distances between them being whole step, whole step, half step Tie Curved line connecting two notes on the same pitch and indicating that they are to be played as one note

Time Signature 4 3 2 The number of beats in a measure 4 4 4

Treble Clef The “G” clef that curves around the second line of the staff. Triplet Group of three notes played in the same amount of time as two notes of the same value Staff The five horizontal lines on which music is written Upbeat See Pickup

Whole Step Two half steps equal a whole step.

131

ANSWER KEY

Pg. 45 – String Recognition

A G F E

D C

B A G F

D C

B A

Pg. 47 – Theory Activity

Db C§ B§ Eb F# G§ A§ D§ C# Bb E§ F§ G# A§

Pg. 47 – Theory Assignment

D E A G F C E D A G E C D F B A

132

Pg. 48 – Exercise 4, Half Notes

3rd 3rd 5th 5th 3rd 3rd 3rd 3rd 5th 5th

Pg. 51 – Theory Assignment

Draw five notes just like the example provided. Note for the instructor: The exact line or space is not necessary for this exercise. The direction and side of the stem and the note head is necessary.

         

          Draw the Clefs - Trace the gray clef as an example. - Draw 1 clef per measure.

| | | | |       | | | | |      

Pg. 54 – Theory Activity

D A D G C A G E

Pg. 55 – Theory Assignment

1. A. Treble Clef  2. # B. Half Note 3. C. Quarter Note  4. D. Bass Clef

5. E. One Beat

6. F. G

7. G. Two Beats

8. H. C Sharp  9. I. Sharp  J. F Sharp

K. D

133

Pg. 56 – Theory Assignment

Pg. 58 – Theory Assignment

1 2 3 4 1 2 34 12 34 12 3 4 1 2 34 1 2 34 12 34 12 34

Pg. 62 – The Countdown

5th 4th 3rd

Pg. 62 – Theory Activity

E G B D F F A C E G B D F A A C A B C E

E G C A B D G G

Pg. 64 – Theory Activity

Pg. 65 – Theory Assignment

1 2 34 1 2 34 1 2 3 4 1 2 3 4 12 3 4 1 2 3 4 1 2 3 4 12 34

Pg. 66 – Theory Activity

12 34 1 2 3 4 1 2 3 4 12 3 4 12 3 4 1 23 4 12 34 1 2 34 12 34

Pg. 68 – Theory Assignment

4 1 1 2 2 1 4 4 2 1 1

134

Pg. 68 – Theory Activity Note to the instructor: Any combination of notes can be used in this assignment so long as each measure adds up to four.

Pg. 70 – Theory Activity

D C# B A A D D C# B A D D D E F# D F# E D A D E F# E D

Pg. 71 – Theory Activity

5th 6th 3rd 7th 4th 5th 6th octave/8 th

Pg. 76 – Theory Assignment

Pg. 81 – Theory Assignment

Pg. 84 – Theory Activity

135

Pg. 85 – Theory Activity

Pg. 87 – Theory Activity

. = | = | = | = | = | = | = |    w           q q   Pg. 90 – Theory Activity

Pg. 95 – Theory Assignment

Pg. 99 – Theory Activity

A Major G Major

G Major D Major

Pg. 102 – Theory Activity

q q q q q  q q q 

136

Pg. 106 – Lavender’s Blue

1 2 3 1 2 + 3 + 1 2 3 1 2 3 1 2 3 1 2 + 3 + 1 2 3 1 2 3

Pg. 107 – Theory Activity

1 2 + 3 + 1 2 + 3 + 1 2 3 1 + 2 + 3 1 2 3 1 + 2 3 + 1 + 2 3 + 1 + 2 + 3

Pg. 109 – Theory Activity

G Major D Major

1 2 + 3 4 1 + 2 + 3 4 1 2 3 + 4 1 2 + 3 4 1 2 + 3 + 1 2 3 1 2+ 3 1 2 3

Pg. 110 – Theory Activity

Pg. 114 – Theory Activity

C Major A Major D Major G Major

Pg. 115 – Theory Assignment

APPENDIX B

138

TUNING THE HARP

LEVER HARP

For this beginning harp method book, the lever harp can be tuned in the key of

C Major. All notes, with their levers in the down position will register as naturals on a chromatic tuner.

PEDAL HARP

Pedals harps should always be tuned in the key of C-flat Major. All pedals should be in their flat position, or the top notch. A good way to check is to see if there is any mechanism touching the top of the string. Nothing should be touching the top of the string.

BOTH

Only use a harp tuning key on the tuning pegs. When not turning a peg, take the tuning key off of the harp; many tuning keys are covered in rubber, but if they fall they still could damage the harp. To tighten the string and make it sharper, turn the tuning key toward the front of the harp, away from you. To loosen the string and lower the pitch, turn the tuning key toward the small part of the harp, or toward you.

139

METHOD 1

Begin at middle C (middle red string), tune each string stepwise down the harp

(toward the front post). Then return to the middle of the harp and tune stepwise up toward the top. If tuning a pedal harp, you will have all of the pedals in their flat position and tuning in C b.

METHOD 2

Begin at middle C, and then tune each C up and down the harp. Continue up the scale tuning all the D strings, then all the E strings, and so on.

METHOD 3

Tune in intervals of fourths and fifths. One can follow this method two ways: the first, each octave by itself, and the second in pairs of notes. The first, tune middle C, then the G above, then the D below and the A above. Follow the pattern of up a fifth, down a fourth, up a fifth, down a fourth. The second way, tune all of your Cs and Gs, then all of the Ds and As, Es and Bs, and then end with Fs and Cs.

FOR EACH METHOD

Tune the harp every day. Each harp is different. You will find a method that works well for you as you get to know the harp you are working with. Also, as you get to know your harp, you will find that some octaves go out of tune more frequently than others and may need to be adjusted while you are playing.

APPENDIX C

141

ADDITIONAL RESOURCES

Ensemble music including harp:

American Harp Society, Education Project 2000: http://www.harpsociety.org/resources/education2000.html

This resource has a downloadable PDF file of graded ensemble pieces that include harp parts. Ensemble level and harp part level are graded on a separate scale, and publisher information is also listed.

Fatrock Ink Music Publisher: http://www.fatrockink.com/

Under Sheet Music in Print , there is a category for “Student Harp with String Orchestra.”

General information and assistance:

American Harp Society: http://www.harpsociety.org/

The AHS is the national harp society that has resources to assist in locating local teachers, scholarships, conferences and other harp education resources.

A Harp in the School: A Guide for School Ensemble Directors and Harpists, edited by Chelcy Bowles

This book can be ordered from the American String Teacher’s Association website at http://www.astaweb.com under “publications.” It is an outstanding book with a more in-depth look at how to incorporate and deal with a harp in a school program. Articles are written by expert harpists in their fields.

Music and Accessories:

Harp.com: http://us.harp.com/

This is an online resource for strings and music that also has information on harp events and competitions.

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Sylvia Woods Harp Center: http://www.harpcenter.com/

This site is an outstanding resource with historical information, accessories, strings for more unusual harp models and information about changing harp strings.

Vanderbilt Music Company: http://vanderbiltmusic.com/

Harp strings, other accessories and a large amount of harp music can be located on this website. All of the people who answer the phone are harpists and they are very helpful.