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You've selected:
High Above the Atmosphere
Sheetmusic to print
19 sheet music found
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1
High Above the Atmosphere
High Above the Atmosphere
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Clarinet and Piano
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INTERMEDIATE
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Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.1417503 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Cen...
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B-Flat Clarinet,Piano - Level 3 - Digital Download SKU: A0.1417503 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Classical. Score and part. 6 pages. Fiona Alice Hickie #999040. Published by Fiona Alice Hickie (A0.1417503). Soar high above the atmosphere in these inspiring song for clarinet and piano.
$5.99 ≈
5.39€
High Above the Atmosphere: Wind Quintet and Piano
High Above the Atmosphere: Wind Quintet and Piano
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Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere: Win
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Fiona Alice Hickie
#
SheetMusicPlus
Bassoon,Clarinet,Flute,Horn,Oboe,Piano - Level 3 - Digital Download SKU: A0.1434674 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice...
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Bassoon,Clarinet,Flute,Horn,Oboe,Piano - Level 3 - Digital Download SKU: A0.1434674 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Broadway,Chamber,Classical,Musical/Show. 18 pages. Fiona Alice Hickie #1014802. Published by Fiona Alice Hickie (A0.1434674). High Above the Atmosphere for wind quintet and piano. Soar high in the sky with this piece of joy.
$14.99 ≈
13.48€
High Above the Atmosphere
High Above the Atmosphere
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
Cello,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1437883 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Chamb...
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Cello,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1437883 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Chamber,Classical. 17 pages. Fiona Alice Hickie #1017949. Published by Fiona Alice Hickie (A0.1437883). High Above the Atmosphere for string quartet and piano. Soar high in the sky with this piece of joy.
$14.99 ≈
13.48€
High Above the Atmosphere
High Above the Atmosphere
#
Oboe, Piano (duet)
#
INTERMEDIATE
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
Oboe,Piano - Level 3 - Digital Download SKU: A0.1406764 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Classical,Spiritual...
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Oboe,Piano - Level 3 - Digital Download SKU: A0.1406764 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Classical,Spiritual. Score and part. 7 pages. Fiona Alice Hickie #989519. Published by Fiona Alice Hickie (A0.1406764). High Above the Atmosphere is a piece composed for oboe and piano. Soar high in the sky with this piece of joy.
$5.99 ≈
5.39€
High Above the Atmosphere
High Above the Atmosphere
#
Violin and Piano
#
INTERMEDIATE
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.1406778 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Christian. 6 page...
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Piano,Violin - Level 3 - Digital Download SKU: A0.1406778 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Christian. 6 pages. Fiona Alice Hickie #989531. Published by Fiona Alice Hickie (A0.1406778). High Above the Atmosphere for violin and piano. Soar high in the sky with this piece of joy.
$5.99 ≈
5.39€
High Above the Atmosphere
High Above the Atmosphere
#
Flute and Piano
#
INTERMEDIATE
#
Classical
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1406058 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Classical....
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Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1406058 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Classical. Score and part. 7 pages. Fiona Alice Hickie #989148. Published by Fiona Alice Hickie (A0.1406058). A piece for flute and piano about feeling joy, and flying throught the atmosphere.
$5.99 ≈
5.39€
High Above the Atmosphere
High Above the Atmosphere
#
Trumpet, Piano
#
INTERMEDIATE
#
Fiona Alice Hickie
#
Fiona Alice Hickie
#
High Above the Atmosphere
#
Fiona Alice Hickie
#
SheetMusicPlus
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.1424387 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Broadway,...
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B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.1424387 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. Broadway,Children,Classical,Musical/Show. Score and part. 6 pages. Fiona Alice Hickie #1005578. Published by Fiona Alice Hickie (A0.1424387). High Above the Atmosphere' is a piece for trumpet and piano. Soar high in the sky with this piece of joy.
$4.99 ≈
4.49€
Concerto
Concerto
#
Piano and Orchestra
#
ADVANCED
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Contemporary
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.58€
Raindrops
Raindrops
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Violin and Piano
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BEGINNER
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Children
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Irina Tsernikova
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Irina Tsernikova
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Raindrops
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Irina Tsernikova
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SheetMusicPlus
Piano,Violin - Level 1 - Digital Download SKU: A0.1313736 By Irina Tsernikova. By Irina Tsernikova. Arranged by Irina Tsernikova. Children. 7 pages. Irin...
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Piano,Violin - Level 1 - Digital Download SKU: A0.1313736 By Irina Tsernikova. By Irina Tsernikova. Arranged by Irina Tsernikova. Children. 7 pages. Irina Tsernikova #902459. Published by Irina Tsernikova (A0.1313736). Raindropsis a seasonal song that could be used to introduce left-hand finger number one in the first position, creating a whole step above the open string.The text makes it more meaningful and helps to follow the rhythm. The simple but vibrant piano accompaniment helps to create the atmosphere of the story. The illustration with an additional colour page gives a chance to explore this rainy day with a different approach. All together transforms into a lively and memorable musical journey. It could be a highlight of a recital or any other event!https://itsernikova.wixsite.com/barriemusicstudio
$3.99 ≈
3.59€
Balta ainava
Balta ainava
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Piano solo
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INTERMEDIATE
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Contemporary
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Peteris Vasks
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Balta ainava
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Schott Music - Digital
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SheetMusicPlus
Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris Vasks (1946-). This edition: single sheet. Downloadable. Duration...
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Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris Vasks (1946-). This edition: single sheet. Downloadable. Duration 7 minutes. Schott Music - Digital #Q12485. Published by Schott Music - Digital
Peteris Vasks occupies a special position in the circle of Baltic composers. He is not only the most significant and popular composer ever to come out of Latvia. he always speaks to his listeners with a fervent intensity that seems to point to something higher. This higher aspect is without a doubt something that stands above the world of humanity but is also present within each person: divine nature.
"I am deeply rooted in nature, in the nature of the North. It influences all of my music. The nature we know is also quite various. we have four very distinct seasons. The winter is very long, the summer very short and therefore all the more beautiful and longed for. The seasons in between are quite dramatic."
The first of Peteris Vasks's Seasons pieces was not written with the intention of forming a complete cycle. For his friend, Talivaldis Deksnis, he composed in 1980 Balta ainava - White Landscape (Winter), in 1981 Rudens muzika - Autumn Music, and in 1995 the Pavasara muzika - Spring Music. In 2008, Zala ainava - Green Landscape (Summer) came into being, the piece which completed the cycle.
In 2009, as a kind of "encore", Vasks wrote Vasaras vakara muzika - Music for a Summer Evening based on old sketches. this, of all the pieces, is the one most anchored in tradition. Only the two newest pieces - both of which have to do with summer - have a fixed metrical structure. The three earlier works are metrically free, notated without bar lines, which gives them an improvisatory character.
Vasks says of the individual pieces in the cycle: "In Balta ainava everything is white. A new year begins. It is a quiet meditation, a new beginning, with only two themes.
Pavasara muzika. Quasi una Sonata - the most demanding piece in this cycle - is intense, an impressive development. Spring comes slowly, with much drama. It is like a battle, until it is simply there. This multi-faceted piece, with its bird songs, lives from conflicts and dramatic intensification and ends in ecstatic rapture. Zala ainava is based on two themes. Our summer is very brief and offers a respite after the battles. And it is so beautiful! The music reflects joy and contentment. The first theme brings a kind of pure energy. the second is more devoted to tone painting. At the end, a five-note quotation from a well-known Latvian folksong about a drunkard is heard.
Rudens muzika begins pianissimo on a quiet September day, in a peaceful, sunny atmosphere. Now the autumn storms sweep over the land. a gentle sadness settles on the people and on nature, which surrenders its splendor. After a last great storm, the snow comes again as a symbol of purified conclusion and a new beginning. Vasaras vakara muzika takes place at the quiet end of a summer day. The sun sets. Slowness. Memories of previous experiences surface. With the memories' appearance comes an increase in intensity. Towards the end, a kind of folksong is heard: 'We have survived the time of tyranny and retained our identity'. The ending is quiet, everything is asleep."
Christoph Schluren
Translation: John Patrick Thomas and W. Richard Rieves
$10.99 ≈
9.89€
Pater noster
Pater noster
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Choral SSAA
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INTERMEDIATE
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Pascal Martine
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Pater noster
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Schott Music - Digital
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SheetMusicPlus
Female choir (SSAA) a cappella - intermediate - Digital Download SKU: S9.Q25991 Two settings of the Lord's Prayer (Old High German/Latin). Compose...
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Female choir (SSAA) a cappella - intermediate - Digital Download SKU: S9.Q25991 Two settings of the Lord's Prayer (Old High German/Latin). Composed by Pascal Martine. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Schott Music - Digital #Q25991. Published by Schott Music - Digital (S9.Q25991). Middle High German.Above the central prayer of Christianity, the composition with its dense sounds and atmospheric colours develops a mood of profound awe and self-contained strength. An expressive composition of our new composer Pascal Martiné – personally recommended by the editors of your choral department!Über dem zentralen Gebet des Christentums entwickelt Pater noster mit dichten Klängen und atmosphärischen Farben eine Stimmung tiefgründiger Ehrfurcht und Stärke. Fater unser spielt mit minnesängerischen Harmonien und verzaubert auf mittelalterliche Weise.
$3.99 ≈
3.59€
Fairytale Opening
Fairytale Opening
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Harp
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INTERMEDIATE
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Harry Gregson-Williams and Joh
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Carrie Tollett and Christy-Lyn
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Fairytale Opening
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 3 - Digital Download SKU: A0.1429765 Composed by Harry Gregson-Williams and John Powell. Arranged by Carrie Tollett and Christy-Lyn Do...
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Lever Harp - Level 3 - Digital Download SKU: A0.1429765 Composed by Harry Gregson-Williams and John Powell. Arranged by Carrie Tollett and Christy-Lyn Dosé. Classical,Film/TV. Score. 5 pages. Learning the Harp #1010410. Published by Learning the Harp (A0.1429765). If you’re ready to level up your harp playing all while learning a beautiful piece, this arrangement is for you! You’ll really make people smile when they hear you play, especially with those glissandos. It creates such a whimsical, peaceful atmosphere!Difficulty Level and Skills Required: Mid-Intermediate. The right hand plays the melody line embellished with some chordal shapes, while the left hand accompanies some more challenging 10th interval patterns and cross-unders. The piece also features some two-handed glissandos.Type of Harp: Big harp version is for 33 strings or larger. The small harp version works for 26 string or larger.Range: For big harps: The lowest note is C, two octaves below middle C. The highest note is E, two and a half octaves above middle C. For small harps: The lowest note is C, one octave below middle C. The highest note is F, two and a half octaves above middle C.Levers/Pedals: In the key of C major. No lever changes throughout.
$5.00 ≈
4.50€
Unchained Melody
Unchained Melody
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Harp
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INTERMEDIATE/ADVANCED
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Al Hibbler
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Carrie Tollett and Christy-Lyn
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Unchained Melody
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 4 - Digital Download SKU: A0.1453416 By Al Hibbler. By Alex North and Hy Zaret. Arranged by Carrie Tollett and Christy-Lyn Dosé. Cont...
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Lever Harp - Level 4 - Digital Download SKU: A0.1453416 By Al Hibbler. By Alex North and Hy Zaret. Arranged by Carrie Tollett and Christy-Lyn Dosé. Contemporary,Soul. Score. 9 pages. Learning the Harp #1032649. Published by Learning the Harp (A0.1453416). This classic love ballad is a staple to add to your repertoire. People will be so pleasantly surprised to hear it played on the harp! The arrangement captures the bittersweet atmosphere of the song well and feels so comfortable to play. One of the biggest challenges in this piece is playing it up to tempo while allowing it to sound relaxed and effortless.Difficulty Level and Skills Required: The right hand plays the melody line, and the left hand has 4 finger brackets with a lot of continuous placing. There’s some jumping around the registers, crossing over hands, and quick lever changes.Type of Harp: Big harp version is for 33 strings or larger. The small harp version works for 26 strings or larger.Range: For big harps: Lowest note is D, almost two octaves below middle C. Highest note is E, two and a half octaves above middle C. For small harps: Lowest note is F, below middle C. Highest note is G, two and a half octaves above middle C.Levers/Pedals: In the key of C major. Many Bflat and Eflat lever changes throughout.
$5.00 ≈
4.50€
Jesu, Joy Of Man's Desiring - Late-Intermediate for Harp
Jesu, Joy Of Man's Desiring - Late-Intermediate for Harp
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Harp
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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Carrie Tollett and Christy-Lyn
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Jesu, Joy Of Man's Desiring -
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 4 - Digital Download SKU: A0.1412428 Composed by Johann Sebastian Bach. Arranged by Carrie Tollett and Christy-Lyn Dosé. Classical....
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Lever Harp - Level 4 - Digital Download SKU: A0.1412428 Composed by Johann Sebastian Bach. Arranged by Carrie Tollett and Christy-Lyn Dosé. Classical. Score. 9 pages. Learning the Harp #994512. Published by Learning the Harp (A0.1412428). It's a perfect opportunity to challenge yourself and add one of the most well-known classical pieces to your repertoire! It creates such a graceful, contemplative atmosphere, perfect for performing in churches, weddings, or simply for your enjoyment. The fingering and lever changes have been carefully chosen and timed to make the piece as comfortable as possible to play. However, you'll find that the right hand is quite taxing and requires concentration to play accurately while staying relaxed!Difficulty Level and Skills Required: Late-intermediate. The right hand plays the melody with a series of long overlapping brackets, scales, and rolled chords. The left hand is less busy, playing many octaves, 10th interval rolled chords, and lever changes.Type of Harp: The big harp version is for 33 strings and larger, but the small harp version works for 26 strings and larger.Range: For big harps: The lowest note is C, two octaves below middle C. The highest note is A, one and a half octaves above middle C. For small harps: The lowest note is C. below middle C. The highest note is G, two and a half octaves above middle C.Levers/Pedals: In the key of G major (F levers set to F sharp). Several F, B, G, and C lever changes throughout. If your harp is tuned in C major, you'll need to tune the B above middle C to B flat for the lever change. Start the piece with the lever set to B natural.
$5.00 ≈
4.50€
Wild Mountain Thyme
Wild Mountain Thyme
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Harp
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EASY
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Mark Knopfler
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Carrie Tollett and Christy-Lyn
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Wild Mountain Thyme
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 2 - Digital Download SKU: A0.1372040 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Ir...
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Lever Harp - Level 2 - Digital Download SKU: A0.1372040 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Irish,Traditional. Score. 3 pages. Learning the Harp #955251. Published by Learning the Harp (A0.1372040). Wild Mountain Thyme is a well-known Scottish folk song that creates such an uplifting and inspiring atmosphere. It's a great piece to add to your repertoire that people will love hearing! Skills practiced in this piece are rolled chords, some unusual 4-2-1 intervals in the left hand, interesting rhythms, right-hand chords intertwined throughout the melody notes, and great practice playing hands together.Difficulty Level and Skills Required: Early-Intermediate. The right hand consists of some quick placing of chords, intertwined among the melody, along with interesting rhythms. The left hand has 3-finger rolled chords and 4-2-1 patterns throughout, some of which are unusual intervals.Type of Harp: For big and small harps, 22 strings (C-C) and larger.Range: The lowest note is C, one octave below middle C. The highest note is A, one and a half octaves above middle C.Levers/Pedals: In the key of C major. No lever changes throughout.TO NOTE: We also have Mid-Beginner and Mid-Intermediate arrangements of this song available.
$5.00 ≈
4.50€
Wild Mountain Thyme
Wild Mountain Thyme
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Harp
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INTERMEDIATE
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Mark Knopfler
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Carrie Tollett and Christy-Lyn
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Wild Mountain Thyme
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 3 - Digital Download SKU: A0.1372041 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Ir...
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Lever Harp - Level 3 - Digital Download SKU: A0.1372041 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Irish,Traditional. Score. 5 pages. Learning the Harp #955253. Published by Learning the Harp (A0.1372041). This arrangement of Wild Mountain Thyme creates such an uplifting, contemplative atmosphere and is so enjoyable to play! Skills emphasized in this piece include lush rolled chords between the two hands, grace notes, 10 intervals in the left hand, and interesting rhythms.Difficulty Level and Skills Required: Mid-Intermediate. The right hand carries the melody line with 4-finger rolled chords, quick placing, some grace notes, and interesting rhythms. The left hand has many rolled chords, 4-2-1 patterns with cross-unders, and some large 10th intervals. Type of Harp: Big harp version is for 33-string harps or larger, but the small harp version works for 22-string (C-C) harps or larger.Range: For big harps, the lowest note is C, two octaves below middle C. The highest note is A, one and a half octaves above middle C. For small harps, the lowest note is C, one octave below middle C, and the highest note is A, one and a half octaves above middle C.Levers/Pedals: In the key of C major. No lever changes.TO NOTE: We also have Mid-Beginner and Early-Intermediate arrangements of this song available.
$5.00 ≈
4.50€
Jesu, Joy Of Man's Desiring - Early-Intermediate for Harp
Jesu, Joy Of Man's Desiring - Early-Intermediate for Harp
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Harp
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EASY
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Classical
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Johann Sebastian Bach
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Carrie Tollett and Christy-Lyn
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Jesu, Joy Of Man's Desiring -
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 2 - Digital Download SKU: A0.1412425 Composed by Johann Sebastian Bach. Arranged by Carrie Tollett and Christy-Lyn Dosé. Classical....
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Lever Harp - Level 2 - Digital Download SKU: A0.1412425 Composed by Johann Sebastian Bach. Arranged by Carrie Tollett and Christy-Lyn Dosé. Classical. Score. 3 pages. Learning the Harp #994509. Published by Learning the Harp (A0.1412425). If you want to challenge yourself and add one of the most well-known classical pieces to your repertoire, this song is for you! It creates such an elegant atmosphere, and people will be so impressed hearing it on the harp. The fingering has been carefully chosen to make it feel as comfortable as possible to play while staying as true as possible to the original. You'll find that a conscious effort is required to keep the right hand relaxed as you play with a long series of overlapping brackets.Difficulty Level and Skills Required: Early-intermediate. The right hand plays the melody with a series of long overlapping brackets. The left hand is simpler often playing 2-3 notes per measure with occasional rolled chords. There are a few lever changes throughout.Type of Harp: For big and small harps, 22 strings (C-C) and larger.Range: The lowest note is D, almost one octave below middle C. The highest note is G, one and a half octaves above middle C.Levers/Pedals: In the key of G major (F levers set to F sharp). A few F lever changes throughout.
$5.00 ≈
4.50€
Unchained Melody
Unchained Melody
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Harp
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BEGINNER
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Al Hibbler
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Carrie Tollett and Christy-Lyn
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Unchained Melody
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 1 - Digital Download SKU: A0.1453412 By Al Hibbler. By Alex North and Hy Zaret. Arranged by Carrie Tollett and Christy-Lyn Dosé. Cont...
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Lever Harp - Level 1 - Digital Download SKU: A0.1453412 By Al Hibbler. By Alex North and Hy Zaret. Arranged by Carrie Tollett and Christy-Lyn Dosé. Contemporary,Soul. Score. 3 pages. Learning the Harp #1032645. Published by Learning the Harp (A0.1453412). This simple arrangement of “Unchained Melody” is a great piece to solidify your basic harp technique while playing a fan favorite. It’s so much fun to play, and although it’s a simplified version, it still captures the flowing atmosphere of the original that we know and love. Difficulty Level and Skills Required: Late-Beginner. The right hand plays the melody using fingers 1-2-3. The left hand plays the accompaniment with many 1-2-3 shapes and a few rolled chords. There is a right-hand glissando towards the end of the piece.Type of Harp: For big and small harps, 22 strings (C-C) or larger.Range: Lowest note is C, one octave below middle C. Highest note is G, one and a half octaves above middle C.Levers/Pedals: In the key of C major. No lever changes throughout.TO NOTE: We also have Early-Intermediate and Late-Intermediate arrangements of 'Unchained Melody'.
$5.00 ≈
4.50€
Wild Mountain Thyme
Wild Mountain Thyme
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Harp
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BEGINNER
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Mark Knopfler
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Carrie Tollett and Christy-Lyn
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Wild Mountain Thyme
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Learning the Harp
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SheetMusicPlus
Lever Harp - Level 1 - Digital Download SKU: A0.1372039 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Ir...
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Lever Harp - Level 1 - Digital Download SKU: A0.1372039 By Mark Knopfler. By Mark Knopfler. Arranged by Carrie Tollett and Christy-Lyn Dosé. Celtic,Irish,Traditional. Score. 3 pages. Learning the Harp #955249. Published by Learning the Harp (A0.1372039). Wild Mountain Thyme is a well-known Scottish folk song that creates such an uplifting and inspiring atmosphere. It's a beautiful piece to add to your repertoire to help you develop foundational harp technique! Some of the skills you'll practice in this piece are placing accurately, lifting off the strings, and playing both hands at the same time.Difficulty Level and Skills Required: Mid-Beginner. The right hand uses fingers 1-2-3-4 and has several cross-overs. The hands play at the same time, but only one note per measure in the left hand.Type of Harp: For big and small harps, 22 strings (C-C) and larger.Range: The lowest note is D, below middle C. The highest note is A, one and a half octaves above middle C.Levers/Pedals: In the key of C major. No lever changes throughout.TO NOTE: We also have Early-Intermediate and Mid-Intermediate arrangements of this song available.
$5.00 ≈
4.50€
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High Above the Atmosphere
