For those who love this romantic and lyrical music, we have a digital download of Mattinata, written in 1904 and dedicated to Caruso. The PN (part number – it is usually easiest to find items on any site in any store by part number) is E280. This arrangement is by David Sullivan of “Celtic Harp on the Prairie” fame.
You can click HERE to immediately go to the product.
You Tube of the great Andrea Bocelli singing this charming piece.
Mattinata was written by Ruggero Leoncavallo in 1904 and dedicated to the famous operatic tenor, Enrico Caruso. Mr. Caruso was the first to record it in 1904 with the composer at the piano. Ever since, this piece has become a well known favorite on the concert stage. Translated from the Italian, Mattinata means Morning. It is the tale of a singer entreating a sleeping lover to awake and behold the dawning of the day. This arrangement can be played on a lever harp tuned in F. A 36 string lever harp can play all the written bass notes, but a smaller harp could play the entire arrangement by shifting some bass notes an octave higher. Lever changes are indicated throughout with symbols and text.
July 10 – July 15, 2017
Houston Baptist University
7502 Fondren Road, Houston, TX 77074-3298
The HOUSTON SUMMER HARP FESTIVAL brings young harpists together in a fun and educational atmosphere for a week long intense and non-competitive study of the harp, its history, and music. Students from around the world have attended our Festival! Students have the opportunity to study the harp with founding director Kimberly DeRosa, Therese Honey, Susanna Campbell, and Hope Cowan. Together, these instructors bring over 100 years of harp playing experience and expertise to the program.
The Festival accepts incoming 6th through recently graduated 12th grade students who are comfortable with reading bass and treble clef and have had a minimum of 6 months of harp instruction. In a non-competitive atmosphere, the students are provided with comprehensive studies on the many aspects of the harp and its music, its history and ensemble playing.
We have handled harps of all types over the years but this is probably one of the most unique! Built by Jay Witcher in 1994, it is a Renaissance ‘type’ double strung harp. 61 strings with the parallel rows offset, it is staved back with a closed sound box design. Built of maple, it has a traditional Renaissance red stain. ~58″ on the column with the back at ~49″. As harps of this period were not free standing, it comes with the cradle for when not being played. It’s listed as a Renaissance ‘type’ due to the metal support plate on the bottom and being strung in nylon.
Besides the cradle, also included is a Triplett Signature case and ergonomic tuning key – $2500.00
During the course of 2016, we received over a dozen harps from an estate. John has been diligently assessing and working on these harps, and most of them are now available for sale. The list below includes those harps plus several others that are on consignment. Please feel free to mention these harps to your friends! Email email@example.com for larger pictures. These harps are for pick-up only. Continue reading →
Fran’s Music is from the heart. Each composition and arrangement is written for a person, or to comfort, or for that special feeling necessary for the moment.
I asked Fran (Eleanor) McGaughey to tell us a little about herself and how she comes to write her music. We think you’ll find her story delightful. And from the heart.
“I came to composing and arranging harp music from several directions.
In 1935, I was born into a home with a mother who played classical music and in the little West Texas churches where my father was the “preacher.” We were poor as church mice. Perhaps we were church mice. Continue reading →
Playing with others, especially at a fast tempo, can be daunting for any musician. Some of the reasons for this feeling of helplessness can be attributed to:
you usually play alone – you don’t know the melody well – you might not know the chords – you might not have chord knowledge – you try to play too much – you try to play “it all” – you don’t know where the chords change, etc. Continue reading →
Of all the finger dexterity exercises I have done over the past forty plus years of playing the harp, the exercise on this you tube video (provided) has helped me the most. It requires a great deal of coordination, and you may find yourself sticking your tongue out and making funny faces in an effort to make your fingers stay or play. These exercises also work the brain. You are attempting to command one or more fingers to “stay” on a string while playing the others, and that finger just doesn’t want to. So after you master this ability to isolate each finger, you have developed strength, dexterity, and coordination and you have linked your fingers to your brain in a way for which most other professions would not have a use. This helps you to achieve different timbers when playing – your softs are softer, your louds are rounder, you have more control of how your instrument speaks. It also helps with your sight reading, because the object of that is just getting from the beginning to the end and not stopping. With increased dexterity, you can concentrate more on what you’re reading. It’s almost like a pianist who knows scales backwards and forwards – once you identify the key, your hands just let go and know what to do. Try this exercise with one hand, then the other, and then both. Happy Harping!
The Harp in Blues History from Learn How to Play Blues on your Harp by I. Mac Perry
As the hot Dixieland combos of the Roaring Twenties began to peak out (they had replaced the 30-year reign of Ragtime), they were taken over by Big Band Swing, an era that lasted from about 1930 to 1945 when Bebop became popular. The Swing Era introduced written charts (music) and the need for a broader fuller sound that included the orchestra harp. At this stage, the harp was used only as a secondary instrument and was heard mostly playing flurries of glissandos and arpeggios. Continue reading →
Gustav Holst, (1874-1934) born in Cheltenham, England, is probably best known for his Planets Suite.As a child, he loved the piano and practiced it for hours, but did not like the violin, the instrument his father chose for him. He had neuritis in his hands, which made practicing a pain (literally.)
His first job was in 1893 as organist in a small village. An aspiring composer, this experience helped him understand the inner workings of vocal music.
Gustav’s grandfather (Gustavus) was a harpist! His father (Adolph) was an organist and choir director. His mother, Clara, was a singer. She died when Gustav was only 8. His stepmother, Mary Thorley Stone, was a pianist. Continue reading →