Wandering Folk Harp › cdn.harpcenter.com › ... · 4 Licensed to original downloader only The Author Beth Kollé pursues her love of traditional and traditionally-inspired music

1Licensed to original downloader only

The Wandering Folk Harp

by

Beth A. Kollé

Seventeen Pieces from Around the Worldfor the Lever Harp

Intermediate to Advanced LevelIncludes Seven Flute/Fiddle Harmony Parts

And Two Harp Duets

Electronic Edition © 2011Cover Design © 2003 Cynthia Rice Kuni

Your respect of the copyright laws will help support the musicians and arrangers who created this work, and willencourage more harp music to be produced in the future. Please do not make multiple copies to pass on to others. You

can help keep downloadable harp music viable and available by encouraging your students, friends and relatives topurchase their own copies. Thank you for your assistance in this endeavor.

First edition published by Beth A. Kollé © 2003. All arrangements of traditional music are by Beth A. Kollé unlessotherwise noted. All rights reserved. The music in this book is protected by copyright and may not be reproduced in any

way, for sale or for private use, without the written consent of the copyright owner.

A Bruxa ©1979 by Antón Seoane, printed with permission.Saguaro © 1998 by Laurie Riley & Michael MacBean, printed with permission

Summer Night (Vi skal ikkje sova bort sumarnotta) ©1971 by Geirr Lystrup & Aslaug L. Lygre

2 Licensed to original downloader only

Table of Contents

The Author ............................................................................................................................... 4

Introduction .............................................................................................................................. 5

A Bruxa, (The Sorceress) Antón Seoane, Galicia, Spain .......................................................... 7 Flute or Fiddle .................................................................................................................. 10

Bianco Fiore, Italy ................................................................................................................. 13 Flute or Fiddle .................................................................................................................. 16

The Earl of Essex Galliard, J. Dowland ...................................................................... 19

Summer Morn, B. Kollé ..................................................................................................... 23

Summer Night (Vi skal ikkje sove bort sumarnotta), Geirr Lystrup & Aslaug L.Lygre ... 27

The Streams of Bunclody, Traditional Irish ................................................................. 33 Flute or Fiddle .................................................................................................................. 36

When Morning is Breaking (Pan Gyfyd Yr Heulwen), Traditional Welsh ............... 39 Flute or Fiddle .................................................................................................................... 42

Have You Been to Carrick?, Traditional Irish ............................................................. 45


Hardiman the Fiddler, Traditional Irish Slip-jig.............................................................. 49

Los Bilbilicos (The Nightingales), Traditional Sepharidic .................................................. 53 Flute or Fiddle .................................................................................................................. 58

Sheba’s Bellybutton, B. Kollé .......................................................................................... 61 Flute or Fiddle ............................................................................................................... 65

Bonnie at Morn, Traditional Northumberland Lullaby .................................................... 67 Flute or Fiddle .................................................................................................................. 72

Voyage South, B. Kollé ........................................................................................................ 75

The Lass of Aughrim, Solo, Traditional Irish Ballad ................................................. 81

The Lass of Aughrim, Duet Score ........................................................................... 85 Harp One ............................................................................................................................ 92 Harp Two........................................................................................................................... 96

The Humours of Ballyloughlin, Traditional Irish ................................................. 101

Saguaro, Harp One, L. Riley & M. MacBean .............................................................. 106 Harp Two..................................................................................................................... 112

Acknowledgments ........................................................................................................... 118

Ordering Information, Also by Beth Kollé .................................................................. 119


The Author

Beth Kollé pursues her love of traditional and traditionally-inspired music in this collection ofbeautiful and interesting music. She enjoys bringing different kinds of music to her harp, a DustyStrings FH36 bubinga lever harp, and sharing her arrangements with other harpers.

Beth performs and presents workshops throughout the United States on harp, flute and voice. Shehas produced several acclaimed recordings on the harp and flute. This is the sixth of Beth Kollé’sbooks for lever harp. Beth lives in Seattle, Washington, a veritable hotbed of harpers, as well asCeltic and Nordic music.

Photograph by Jack J. Kollé


Introduction

This book is the third in what has turned out to be a series. It started with me scribbling a few ar-rangements down, which with Harper Tasche’s help turned into The Northern Folk Harp. As it

gained recognition around the United States, pressure grew for another book. The Scandinavian FolkHarp followed, which has introduced many lever harpers to the beautiful music of the Nordiccountries.

Now The Wandering Folk Harp brings you engaging and exotic songs from around the world foryou to play on your lever harp. Some are traditional, some are composed, some are medium-easyand some are challenging. There is an interesting mix of nationalities in this book, ranging fromScandinavia to the Mediterranean Sea. Bowing to requests from my fellow harpers, there are sevenflute/fiddle parts included with harmonies or counter-melodies, and there are two harp duets.

When I make an arrangement for the harp, I try to show the musician taking-off points for creativity.You may notice that if a section repeats and I have written that repeat out, there will be variations inthe repeat. This is to help you develop ideas for creating your own interpretation. In other words,feel free to experiment with these songs and find new variations to make them your own.

There is a range of difficulty presented in these pieces, with the easier ones at the beginning. If apiece seems too difficult for you, I encourage you to skip some notes until you feel more comfort-able with the piece and then work those notes back in as your skill level increases. The arrangementsare written for a 36-string harp, but players of smaller harps can easily play the lower notes up anoctave.

Included in this collection are three well-loved pieces I have received many requests for: Saguaro,

The Humours of Ballyloughlin and The Lass of Aughrim. All three are very rewarding to play and

make fabulous performance pieces. The Lass of Aughrim is arranged here both as a solo piece, and

as a harp duet. Saguaro may be played as a solo (Harp One), or duet (add Harp Two).

I know all of these pieces will make beautiful additions to your repertoire, whether you play foryour own pleasure or for the pleasure of others.

Beth A. Kollé



A Bruxa

‘The Sorceress’

Antón Seoane

I learned this sultry piece from my friend, Paula Lalish, who lives on an island in northwesternWashington State. Paula got it from Patrice Haan, formerly of Victoria, BC and now of the BayArea.

Patrice helped me find the composer, Antón Seoane of the Galician musical group Milladoiro. Thesong, a love song inspired by a woman, appears in the first of Milladoiro’s recordings, called ‘AGalicia de Maeloc’. The group’s career has taken them all around the world with their music and thesong has been recorded by artists in Europe, North America and Australia.

I particularly enjoy the interplay of major and minor in this song. I have not heard the composer playit, but I sense it should be played not too strictly to the notated rhythm.







Bianco Fiore

Italy

The title of this piece means ‘white flower’ in Italian. This graceful renaissance piece is well-knownin classical guitar and lute circles.

My friend, Susan McLain, arranged it for the lever harp, perfectly capturing the measured grace ofthe period. The open fifths of the spare accompaniment serve to bring more attention to the fullchords when they appear. The flute or fiddle (or other melody instrument) could play the melody thefirst time through and then the harmony, finishing with an embellished melody for the final time.

Be sure to allow the ending of each phrase to settle in before beginning the next phrase, almost as ifyou are bowing to a dance partner. Alternatively, Bianco Fiore would make a lovely bridal proces-sional if played with an even rhythm.







The Earl of Essex Galliard

John Dowland (1563-1626)

The Earl of Essex Galliard is a Renaissance court dance piece composed by lutenist John Dowland,one of the most popular composers in Elizabethan England. The galliard originated in Italy, where itwas a light, spirited five-step dance.

Dowland was well-known as a performer and composer throughout Europe. Although he failed toreceive a court appointment during Elizabeth’s reign, he was appointed court lutenist for the Danishking, Christian IV. A prolific composer, many of Dowland’s pieces are well-known today in musicalcircles.

While this galliard may be played quickly, according to the style of the time, it is also very lovelywhen played slowly, as an air.





Summer Morn

Beth A. Kollé

On a lovely summer mornAt the local Scottish Games,

I was feeling so forlorn‘Cause the sales had been so lame.

Then a man came up to meAnd he said these words so fair,“Can you play that harp I see,

‘Stead of fiddling with your hair?”

So I whomped him out a tuneMade it up right on the spot

On that summer morn in JuneAnd the customer I caught.

Here’s the moral of this tale:Never look like you’re a dunce,

And remember not to failTo write the notes at once.

This is truly the story of how this song came about. Thanks to fellow harper Becky Fox, who wasstanding there when this song was born, for providing the title.




Summer Night

Vi skal ikkje sova bort sumarnotta

Vi skal ikkje sova bort sumarnatta We shall not sleep on this summer night Ho er for ljos til det. The sky’s too pale for sleep. Då skal vi vandra i saman ute Then let us wander, you and I Under dei lauvtungje tre Under the dreaming trees Under dei lauvtungje tre. Under the dreaming trees.

Då skal vi vandra i saman ute Then let us wander, you and I Der blomar i graset står. Where the flowers glimmer like stars. Vi skal ikkje sova bort sumarnatta We shall not sleep on this summer night Som kruser med dogg vårt hår But follow the breezes far Som kruser med dogg vårt hår. Follow the breezes far.

Vi skal ikkje sova frå høysåte angen We shall not sleep in the hay-stackedmeadow Og gresshoppespelet i eng, Where grasshoppers sit and sing.Men vandra i lag under bleik-blå himlen Oh, wander with me under pale-blueheavens Til fuglane lyfter veng Until the birds take wing Til fuglane lyfter veng. Until the birds take wing.

Og kjenne at vi er i slekt med jorda, For we are a part of this circle of earth, Med vinden og kvite sky. Of the wind and sea and sky. Og vite at vi skal vera isaman Come, let us wander the world together Like til morgongry All on this summer night Like til morgongry. All on this summer night.

Translation: Paula Lalish


Summer Night

‘Vi skal ikkje sova bort sumarnatta’

Geirr Tveitt (1908 - 1981) & Aslaug L. Lygre

In Scandinavia, the summer nights are glorious. In the southern parts of Norway and Sweden, thesun barely dips below the horizon at Midsummer. Five hours of shifting colors in the sky are thenightly show as the sun takes its time sliding down and easing back up.

In the far north, the sun doesn’t even bother going down, but instead circles around overhead fordays and days. If you don’t keep a digital watch, you may lose track of whether it’s day or night.Sleep comes in small patches; you work and play when you feel like it. Neighborly visits at 2 a.m.are not unusual. If everyone is up anyway, might as well have coffee and kringle.

This song celebrates the persistent desire to be wandering outside in the summer night, when youknow you really should be sleeping. My friend Paula Lalish transformed my rough translation intoEnglish lyrics that capture the mood and the meaning perfectly.






The Streams of Bunclody

Oh, were I at the moss house, where the birds do increase,

At the foot of Mount Leinster or some silent place,

By the streams of Bunclody where all pleasures do meet,

And all I would ask is one kiss from you, sweet.

If I was a lark and had wings I could fly

I would go to yon arbour where my love she does lie,

I’d proceed to yon arbour where my true love does lie,

And on her fond bosom contented I would die.

’Tis why my love slights me, as you may understand,

That she has a freehold and I have no land,

She has great store of riches, and a large sum of gold,

And everything fitting a house to uphold.

So fare you well, father and my mother, adieu,

My sister and brother, farewell unto you,

I am bound for America, my fortune to try,

When I think on Bunclody, I’m ready to die.


The Streams of Bunclody

Traditional Irish

Bunclody is a town in County Wexford in the southeast of Ireland in the shadow of Mount Leinster.This song is said to have been written by a homesick emigrant. Yes, the start of the melody doessound a bit like the theme to Raiders of the Lost Ark, but it is still a charming tune.

I found this tune in the book Traditional Slow Airs of Ireland, by Tomás Ó Canainn, where it waspresented without an accompaniment. I just couldn’t help coming up with a pretty flute part to playwith the harp.






When Morning is Breaking‘Pan Gyfyd Yr Heulwen’

Pan gyfyd yr heulwen, ar fynydd adôl,Gan yrru tywyllwch y nos yn ei ôl,

Pan draidd yr ehedydd ymhellach na’r clyw,Am nodded dy edyn eiddunwn, O Dduw.

Pan ddaw yr awr fachlud ar fynydd a dôlGan alw gogoniant y nos yn ei ôl.

Pan dry y gorllewin yn fflamgoch ei liw,Am nodded dy edyn, eiddunwn, O Dduw.

~~~

When the night lifts above the hillsideAnd the sun rises from the lake,

Then my joy embraces all the morningAs the birds sing the world awake.

When the day drops its heavy burdenAnd the night sends the birds to sleep

Then my peace returns to me at eveningIn the dark: holy, close, and deep.

English translation updated by: Paula LalishTranslation: unknown


When Morning is Breaking

‘Pan Gyfyd Yr Heulwen’

Traditional Welsh

Thanks to harper Morgana Keast for bringing this lovely tune to my attention. I was able to locatethe Welsh lyrics and an English version. Paula Lalish updated the English version for me, but shenotes that it appears to have nothing to do with the original Welsh verses.

This is a pretty, cheery tune with typical overtones of French baroque. Welsh music, language andeven costumes were heavily influenced by the French during the medieval and renaissance periods,as the nobility traveled back and forth from one country to the next.

As with many old tunes, the lyrics and melody can have separate titles. Lyrics are sometimes set tomore than one tune. In this version, the melody is called ‘The Pass of Llanberis’.







Have You Been to Carrick?

Traditional Irish

Sean nós is an a capella style of singing from Ireland which is characterized by the singer’s naturalvoice, ornamented with grace notes, small runs of notes, and strategically placed breaths and stops.The rhythm of a song sung in this style is oriented towards units of breath, rather than units of time.It is storytelling in song form.

It is expected that each singer will ornament in his or her own fashion, within the tradition. Expres-sion is to be found in the ornamentation of the melody and in the pauses before or after significantnotes, not in the dynamics. In fact, when watching a sean nós singer perform, you might assumefrom their facial expression and lack of volume dynamics that they are unmoved by the song. This isnot true; the elements of expression are drawn from a different set of rules.

This harp arrangement, by Michael MacBean (presented on Voyage North) borrows from that sing-ing style, so the ornaments are suggestions only. Please use the notation as a guide, to help you findyour own style. Take a breath between the phrases, and pay attention to the slow rhythm of the bassnotes. Also note the way the grace notes are sometimes notated before the beat, sometimes after.Play these lightly, to highlight the more ponderous bass.





Hardiman the Fiddler

Traditional Irish Slip-jig

A slip-jig is an Irish dance tune in 9/8 time. I like to play this lively slip-jig at a slower pace: more ofa canter than a gallop. By taking it at a more leisurely pace, the tune seems to blossom.

There is an optional harmonic in the left hand at measure 11. I like to play it when performing, evenif the only one to hear it is me.

Stone Circle presents Hardiman the Fiddler as part of a medley on Voyage North, with the first tune

being The Fair-Haired Child (see my arrangement in The Northern Folk Harp book). It is also

recorded on The Northern Folk Harp CD.




Los Bilbilicos ~ The Nightingales

Los bilbilicos cantan The nightingales singCon sospiros de amor; With sighs of love;

Mi neshama, mi ventura My soul and my fate Estan en tu poder. Are in your power.

La rosa enflorese The rose blooms En el mes do mai. In the month of May. Ni neshama s’escurese, My soul and my fate Sufriendo del amor. Suffer from love’s pain.

Mas presto ven palomba Come quickly, my dove, Mas presto ven con mi; More quickly come with me, Mas presto ven querida, More quickly come, beloved, Corre y salvame. Run and save me.

Translation courtesy of Sunita Staneslow


Los Bilbilicos‘The Nightingales’

Traditional Sephardic

Also known as La Rosa Enfloresa (The Rose A-Bloom), this haunting Sephardic tune is said to bevery old. When the Jews of Spain were expelled from the Iberian peninsula in the late 1400’s, theybrought with them their music, stories and language. Thus many Sephardic tunes may be found inthe countries to which the Jews fled, from France down to North Africa.

Sunita Stanislow is well-known in the harp world for her wonderful performances, recordings andbooks. She has produced many arrangements of Jewish traditional songs. This is my own arrange-ment of Los Bilbilicos, which Sunita taught at the ISFHC Harp Conference in Olympia, Washingtonin 1996.

While playing outdoors once at the Green Spire Medieval Fair in Seattle, two people came up tospeak to me about the song. The first was a young woman from France, whose mother used to singthe song to her in the Breton language. The other was an older Turkish man, who had heard the songwhen he was growing up in Turkey.

With its exotic augmented second interval (between F-natural and G-sharp), this sultry love songcraves a subtly dramatic performance. The flute part gives the player a chance to play more from theheart than from the page.









Sheba’s Bellybutton

Beth A. Kollé

I took a few lessons in bellydancing, and this song just came to me one day after class. The exoticaugmented second made me think of the Queen of Sheba, who certainly had a bellybutton andprobably knew how to shake it. There’s a nifty flute part to go with it, too.

The scale is the same used in the preceding song, Los Bilbilicos. If you were in a particularly frisky

mood, you could launch into Sheba’s Bellybutton right after playing Los Bilbilicos.






Bonnie at Morn

The sheep is in the meadow and the kye are in the cornThou’s ower lang in thy bed, bonny at morn

The sheep is in the meadow and the kye are in the cornThou’s ower lang in thy bed, bonny at morn.

Canny at e’en, bonny at mornThou’s ower lang in thy bed, bonny at morn.

We’re a’ laid idle, wi’ the keepin’ o’ the bairnThe lad winnae work, the lass winnae learn

We’re a’ laid idle, wi’ the keepin’ o’ the bairnThe lad winnae work, the lass winnae learn.

Canny at e’en, bonny at mornThe lad winnae work, the lass winnae learn.

The birdie’s in the nest and the trout is in the burnThou hinders thy mother at every turn.

The birdie’s in the nest and the trout is in the burnThou hinders thy mother at every turn.

Canny at e’en, bonny at mornThou hinders thy mother at every turn.


Bonnie at MornTraditional Northumberland Lullaby

This lovely, somewhat mournful tune is a nice contrast if you’re playing sets of jigs and reels. Thelyrics indicate it is a lullaby, or maybe a rant. There seems to be a whole class of ranting lullabyes inthe world of traditional music. Understandable, if you’ve ever been in charge of infants or toddlersfor any length of time. I first heard this one from my friend and fellow singer, Dale Cummings.

The melody in this arrangement is carried by the flute. In the album Tradisjon, I had the fun ofplaying harmony to myself on another track. But you can use two instrumentalists and get the samewaterfall effect with the harmony playing off the melody. You could even have another harper playthe melody line in octaves for a nice effect.

This song comes from Northumberland, which currently borders Scotland. The bookNorthumberland Minstrelsies mentions that the song is basically a lullaby with intervening admon-ishments for the older children (‘Thou’s ower lang in thy bed’, and ‘Thou hinders thy mother...’).

Have fun with the glissandi in the Coda. I don’t worry too much about glissing exactly to the highand low notes indicated. It is more important to use a very light touch, in order to allow the left handnotes to ring softly and clearly.

Kye - cowsOwer lang - over longE’en - eveningA’ - allBairn - childWinnae - will notBurn - stream









Voyage South

Beth A. Kollé

While traveling with my family in the islands of Hawai’i, driving in our rental car with the windowsdown and KAPA Radio (“All Hawai’ian, alla time”) turned up high, we heard many beautiful songsfrom the islands. The melodies and harmonies of the islands captured my imagination.

I heard a song while we were driving one day, but try as I might I couldn’t find out anything about it.Only the chorus of the song lingered in my mind over the next few weeks, undoubtedly changingover time. It wasn’t until we were home in wet Seattle and I was longing for warm breezes and freshpapaya that a possible verse made its presence known.

The lever flip at measure 31is lots of fun. Play the G in the left hand and flip up your F lever to makean F# for the right hand to play. When you’ve played that F#, immediately flip the lever down whilethe string is still sounding to create a lever slide.

I have a Carmen Miranda hat with plastic fruit stuck on it that I like to wear when I play this song.






The Lass of Aughrim

‘Oh, if you be the lass of AughrimAs I’m taking you mean to be,

Tell me the first tokenThat passed between you and me.’

‘Oh, don’t you rememberThat night on yon lea hill?

We both were together,I’m sorry now to tell.

‘The rain beats on my yellow locksAnd the dew stands on my skin.The babe is cold in my arms now

And none will let me in.’


The Lass of AughrimSolo

Traditional Irish Ballad

The John Huston film, The Dead, is based on the short story of the same name by James Joyce. It isan exquisite, memorable film, showing a glimpse of life in the early 1900’s at a small gathering offriends in Ireland. The music was arranged by the Alex North, who deserves much praise for hisaccomplishments in the world of film music.

The old ballad, The Lass of Aughrim, figures centrally in The Dead, appearing as the introductorymusic, played by Ann Stockton on pedal harp, and later sung a capella by one of the characters. Thelyrics closely resemble those of another ballad, Lord Gregory.

While the pedal harp arrangement may be played on the lever harp, there’s way too much lever-flipping for me. I felt there must be some way to arrange this ballad for the lever harp while retain-ing the mood of the pedal harp arrangement. So I tried instead to capture the feeling, while simplify-ing and streamlining the harmonies.

I would like to give credit to Alex North for creating the magical mood of this song with his pedalharp arrangement, which provided me with inspiration. One arrangement is for solo harp and one forharp duet.





The Lass of AughrimDuet

Traditional Irish Ballad

Here is the duet version, with the score first and then separate parts. You have my permission tocopy the score and parts in order to make it easier to play.

The Harp One part may be played on a 26-string harp, while the Harp Two part requires 36 strings.As with most duets, the players should strive for a natural, flowing sound to the piece, instead ofkeeping a strict rhythm. This takes quite a bit of practice together, first keeping the time strictly andthen allowing expression to vary that rhythm.

















The Humours of Ballyloughlin

Traditional Irish

Laurie Riley created the arrangement for this traditional Irish jig, and presents it on her CD, A Worldof Music on the Harp. I have added the traditional fourth section with my own accompaniment thatblends with hers.

The key to playing this tune is to relax the fingers, especially when playng the sixteenth-note orna-ments starting bar 21. Practice just the ornament, using fingers 4-3-2, very slowly, with the palmheld parallel to the strings. Gradually speed up, but be sure to stay relaxed.

If you need to brace your wrist against the soundboard during those passages, I won’t call the HarpPolice.






Saguaro

Laurie Riley and Michael MacBean

This song was written for two harps in the early 1990’s when Laurie and Michael were traveling andperforming a lot in the Southwest. It appears on their Collection album, and also on Narada’s Facesof the Harp compilation CD. American Airlines has included the piece in their in-flight selections forseveral years.

Saguaro (sah-WAH-row) was composed in honor of the giant cacti of the same name, found inArizona. They can be more than 30 feet tall and weigh several tons. Saguaro look particularly beau-tiful silhouetted against the red sky of an Arizona sunset.

I first heard this song before going on a ski vacation, and Saguaro proved to be the perfect song tohave in my head to ski to. Not long after that I dreamed I was on stage with Laurie and Michaelplaying this song, and between verses we would stand up and spin our harps around before ploppingback down for the next verse. Recently I taught and performed at the Double-Strung Harp Retreat,organized by Laurie Riley in Sedona, Arizona, where it was totally fun to play this song alongsideLaurie at our concert.

Harp One is wonderful played as a solo piece. Play the slurred notes in the right hand a little softer,so the melody will come out. Adding Harp Two really makes this piece shine.

You may have heard of the Darwin Awards, which are given posthumously to “those individuals whoensure the long-term survival of our species by removing themselves from the gene pool in a sub-limely idiotic fashion”. An award was given to the guy who opened fire with a machine gun on agiant several-ton saguaro, riddling it with bullets so that it keeled over. On him.













Acknowledgments

This book has come about thanks to the help of many friends. Susan McLain, Paula Lalish, PatriceHaan, Laurie Riley, Michael MacBean and Dale Cummings have provided wonderful tunes forinclusion in this book.

Bill McJohn, who is thoroughly steeped in Renaissance music, kindly reviewed The Earl of EssexGalliard.

Thanks to Patrice Haan of the Bay Area for locating the composer of A Bruxa. Antón Seoane of theGalician group Milladoiro gave permission for me to arrange the piece for the harp. The group’swebsite is www.milladoiro.com.

Summer Night (Vi skal ikkje sova bort sumarnotta), was composed by Geirr Tveitt to a poem

written by Aslaug L. Lygre.

Harper Tasche has offered many valuable suggestions and ideas for the pieces that appear here. Hewas especially helpful with The Lass of Aughrim, both solo and duet, by encouraging me to writethe arrangements as I would be most likely to play them.

Thanks, too, to my husband, Jack and children, Lily and Reijer for letting me use the computer.

Contact Information:

Beth A. Kollé

www.bethkolle.com

3213 West Wheeler Street #179Seattle WA 98199

U.S.A.


Ordering InformationAlso by Beth Kollé

May be ordered from www.bethkolle.com

Books of Harp Arrangements:Books of Harp Arrangements:Books of Harp Arrangements:Books of Harp Arrangements:Books of Harp Arrangements:

TTTTThe Northern Folk Harphe Northern Folk Harphe Northern Folk Harphe Northern Folk Harphe Northern Folk Harp, by Beth Kollé. Twenty-five fun Celtic and Nordic arrangements for leverharp, including parts for flute and for harp duets. CD available (see below).....................$18.00

TTTTThe Scandinavian Folk Harphe Scandinavian Folk Harphe Scandinavian Folk Harphe Scandinavian Folk Harphe Scandinavian Folk Harp, by Beth Kollé. Seventeen beautiful traditional songs and dances from

Scandinavia, including two flute parts............................................................................... $18.00

WWWWWedededededding Music for the Lever Harpding Music for the Lever Harpding Music for the Lever Harpding Music for the Lever Harpding Music for the Lever Harp, by Beth Kollé and Laurie Riley. Includes instructional CD.Twenty-three classic, traditional and ethnic wedding arrangements plus a comprehensive guide toplaying weddings. Mel Bay Publications............................................................................$24.95

TTTTThe Doubhe Doubhe Doubhe Doubhe Double-Strung Harple-Strung Harple-Strung Harple-Strung Harple-Strung Harp, by Beth Kollé and Laurie Riley. Features fifteen arrangements by Bethand Laurie, ranging from beginning to advanced levels. Includes Dinny Delaney’s, Fantasy on‘Leyenda’, Carol of the Bells and Are You Sleeping Maggie? Afghan Press......................$23.00

YYYYYou Can Tou Can Tou Can Tou Can Tou Can Teach Yeach Yeach Yeach Yeach YourselfLever HarpourselfLever HarpourselfLever HarpourselfLever HarpourselfLever Harp,,,,, by Laurie Riley and Beth Kollé. Includes instructional CD. Acollection of familiar songs arranged by Laurie to guide the novice folk harp player. Several arrange-ments of each song allow the player to add skills and progress. An excellent learning aid, for usewith or without a teacher. Mel Bay Publications................................................................$19.95

Recordings:Recordings:Recordings:Recordings:Recordings:

Beth KBeth KBeth KBeth KBeth Kollé,ollé,ollé,ollé,ollé, T T T T The Northern Folk Harphe Northern Folk Harphe Northern Folk Harphe Northern Folk Harphe Northern Folk Harp,,,,, harp and flute. Contains all songs from the popular book,

The Northern Folk Harp (see above). CD ©2002.............................................................$15.00

VVVVVoyagoyagoyagoyagoyage North,e North,e North,e North,e North, with trio Stone Circle. Harp, flute and fiddle. Dynamic ballads, reels and jigs fromIreland, Scotland, Scandinavia and Cape Breton. CD ©2000............................................$15.00

Tradisjon,Tradisjon,Tradisjon,Tradisjon,Tradisjon, with duo Greensleeves. Harp, flute, guitar and voice. Traditional songs and airs fromNorway, England and Ireland. Lyrics in English and Norwegian. CD ©1998...................$15.00

WWWWWeaving Olden Danceseaving Olden Danceseaving Olden Danceseaving Olden Danceseaving Olden Dances,,,,, with duo Greensleeves. Harp and flute. A treasury of exquisite traditional

dances, songs and airs from northern lands. CD ©1996.....................................................$15.00


Other publications from Beth Kollé

The Harpa TunebookThe Harp Ensemble BookThe Northern Folk Harp

The Scandinavian Folk HarpThe Wandering Folk Harp

Books by Beth Kollé & Laurie Riley

The Double Strung Harp BookThe Double Strung Harp Beginner’s Book

Afghan Press Music for Harpwww.AfghanPress.comwww.AfghanPressMusic.com 62204

Documents

Wandering Folk Harp › cdn.harpcenter.com › ... · 4 Licensed to original downloader only The Author Beth Kollé pursues her love of traditional and traditionally-inspired music