HARP - Sharkey, Lauren C. - Method For Harp in THR Elementary Orchestra

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
In
Music
by
© Lauren C. Sharkey 2009
Fall 2009
A Project
by
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.
iv
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
v
ABSTRACT
by
 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.
vi
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
1
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
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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 effects3 fit within the
group as a whole.
3
Special effects such as harmonics and glissandos are included in this beginning method.
8
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),
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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 mark4 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.
12
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
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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 timbre7 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.
15
French romantic composer Hector Berlioz first included a harp into a
symphonic orchestra in the 1830's9 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).
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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.
18
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
19
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
22
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
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
26
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
28
29
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

30
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
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
29. Review of 3 Note Pattern, Exercise 1
33. Mary Had a Little Lamb
34. Hot Cross Buns
35. French Folk Song
36. Exercise
37. The Countdown
38. The Answer
40. Major Tetrachord
41. Major Tetrachord, Exercise 2
31
42. Exercise
43. Ode to Joy
45. Quarter Rest
47. Climbing
48. Norwegian Folk Song
49. 3 Note Chords
51. Key of D
52. Lightly Row
54. Theory Game, Finish the Measure
55. Jingle Bells
56. Octave
57. Octave, Exercise 2
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
78. Pit Stop
81. D.C. al Fine
82. Scotland’s Burning
84. New Lines
85. Slur
32
86. Exercise
87. Hand Stretches
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
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
33
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
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
34
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
35
36
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

37
Up
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.

38
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.
39
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.
40
Figure 7. Above left, Sitting correctly aatt 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.

hand
Figure 10. Above right, Hand position for the left hand.
41
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

position,
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
fingers flat and
not curved under.
Figure 11. Correct closed hand position

posit
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 G
A The treble clef is also called the “G” clef-
F The curve goes around the G line.
E
A
G
F
Bass Clef D
E 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
43
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
4
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 2nd finger, closing your hand completely after each note.
• Count out loud.
D String Repeat sign: repeat the previous section of music. ↓

1.
44
45
A String
2.
String Recognition
Label the strings on the harp below:
46
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.
47
Theory Activity – Label the pedals.
Db C§
Intervals17
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 2nd, 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.
CDE
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.
48
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.
4.
Quarters and Halves18
• 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.
49
• 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 1st finger (thumb) in measure 3, keep your 2nd, 3rd and 4th fingers on the
strings.
• Check that your thumbs are higher than the rest of your fingers.
6.
• Are just the tips of your fingers on the strings?

50
7.
• 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 3rd and 1st finger at the same time. The first
group, keep the thumb (1st finger) on the string while playing the 3rd finger. The second
group is the opposite. Keep the third finger firmly on the string while the 1st finger plays.
Be sure to close the thumb and touch it to the side of your 2nd finger.
5
51
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.
52
53
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.
54
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.
55
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.
56
57
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.
58
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 Steps

S
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.
59
60
30.
• Close each finger completely as it plays.
31.
• Practice Tip: Practice each hand separately before putting them together.
• Interval of a 6th: 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 6th:
ABCDEF
123456
• The sixths that you see below go from a space to a line. Use your 3rd 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.
61
Mary Had a Little Lamb19

33.
Hot Cross Buns20

• You can roll these half note chords.
34.
French Folk Song21

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.
62
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#
63
64
Review: Do you remember what this is called?  How many beats does it get?
42.
Ode to Joy22
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.
65
66
Norwegian Folk Song23
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.
67
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 Row25
• 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.
68
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 Bells26
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.
69
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 Octave
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.
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.
chords. As always, close your hand completely between each
chord.
27
This is also the key signature for ff-sharp
sharp minor. Further study in music theory is needed to acquire a
more broad understanding of key signatures.
70
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 Song28

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.
71
61. Theory Activity – Name the interval.
62.
• Place your hands for all four notes in the 3rd 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
WWH WWH
Tetrachord 1 Tetrachord 2
D E F# G A B C# D
72
63.
Scale with One Hand and

When playing a scale with one hand, the fingers must cross under or over one another.
Going
oing 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
X X
73
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 
74
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.
75
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.
76
• 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

77
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
78
Etude #3
68.
Two Hands
69.
New Note – Whole Note Counting the Beats
1 2 3 4
= 4 beats 4 w
4  
   
70.
• Check your hand position for the octaves in the left hand. Gesture and close hands
completely.
• Roll each chord.
79
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 10th
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 10th is common in
harp music. Use the first and fourth fingers when playing a 10th. The hand will appear
even straighter on the strings than with an octave. The distance from G to B is a 10th:
GABCDEFGAB
1 2 3 4 5 6 7 8 9 10
Twinkle Twinkle Little Star29

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.
80
81
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).
82
83
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.
84
In 3
• Be sure to end your glissando on D.
76.
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?
85
French Folk Song31

• 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.
86
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 Burning33
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.
87
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
Register Symbols
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.
88
89
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.
90
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.
91
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 Dock35

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.
92
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
94
95.
96.
Harp Solo
• Pay attention to the notes in the L.H. in measure seven. Notice the interval of a
3rd.
97.
95
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.
96
Right Hand Acrobatics

• Do not roll the chords in the L.H. in the following piece.
102.
London Bridge37
• 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.
97
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 the
th
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.
98
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.
99
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 1st, 3rd and 5th 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 5th, 7th and 2nd 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 Peter38
• Practice hands separately.
110. Traditional
Reuben and Rachel39

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 Blue40
117. Write in the beats. English Folk Song
She’ll Be Comin’ ‘Round the Mountain41
• 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
Yankee Doodle42
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
Tempo43
• 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 Ago44 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
ill 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 off their standard tempo markings has continued into present times. Although some non-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,
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 Manger45
Can-Can46
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 Paganini47
• 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. Kookaburra48
• 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 All50

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 Ringing51
• 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 Tasket52
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 Hymn55
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 th
Tallis, Thomas, Evening Hymn, Public Domain, 16 Century. The harp part is an accompaniment for the
traditional melody.
119
French Folk Song56
145.
On the Bridge of Avignon57
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 Kind58

148. Irish Folk Song
Oh When the Saints59

• 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 Lou60
Shepherd’s Hey61
• 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
 8  12  8 Coda 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.
2.
127
3.
4.
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
B
A
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
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.
 | | | | |
 | | | | |
D A D G C A G E

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
12 34 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
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
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
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
4 1 1 2 2 1 4 4 2 1 1
134

Note to the instructor: Any combination of notes can be used in this assignment so long as each measure adds up to four.
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
5th 6th 3rd 7th 4th 5th 6th octave/8th

135

. =   | w =   |  =  |  =  |   =  |  = q q |  =  |
A Major G Major
G Major D Major
q q q q q  q q q 
136
Pg. 106 – Lavender’s Blue
1 2 3 1 2+ 3 + 1 2 3 123 1 2 3 1 2+ 3 + 1 2 3 123
1 2 +3+ 1 2 +3 + 1 23 1+ 2+ 3 1 2 3 1+ 2 3 + 1+ 2 3+ 1 +2+ 3
G Major D Major
1 2+3 4 1 +2+34 12 3+4 1 2+34 1 2 + 3 + 1 2 3 1 2+ 3 1 2 3
C Major A Major D Major G Major
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
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 Cb.
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.
142
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.

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METHOD FOR HARP IN THE ELEMENTARY ORCHESTRA

California State University, Chico

Of the Requirements for the Degree

© Lauren C. Sharkey 2009

APPROVED BY THE INTERIM DEAN OF THE SCHOOL OF

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.

No portion of this thesis project may be reprinted or reproduced in any manner

Publication Rights ...................................................................................................... iii

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

II. Introduction .............................................................................................. 5

Introduction to the Project .............................................................. 5

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

IV. Methodology ............................................................................................ 19

A. Beginning Harp Method .......................................................................... 27

METHOD FOR HARP IN THE ELEMENTARY ORCHESTRA

 Lauren C. Sharkey 2009

Master of Arts in Music

California State University, Chico

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.

PROLOGUE TO THE PROJECT

instrument as the musicians began the concert.

hardly took a breath, afraid to miss one beautiful note.

Since other students start learning their respective instruments in an ensemble

be difficult when one has never experienced it before.

One solution that is developed through this project is a method to allow

to be adapted to any string ensemble method.

When I started my research, it began as research for a resource for music

an attempt to address the problem of lack of ensemble knowledge in a more effective

high school ensembles.

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

degree of proficiency. Music is a language. It is a means of sharing information that

creates a good ensemble.

“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

presented in the clearest means possible.

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

learning phrasing. In watching a conductor’s face as he or she conducts and encourages

music and how that is shared with others.

is an outstanding group learning experience. In an ensemble, students can make

music education they are receiving.

As can be seen when looking at any published elementary string method or

Purpose of the Project

The purpose of this project is to provide elementary school harpists with a

Description of the Project

Method for Harp in the Elementary Orchestra is organized in a way similar to

the harp and harp technique.

illustrations. The chapters primarily focus on instrumental technique, such as hand

sections provide an introduction to music history and conducting, which improves

The first chapter focuses on fundamentals of the instrument, for instance,

and illustrates accompaniment-style harp parts.

ensemble score, etudes and harmonics.