It is often interesting to learn what motivates composers or arrangers to create their work. Such was the case with a new publication for pedal harp from Arrow Heart Press by harpist and author Diane Michaels. Three Romantic Solos are works in the public domain by African American composers. Michaels was listening to a classical radio station broadcast dedicated to music composed or performed by black artists in recognition of Juneteenth, a date celebrating the end of slavery. It made her aware that her repertoire lacked inclusivity, so she sought to add pieces to the harp repertoire that would celebrate diversity. She ended up selecting the three pieces in this collection written by some outstanding musicians.

The first piece is “Bresiliana” by Charles Lucien Lambert, a pianist and composer born before the Civil War. After living in France, he settled in Rio de Janeiro which may explain the title of this piece. It is a waltz in C major ,and this arrangement is six pages in length. After an intro, the main theme is introduced, followed by a chromatic section with some pedal changes. The theme reappears two more times in between increasingly chromatic sections. There are frequent pedal changes and one final glissando to end the piece.

“Castles’ Half and Half” was written by James Reese Europe and Ford T. Dabney. The former was a Ragtime arranger and composer. He organized the Clef Club, a society for Black Americans in the music industry. His contemporary, Dabney, was a pianist, composer, and acclaimed director of orchestras and bands. This melody is in 5/4 and alternates back and forth between C and F major. Once again, there are frequent pedal changes.

The last selection is “Water in the Moonlight” by Thomas Wiggins. Also known as “Blind Tom,” Wiggins was blind at birth. Born into slavery, he was thought to be an autistic savant. He had numerous compositions published, some under an alias, and was the first African American to give a command performance at the White House. He was a truly astonishing talent.

This tune is a little more challenging than the others. It has frequent, fast pedal changes as well as key changes between B-flat and F major. It also has several arpeggios and multiple grace notes. There is an unnecessary pedal change at measure 53 where the A can remain in flat until measure 57, avoiding the subsequent change in measure 56. The arpeggio in measure 62 as well as at the very end are a little muddy as they include three bass wire strings in close proximity. A more open voicing might yield a cleaner effect.

This trio is suitable for the intermediate to advanced player. Fingering is suggested where it might be helpful, but for the most part, the arrangements are laid out to fall logically within the hands. All pedal changes are clearly marked below the staff. The typesetting is easy to read, and most page turns are manageable.

Hopefully, this music will motivate you to learn more about these fascinating composers and celebrate diversity.

Stanley Guy was inspired by his friendship with harpist Brook Boddie. Boddie passed away last summer, and Guy wrote a musical tribute to his memory. “Gentle” is a short, two-page melody for either pedal or lever harp. Published by Seraphim Music, all proceeds from the sale of this music will be donated to music-related charities designated by Boddie’s family.

The music is provided in both E-flat and C major. It features rolled chords, arpeggios, and harmonics, giving it a very soothing quality. Some fingering is provided, especially for the left hand arpeggios. There is a simple but engaging theme that repeats in different octaves. It is sight-readable for the intermediate player.

If you want to honor Boddie and help music charities at the same time, add this to your library.

“More” was the popular theme from the 1962 film, Mondo Cane. Heather Hills was inspired to arrange it by its beautiful melody, jazzy feel, and her vocalist mother who loved the song. Ultimately, however, she wants to see the pop harp repertoire become as broad as what is available for piano. She published her solo pedal harp version through Sheet Music Plus.

The intro begins at a slower pace in the key of G major by stating the melody with mostly long whole and half note chords. She quickly transitions into a faster tempo and includes the lyrics for the rest of the piece, a helpful addition to those not familiar with the tune. There are some étouffées in the left hand that mimic a bass player. She deftly transitions to A major for the second verse that includes some improvisation. For the remainder of this verse to the end, she modulates to B-flat, adds some scale glisses, a few arpeggios, and one trill to finish at the end.

There is an enharmonic at measure 41 (D-sharp played for E-flat) indicated by the circled note. All pedal markings are included in the center of the staff where they shouldn’t be missed, although the accidental symbols are very tiny. She even includes a few pedal charts. Some fingering is included, and page turns are manageable. Intermediate or advanced players should enjoy this lovely arrangement.

Here’s to finding your inspiration, and may we all have a much better year in 2021!

Jan Jennings has been the music review editor for Harp Column since 1993. She is an active freelancer and teacher, and is the author of The Harpist’s Complete Wedding Guidebook and Effortless Glissing. Email her at
mail@harpbiz.com.