Joy Slavens’ new self-published arrangements include three traditional carols arranged for solo harp (pedal or lever) and harp with flute or violin.

It’s hard to think about Christmas when most of the country is sweltering, but it will be here before you know it. Joy Slavens has self-published some new holiday offerings for both solo harp (pedal or lever) and harp and flute or violin. 

“The First Noel” is for solo harp in the key of C. There are three verses in this five-page arrangement, and there are no pedal or lever changes. The first page turn is awkward but the second is much easier. Fingering is only suggested occasionally, although the notes fall comfortably in the hands. 

A short intro of descending chords mimics the sound of pealing bells. The first verse is fairly straightforward with the left hand accompaniment spanning tenths. There is a scale gliss and a short interlude before the next verse. The second verse features some variations to the melody, broken thirds, and triplets before the next interlude. The last verse uses mostly a single note melody with a chord on the first beat of every measure. There are more scale glisses, inversions, and a few extra measures to echo and extend the melody before the final gliss. 

This is easily sight-readable for the intermediate level and some sevenths and ninths added to many of the chords gives this traditional carol a more modern flair. 

Slavens has also published a medley of “Deck the Halls” and “O Christmas Tree” in F major. The four-measure intro alternates the left hand playing a triad with a harmonic in the right hand. The triad accompaniment continues as “Deck the Halls” begins. The alternating triads and harmonics are also used to transition into “O Christmas Tree” and then back to the original tune again. 

This second verse of “Deck the Halls” starts with the melody an octave higher and it is embedded in some downward cascading eighth notes. Some fingering suggestions might be helpful for a less advanced player, but intermediate players should have no problem sight-reading this section. There is one accidental. The lever changes are clearly marked with a diamond-shaped note and the pedal changes appear below the staff. It’s too bad the page layout did not begin with the music on the left side, as it would have required only one manageable page turn. 

The interpretive second verse, modern harmonies, scale glisses, and harmonics add interest to this simple and likeable arrangement. 

For harp and flute or violin, Slavens has arranged “Silent Night” in E-flat. Similar in style to the above-mentioned solos, harmonics, scale glisses, triplets, and modern harmonies define her signature style. 

The flute starts the melody in the first verse, but alternates back and forth with the harp. The harp plays arpeggios throughout the second verse while the flute carries the melody. In the final verse she introduces triplets and the two instruments once again alternate playing the melody. The harp has larger chords and a little tag at the end restates the beginning melody. 

The flute part is included on the harp score and there is a separate score for flute. The typesetting is easy to read. If you want some traditional carols that are readily playable, check out these selections at joyslavensmusic.com. 

Are you wondering what to put on your wish list for Santa this year? If you enjoy books, you’ll want to own a copy of a beautiful book by Mike Baldwin that is worthy of a prominent place on your coffee table or bookshelf. Harp Making in Late-Georgian London is a thick, well-researched tome of information about the history of the harp. Baldwin earned an M.A. and Ph.D. from the London Metropolitan University and spent years bringing this book to fruition. 

Most harpists are familiar with the name Sebastian Érard and his role in the development of the harp in France. But it is less widely known that he relocated to London in 1792 and continued to produce and improve the harp. Although the Érards were the most prominent and prolific harp makers, there were approximately 20 harp makers during the first half of the nineteenth century in and around Soho. These included Alexander Barry, Jacob Erat and sons Jacob and James, Edward and Thomas Dodd, and Johann Andreas Stumpff. This book introduces us to these and other lesser-known harp makers, and Baldwin shares some colorful stories of their lives and businesses. 

There are 11 chapters packed with documented information covering topics ranging from the London harp makers to the history of technical and decorative design. There are also 11 appendices in the back of the book. There are hundreds of illustrations. 

With almost 400 oversized pages, you probably won’t sit down and read this book cover to cover. But it is both a valuable reference and an interesting review of harp making history. We should be grateful to Mike Baldwin for his painstaking research and this valuable contribution to the harp world. •