As we emerge from a long period of isolation to enjoy the summer, what could be more appropriate than former Beatle George Harrison’s 1969 hit, “Here Comes the Sun?” Sylvia Woods has arranged this popular tune that was first released on the Beatles’ 1969 Abbey Road album for lever or pedal harp. She has included three versions in one purchase: for lever harp tuned to C (in A major), lever harp tuned to flats (in G major), or pedal harp (in A major). It is available in sheet music or as a PDF. 

The lyrics, which seem especially fitting right now, are printed in the body of the music where they help with interpretation, particularly if you are not familiar with the song. The rhythm is a little syncopated and there are a few time signature changes. There is a familiar hook that introduces the piece, as well another hook of a repeating pattern of eighth notes within the tune, and the familiar interlude with frequent accidentals between verses. Page turns were well-planned.

The music is fairly chromatic, so there are quite a few lever changes. Some of them are pretty fast, but none are impossible. The lever changes are notated both by diamond-shaped notes written exactly where the lever is flipped and a written description (e.g., mid-C-sharp). All pedal changes are notated below the staff on the pedal harp version. All three versions are suitable for the intermediate player. 

This is a wonderful arrangement—not too difficult, but it doesn’t sound overly simple. It is sure to be a crowd-pleaser. 

Harpist Elinor Evans from Edinburgh has arranged three works by the English composer Patrick Hawes for lever or pedal harp. Published by 80 Days Publishing, the arrangements are suitable for the intermediate-level player. There are separate editions for lever and pedal harp, but they are nearly identical. Two of the pieces, “Quanta Qualia” and “Reflexionem,” are completely diatonic, so the only difference between the pedal and lever harp versions is that the lower notes in the left hand are occasionally moved up an octave for lever harp. 

The former piece was written as a choral work featuring a soprano soloist singing over a 21-bar chord sequence. This instrumental version plays the soloist’s repeated melody note over the changing chords in the accompaniment. The latter piece, “Reflexionem,” is probably the easiest of the three. In D major, it is very slow, and the left hand accompaniment has nothing faster than a quarter note. 

The last offering, “Arioso,” is from Towards the Light, a collection of piano pieces written while Hawes was Composer in Residence for Classic FM, a classical music radio station. The left hand plays either inversions or the same chord on every beat, the insistent strumming interrupted only to play a bass note introducing the chord change. This requires very clean playing, especially on a lighter tension instrument. There are a few easy pedal changes, and they are clearly marked in the center of the staff. In the lever harp version, the changes are indicated by a very tiny graphic insert below the staff with stemless notes indicating the changes. They would be easier to see if they were larger and on the bass staff, but it only occurs in two measures. A couple of the left hand pulsing chords were omitted to allow for the lever changes. This selection is a little more challenging than the first two. 

All of this music is really beautiful, soothing, and meditative. It would be appropriate in a variety of settings where you are trying to create a very comforting ambiance. You can hear Evans play them on the publisher’s website, 80dayspublishing.com. They are a wonderful addition to harp repertoire, and we are grateful to Evans for bringing the work of Patrick Hawes to the harp. 

For a complete change of pace, try Elizabeth Volpé Bligh’s original composition for pedal harp, “Dolphins Playing with the Boat.” This short, whimsical piece is full of special effects—mostly rhythmic glisses with and without nails—with a few whistling sounds thrown in for good measure. Even the syncopated rhythms add to the feeling of playfulness. 

It starts out in G major and alternates between G and C major. All pedal changes are clearly notated in the middle of the staff unless there wasn’t enough room. Turning the page at the end of page two would be tricky at the suggested allegro tempo, so you may find it easier to turn at the end of the first page, or simply put all three pages on the stand. 

The music is self-published, clearly typeset, and available on harpcolumnmusic.com. It would be a fun selection to showcase some of the harp’s special effects or as a teaching piece to help students learn how to execute these effects. 

Stephanie Curcio has written and published a book. American Harpist is a quick and interesting read that is primarily autobiographical with a little philosophy and instruction woven into this “historical and personal journey.” It is dedicated to her long-time teacher, Lucile Lawrence. 

Curcio certainly had a remarkable background, and this candid review of how she became the person she is today is fascinating. The stories of her experiences with Lawrence and Salzedo are frank, forthright, and illuminating, but never disrespectful. Credit is given where credit is due. 

Curcio has been a successful publisher for many years, and she devotes a chapter to her thoughts and opinions on harp notation. She also shares her thoughts on copyright issues. There is a brief history of the harp in the Appendix.

No doubt every harpist has been asked by a listener what made them take up the harp, but we don’t often ask each other. We should. We would hear some captivating stories like this one. Add American Harpist to your summer reading list.  

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.