Probably more by coincidence than by design, two new publications demonstrate an Asian influence. In fact, both publications offer vastly different versions of the same traditional Chinese song. Many harpists learn this tune, “Jasmine Flower,” in their early study of Sam Milligan’s Fun from the First, Volume 1.

Dr. Teresa Suen-Campbell has recently published her intermediate arrangement of “Jasmine.” She explains there are two different versions of this popular Chinese folk song and her arrangement combines them both. After Puccini used the melody in his opera, Turandot, the tune became familiar in the West. Today in China, it is nearly as popular and important as their national anthem.

Presented in 2/4, her arrangement begins with a trill and a long arpeggio that carries you into the upper register for the beginning of the first theme. The familiar melody begins at measure 21 with the left hand playing groups of three sixteenth notes starting off the beat. Following an upward scale gliss, the melody is repeated an octave higher, accompanied by chords on the off-beat in the left hand. A fast, long, ascending and descending arpeggio introduces the first theme again, and both hands are equally engaged to the end of the piece.

This three-page arrangement is available as a pdf download at harpcolumnmusic.com where you can also view the first page. You can also watch a video of Dr. Suen-Campbell playing the piece. Hers is a very dulcet rendering of the tune.

Park Stickney recently published The Travel Journal of a Western Harpist in the Chinese Garden—Book 1: Qin Language of Flowers. This volume includes five arrangements of traditional folk music from China, and as you might expect from Park Stickney, they bear his unique jazz style.

“Kangding Love Song” has a pretty melody. The repeating, almost insistent left hand accompaniment serves as an introduction. What makes this difficult is the speed (quarter note = 170). There are some pedal changes that are not difficult, but the C-natural in measure 18 is needed earlier in measure 17. Some of the pedal markings are below the staff and some are in the center, but they are clear and easy to read.

“Purple Bamboo Melody” also goes lickety split but is reasonably accessible. Some pedal markings have been omitted: C-natural in measures 36, 41, 61, and 66, and C-sharp in measures 39, 45, 64, and 69. In the middle, Stickney provides a simple variation that might inspire the player to get creative and practice playing a “solo.”

Mr. Stickney’s jazz influence shines through in the ever-popular and aforementioned “Jasmine Flower” (and you get to slow down a little on this one!) His version is in 4/4. It includes some chord symbols, but they only appear between measures 25 and 48. This was probably to encourage improvisation in this section, and you may not use them anyway. You will, however, move a lot of pedals. Again, the pedal markings appear both below the staff and in the middle, and this seems to be to keep them from interfering with the chord symbols. It would be clearer to have the pedal markings at measure five in parentheses to indicate they are only for the repeat. At five pages plus a repeated section, this is a generous arrangement and perhaps the most difficult.

The tempo picks up again in “The Girl from Ali Mountain,” and it features a lot of sixteenth note passages. There is one short section that has some pedal changes, but they are not difficult. It is five and a half pages of a smooth jazz groove feel.

The final selection is “Moonlight Lullaby.” The main theme has no pedal changes, so you could try that much on lever harp. Stickney establishes the melody on the first page and then offers a right-hand improvisation section on the second page. Three possible improvs appear above the same bass line, suggesting that the performer might switch randomly between them, play them in any order, or, ideally, make up some of your own. To that end, Stickney includes chord symbols in the middle of the staff.

The travel journal collections contains music of various difficulty levels, but overall it is suitable for the intermediate player. The heavy cardstock cover and staple binding allow the music to lie flat on the stand. The typesetting is easy to read. No fingering is suggested, and some page turns are challenging—you’ll just have to deal with it.

Rumor has it that he will be producing a supplement to the book that might include a recording, video lesson, and practice exercises for the various rhythms. Don’t let the anticipation of this possibility stop you from enjoying these imaginative arrangements now. These songs are very appealing, especially with Park Stickney’s innovative touch. Enjoy them and let them stimulate you to new levels of creativity! •