It’s not too soon to start preparing for a harpist’s busiest time of the year, and there are some new publications that may be of interest.

Lois Colin has assembled the collection Ancient Carols for Harp. Published by colinharpmusic.com, Volume 1 is subtitled “Holiday Magic” and is for pedal or lever harp. Lever harps must be tuned to at least F major to play all the music presented in the keys of F, C, G, and D. It contains 12 solos, and nine of the pieces also have an optional harp accompaniment part that can be played with a melody instrument such as flute or violin. The harp parts are in a comb-bound book, and there is a pull-out part for the melody instrument. The collection features mostly one or two-page arrangements of traditional 15th–18th century carols.

“Angels We Have Heard on High” has some nice chord voicings and a scale gliss that could easily be an F major gliss on either lever or pedal harp. “The Boar’s Head Carol” is just one page, as is “Coventry Carol.” The latter has some easy lever changes. There are no pedal markings, and the arranger did not use diamond-shaped notes for lever changes.

“Deck the Halls” has some eighth notes in the left- hand accompaniment that gives the piece some movement and some sixths in the right hand. Once again, the scale glisses could be turned into major glisses if preferred. “Ding Dong Merrily on High,” “Here We Come A-Wassailing,” “Lo, How a Rose,” and “Sussex Carol” are short but pleasant arrangements. “Fum, Fum, Fum” has a few easy lever changes, and all these pieces have brief, optional introductions.

“Jolly Old St. Nicholas” is presented just once as a solo, but there is still an optional melody part that can be played along with the harp solo. The left hand accompaniment is a little more challenging here.

Two selections by J.S. Bach are presented only as harp solos: “Jesu, Joy of Man’s Desiring” and “Sheep May Safely Graze.” There are no pedal or lever changes in “Jesu,” as it includes just the main theme and the chorale. Ms. Colin did include some lever changes in “Sheep,” but omitted the A major chord (C-sharp) in measures 15 and 42.

Intermediate players can sight-read these arrangements. Chord symbols are provided to make embellishment easy and fingering is included on every piece. This assortment would be useful played as harp solos, followed by a verse or two with accompaniment.

Another interesting collection, particularly for lever harp, is Light So Brilliant published by Mel Bay. These 21 arrangements from harpist Stephanie Claussen evoke an ancient rather than modern setting and often combine two traditional tunes. Played cover to cover, this tome will provide 55 minutes of repertoire.

“The Holly and the Ivy” is paired with “Masters in the Hall.” There are key changes and numerous lever changes notated by diamond-shaped notes. Pedal markings are also included below the staff. Harmonics add some sparkle throughout the arrangement. “We Three Kings of Orient Are” uses several different left hand accompaniment patterns. “Noel Nouvelet” is one of the shorter selections at just two pages, but the constant eighth notes keep the piece in motion. “Bring a Torch, Jeannette, Isabella” employs fifths strummed in the left hand. Another medley combines “Willie Take Your Little Drum” (popularly known as “Patapan”) and “Il Est Ne, Le Divin Enfant” and uses frequent tapping in the left hand.

The left hand plays the melody for a while in “Shepherds, Shake off Your Drowsy Slumber.” The left hand melody is accompanied by triplets in the right hand in “Let All Mortal Flesh Keep Silence.” The two melodies of “ ’Twas in the Moon of Wintertime” and “Ding Dong Merrily on High” are intertwined a bit more than in the other medleys. There is a key change from A major in “The Snow Lay on the Ground” to E major in “A Rose by My Early Morning Walk” and then back again. It only requires three lever changes (or one pedal change) for each transition.

Another medley begins with “The Traveler Benighted in Snow” in 9/8 and features frequent grace notes. The grace notes continue when it converts to “The Bonfire” in 4/4 and there is a section highlighting triplets in the right hand. A brief version of “Green Groweth the Holly” leads into “God Rest Ye Merry, Gentlemen,” with one section containing broken octaves in the left hand. “Bourrée d’Avignon or Parson’s Farewell” is a wistful melody in D minor. Ms. Claussen’s version of “O Come O Come Emmanuel” introduces a few unexpected chords.

There are separate pedal and lever harp versions of “Ce Jour de l’An” and these are also the only two arrangements that don’t include chord symbols. “Whence Is That Goodly Fragrance Flowing?” showcases some short scale glisses, and the melody is occasionally embedded in eighth notes.

There is a fair amount of variety in these arrangements intended for intermediate to advanced players. Fingering is suggested where helpful. If you’re looking for something a little different while steering clear of modern harmonies, this may fill the bill.

One more holiday offering worth taking a peak at is Gustav Holst’s beautiful tune, “In the Bleak Midwinter” as arranged by Frank Voltz. This is sight-readable for an intermediate level player and has no pedal or lever changes. Mr. Voltz builds a little excitement between the A and B sections and treats the second verse like a gentle snowfall. There are a couple of scale glisses and the last section is primarily inversions that fall easily into the hands. If you don’t already play this piece, this would be a nice addition to your holiday fare. •