Contents
1. Grand March from “Norma” – V. Bellini (1801-1835) – F major
2. Gavotte – F. J. Haydn (1732-1809) – F major
3. Doretta’s Song from “La Rondine” – G. Puccini (1858-1924) – F major
4. Che farò senza Euridice? – C.W. Gluck (1714-1787) – F major
5. Allegretto – F. J. Haydn (1732-1809) – C major
6. Emperor Waltz Themes, Op. 437 – J. Strauss II (1825-1899) – C major
7. O Sole Mio – E. DiCapua (1865-1917) – G major
8. Laughing Song from “Die Fledermaus” – J. Strauss II (1825-1899) – G major
9. Papageno’s Aria from “Magic Flute” – W.A. Mozart (1756-1791) – G major
10. Première Gymnopédie – E. Satie (1866-1925) – D major
11. Nessun Dorma from “Turandot” – G. Puccini (1838-1924) – D major
12. Spring Dance from “Lyric Pieces” – E. Grieg (1843-1907) – G major
13. Waltz from “Coppelia” – L. Delibes (1836-1891) – C major
14. March of the Priests from “Magic Flute” – W.A. Mozart (1756-1791) – F major
15. Traümerei – R. Schumann (1810-1856) – F major
16. La Ci Darem La Mano from “Don Giovanni”– W.A. Mozart (1756-1791) – Bb major
17. Morning from “Peer Gynt” – E. Grieg (1843-1907) – Eb major
18. Cradle Song – F. Schubert (1797-1828) – Eb major
19. Moonlight Sonata Theme– L.V. Beethoven (1770-1827) – Eb major
20. Valse Brillante Themes – F. Chopin (1810-1849) – Eb major
nakedharpist (verified owner) –
Purchased this with hopes of adding some more “classical hits” to my gig book, but sadly I must say I’m quite disappointed. I’m sure the writing must fit Ms Rees-Rorhbacher’s hands nicely, but for me these arrangements seem overly complicated in a way that doesn’t necessarily serve the music and a bit awkward in the hands at times. It’s slightly too involved/unfamiliar to be read smoothly at the gig, which in itself I don’t have an issue with, but what bothers me is that somehow the harmony itself appears to be “hidden” in the writing. I’m having a hard time figuring out what the chords are based on the written out voicings/arpeggiations when playing it in real time, which makes it too annoying to even use as a guideline to riff around. I’m not one to spend time practicing this type of music and need something that I can either read straight down, or easily get enough information from so I can simplify by myself. In almost all cases here I feel like smarter, simpler solutions would have been more effective. I won’t be using this book.
I’m not one who typically writes reviews, but in this case I feel compelled to share my experience if there’s somebody else who’s looking to use it for the same purpose as me.