Twenty Arrangements Of Time-Honored Tunes From The Jewish Heritage For Flute or Violin And Harp (Lever Harp Tuned in Eb or Bb; Or Any Pedal Harp)
With Guitar Chords
Table of Contents
Holiday Tunes
1. Eliyahu Hanavi (Elijah the Prophet) – Passover 1
2. Karev Yom (Bring Near the Day) – Passover 3
3. Hineni Muchan (I am Ready) – Passover 5
4. V’nomar L’fanav (Let Us Sing a New Song) – Passover 7
5. Avinu Malkeinu (Our Father, Our King) – Rosh Hashana to Yom Kippur 9
6. Sevivon Sov, Sov, Sov (Dreidel Spin, Spin, Spin) – Hanukkah 11
7. Hanukkah, O Hanukkah (Children’s Hanukkah Song) – Hanukkah 13
8. Hanerot Halalu (We Kindle These Lights) – Hanukkah 15
9. Ma’oz Tzur (Rock of Ages) – Hanukkah 17
General Tunes
10. Lev Tahor (Pure Heart) 19
11. La-Yehudim (The Jews Had Light) 21
12. Hevenu Shalom Aleichem (We Bring Peace to You) 23
13. Eli Ata (You Are My God) 25
14. Im Eshkachéch Y’rushalayim (If I Forget You Jerusalem) 27
15. Hallelujah (Praise to God) 29
16. Shabbat Kodesh (Holy Sabbath) 31
17. Hatikvah (The Hope) 33
18. Yedid Nefesh (Beloved of the Soul) 35
19. Hinei Ma Tov (How Good It Is) 37
20. Ki Mitzion (Out of Zion) 39
Because these tunes are “traditional,” there are many versions of the melody in use; therefore, you may be familiar with a slightly different melody. The arrangements in this book definitely have a “classical feel,” which reflect my formal musical training. Some of the tunes may have unexpected harmonies or shifts to the relative minor or major to make them more interesting. Therefore, feel free to alter my arrangements as desired if my harmonic approach is not to your liking. These tunes have been placed in progressive key order within each section to facilitate lever and pedal changes. However, individual tunes may be selected as desired. All tunes were typeset to fit exactly on two facing pages to eliminate any page turns within a piece.
There are no lever changes required within each tune, only some lever presets in preparation for each song. Guitar chords are included so that a chordal accompaniment may be used if the harpist prefers not to play the transcribed accompaniment. Dynamics, fingering, and metronome markings are provided throughout as an aid to performance.
However, the harper or harpist should use whatever dynamics, fingerings, and tempos suit them, no matter what this book indicates! Due to space constraints, first and second endings were only indicated above the flute/violin part in the full score and dynamics only within the harp part; but these markings apply to both instruments. (However, all markings are indicated on the separate instrumental leaflet.) Note: The harp part of this entire book can be played on a harp of only 26 strings (3.5 octaves), from low C to high G, with a full set of levers.
