The Harp Key by Alison Kinnaird The Harp Key: This collection of 24 harp tunes has been arranged by Alison Kinnaird in a style which is not an antiquarian attempt to recreate the music as it might have sounded 200 years ago, but which reflects the living tradition of Scottish music. This book will be of interest to players who are already familiar with their native idiom; to the classically trained musician who wishes to learn about it; and to the general reader for whom the extensive historical notes may throw light on a little known but beautiful facet of Scottish history. Buy this music now    Score: £7.95 + p&p

INTRODUCTION
ARRANGING THE HARP TUNES

THE MUSIC (Spelling of Titles as in source)

1. McLoud’s Salute
2. Ge do theid mi do m’Leabaidh (Though I go to my bed)
3. Cumh Easbig Earraghaal (Lament for the Bishop of Argyle)
4. Bas Alastruim (The Death of Alasdair)
5. MacDonnell’s March
6. Killiekrankie
7. Caoineadh Rioghail (Royal Lament)
8. Carrill’s Lament
9. Port Patrick
10. Hi ri ri ri ho (The Harper’s Land)
11. The Baffle of Sheriff Moor
12. BIar Sliabh an t-Siorradh
12a. Blar Sliabh an t-Siorradh (optional part for 2nd clarsach)
13. Rory Dall’s Port
14. Port Atholl
15. Ruairidh Dali—Jig
16. Suipeir Tighearna Leoid—(Lude’s Supper)
17. Fuath nam Fidhleirean (Contempt for Fiddle Players)
18. Cumha Peathar Ruaidhri (Lament for Rory’s Sister)
19. Far-fuadach a’ Chiarsair (The Harper’s Dismissal)
20. The Lament for the Harp Key (Cumha Crann nan Teud)
21. Ellen’s Dreams
22. The Braidwood Waits
23. Sheuglie’s Contest betwixt his Harp, Fiddle and Pipes
24. The Keiking Glasse

BACKGROUND NOTES
SOURCES FOR TUNES

The Harp Key by Alison Kinnaird

ALISON KINNAIRD is one of Scotland’s leading clarsach players, and is recognised as the foremost exponent of traditional Scottish harp music. She was born in Edinburgh and studied the cello from the age of 7. She was offered the opportunity to pursue a solo career on that instrument. Instead she chose to concentrate on traditional music and the clarsach, which she studied with the late Jean Campbell. She holds an M.A. Degree in Archaeology and Celtic Studies from Edinburgh University. In 1976 she was the first player to produce a purely instrumental album of Scottish harp music and followed this up with two other LP.’s. (The third is a duet album with virtuoso wire-strung harper, Ann Heymann). She has won many major harp competitions, has broadcast frequently on radio and television, and has travelled widely, in Europe and America, lecturing and performing on the Scottish harp.

She also has an international reputation as an engraver of glass, and is a fellow of the Guild of Glass-Engravers, Examples of her work are in many major collections of glass.

Alison is married to Robin Morton from Co. Armagh, well known for his various involvements in the promotion of traditional music-record producer, musician, collector and festival director. They have two children, Ellen and John.

THE CLARSACH, or small harp, is probably the oldest of Scotland’s national instruments. The harping tradition, however, was broken in the late 18th century. Since none of the harpers had ever written down their music, it was thought to have been lost forever. This book is the result of fifteen years research during which many harp tunes were found to have survived in old collections of Scottish music. Still others had been absorbed into the repertoire of the other instruments. Too often the traditional airs of Scotland have been seen as “small” classical music and not as a separate musical tradition with an idiom and conventions of its own. This is especially true in relation to the clarsach. It is often treated as a little concert harp— something on which to learn before one “progresses to the real thing”. This attitude ignores the clarsach as an instrument in its own right. It has its own repertoire and technique, which presents it as a proud and ancient instrument of great dignity.

The music has been arranged in a style which is not an antiquarian attempt to recreate the music as it might have sounded 200 years ago, but which reflects the living tradition of Scottish music. The difference in character between this approach and arrangements made by classically trained musicians is delightfully defined by Joseph Elouis — a Swiss harpist who lived in Edinburgh for many years at the turn of the 18th century

“That neither talents not ingenuity can render such Accompaniments compatible with the Scottish Airs is strongly exemplified by those of the great Composer Haydn, which although replete with merit, give no idea of Scottish music; and for that reason, may be compared to a portrait exquisitely painted, but deficient in resemblance.”

This collection, the first of its kind, will be of interest to the player who is already familiar with their native idiom; to the classically trained musician who wishes to learn about it; and to the general reader for whom the extensive historical notes may throw light on a little-known and very beautiful facet of Scottish history.

Composer/Arranger:	Alison Kinnaird
Instrumentation:	Lever Harp
Level:	Intermediate
Format:	Bound
Size:	A4
Total Pages:	94
ISBN:	0-9511204-0-9
Our Ref:	SM009
Publisher:	Kinmor Music
Edition/Year:	1990
Origin:	UK

 

Sheet Music & Books
Tree of Strings	The Small Harp	The Harp Key	The North-East Collection	The Lothian Collection
Compact Discs
The Harp Key	The Silver String	The Scottish Harp	The Harper's Land	The Quiet Tradition	Harps. Pipes & Fiddles