Mouse over the red stars on the final version (right) to see changes made to the original.
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1: 6 edits
2: 1 edits
4: 2 edits
5: 1 edits

Measure 1: In the original version, there was an alphabetical listing of the pedal positions. In the edited version, these markings were replaced by a pedal matrix that is easier to quickly assimilate. This matrix indicates the position of the pedals at the outset of the piece.

Measure 6: The first 3 notes of the original version were rearranged in the edited version so that they could easily be connected. Since a harp string will vibrate for an undetermined span of time unless it is dampened, a tie can be irrelevant and in some cases only adds complexity to the notation. Therefore, the tie connecting the final C# was taken out and the C# in the next measure was omitted.

Measure 7: The first two notes in measure 7 were converted in the edited version to two 8th notes that could be easily placed. Instead of the final two octaves that involved a wide leap for the left hand, the edited version simplified the notation into two notes spanning a 10th easily placed by the right hand. This alteration makes it possible for the left hand to remain in a more desirable position in order to continue in the following measure.

Measure 8: This measure begins with a leap that is over a 10th. Most harpists would likely to have a problem placing the Ab and Eb and therefore would have to resort to a leap. Leaping around on the harp is risky due to the visual aspect of execution but in this case, the leap is possible. Immediately after, however, was another leap up to a D. There is no way for the left hand to place this note. Since the left hand pitch D was doubled in the right hand, the edited version omitted the lower D.

Measure 12: In the edited version, the notation was changed to more clearly indicate what each hand would perform. This required the use of the bass clef in the upper staff. Due to the fact that on the harp, the hands are extensively used in an alternating fashion, it is often necessary to use the bass clef in the upper staff and the treble clef in the lower staff.

Measure 13: Beat 1 of measure 13 is rhythmically quite complex and was likely going to be an unnecessarily aggravating problem for the harpist due to the use of repeated notes and the added complication of the nail indication. In the edited version, the repeated notes were replaced with a single 8th note an octave lower so that it could be easily connected from the proceeding measure. The nail indication was omitted so that the right hand could place the C# to the G.

In the original version, the second beat in the right hand contained 3 notes that required a large and unreliable stretch (an octave) between the 2nd and 4th fingers. Consequently the upper B was omitted in the final version.

In the edited version, the last B in the right hand was put up an octave so that the right hand could easily place both notes (F and B) instead of grabbing the final note from the air. Connectivity is a major issue for harpists due to the visual demands of the instrument. I have heard of blind keyboard players, but never a blind harpist.

Measure 35-42: The musical notation appears to be disjointed making a performance by a harpist extremely difficult unless there is a way to create a means of connecting parts of the gestures. In order to assist the harpist, brackets were inserted into the edited version so that a potential performer could quickly perceive the placements required in order to gain mastery of this section.

Measure 90: In the original score, there was an indication of 7 pedal changes when in fact only 3 were required as indicated in the edited version (F and B natural and Db). Immediately following these changes, a pedal matrix was inserted into the final version. This matrix indicates the position of the pedals at that point in the piece and serves as an aide for rehearsals.

Measure 92: Brackets and fingerings were included in the edited version as guides for the performer.

Measure 93-95: The original version employed extensive use of repeated notes. On the harp, it is difficult to perform repeated notes, particularly fast repeated notes, with any reliable facility due to the fact that there must be a replacement of the finger on the string involved each time it is to be plucked. It is possible to perform “repeated notes” with facility if it involves two strings, i.e. E# and F. This requires the use of two hands alternating in groups of 2 creating a bisbigliando type of effect.

For Liturgie, the alternating string idea involved awkward pedal changes in order to render the proper pitches. The issue was resolved by employing octaves that could be placed and connected and by using alternating hands when the pitches changed.

In measure 95, the final C was omitted in the edited version in order to create some space for the right hand to accurately render its placement in the next measure.

Measure 118-128: In these measures, harmonics were employed. Since harmonics are a bit risky, I suggested that they be performed by the left hand with the intended resulting pitches doubled by the right hand. This creates more resonance and reliability in the event that a harmonic doesn't clearly resonate.

In measure 127 is an unneeded C natural pedal marking. It should be omitted.