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Measure 6-10: In measures 6 through 10, the edited version more clearly defines the use of the hands either by utilizing the letters R (right hand) or L (left hand) or by the arrangement or the notes on the two staves. In measure 10, it is clear in the edited version that each hand can remain in the same position for the entire measure. No leaping is required in bar 10 in the edited score and the repeated notes (D and E) are performed more facilely by using the same hand, the right hand.


Measure 13-15: Again in these measures, the edited version depicts a more facile and clearer picture of the use of the hands by grouping the notes into more easily managed arrangements. For example, in measure 13, it is quite easy to play the 8ths notes between the two hands whereas attempting to play them all with the right hand would likely cause stumbling.


Measure 30-32: In the edited version, the notes are grouped differently in order to facilitate both the perception of the harpist and the clarity of performance. In the original version, the D at the end of bar 30 is placed in the treble staff. This is confusing since in actuality the D is next to the following Eb placed in the lower staff at the beginning of measure 31. Placing the D also in the lower staff gives a more accurate picture of the relationship between the D and Eb thereby assisting the harpist in deciding how to render these notes.


Measure 50-53: The edited version of these measures clearly defines the use of the hands by dividing the notes between the two staves. In the original version, all of the notes are placed in the treble clef involving some awkward placements. In measure 51, it is not possible to place the upper notes with the stems going up since the left hand is already placed on the A on beat 3. It is simpler to play all of the notes with the left hand on beat 4. In measure 53, on the 3rd beat, there is an overlap between the hands as indicated by the stems. Again, it is just easier to play all 4 notes with one hand.