Mouse over the red stars on the final version (right) to see changes made to the original.
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1: 3 edits
2: 3 edits
3: 1 edits

Measure 1-6: In the original form of measure 1, the note E was positioned in the left hand. The edited version moved this E to the right hand part and in the second measure, inserted a bracket over the notes E, G, A and E. At a glance, it becomes evident that the entire first line, including the E in measure one can be performed using a single placement.

Measure 7-11: The primary issue in measures 7-11 is the confusion of the right and left hand parts. In the original form, all of the formulations are notated in the right hand creating a visual jumble. In the edited version, it is clear what each hand is supposed to play.

Measure 21-22: In the edited version, R and L were used to signify the use of hands. In the second measure of this example, the downward stem indicates the notes for the left hand.

Measure 28-31: To assist the harpist, R and L, brackets and fingerings were added to the notation to suggest a graceful means of handling the material.

Measure 36-38: The notation was altered in the edited version to clarify the use of the hands and placing. R and L, brackets and fingerings were all added to facilitate a viable performance procedure. The last measure of this segment was placed in the left hand in the edited version since the left hand was free for placing.

Measure 46-49: In this segment, R and L were used in the edited version to indicate the employment of the hands. It was important to place an R at the outset of the second measure since it appears that the left hand is in line to play the first beat. However, it is more facile to begin that measure with the right hand, then the left, leaving the right hand free for the highest notes. Fingerings were also added to help facilitate the learning process.

Measure 64-67: Once more, the edited version better reflects the separation of the hands by utilizing both staves.