Harpsichord - Level 2 - Digital Download SKU: A0.1441057 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. Blues,Celtic,Children,Contemporary,Contest,Festival,Irish. Score. 62 pages. Barbara Arens #1021036. Published by Barbara Arens (A0.1441057). As a former harpsichordist, I know that it's difficult finding contemporary pieces that are expressive, lyrical, enjoyable, or even fun to play! I've adapted 33 of my late elementary to late intermediate piano pieces for this collection. There are no less than 6 pieces with jazzy swung rhythms - I find jazz is delightful on the harpsichord! Other pieces are atmospheric arrangements of Scottish traditional tunes; there are pieces based on Shakespeare characters and scenes from Arthurian legends to engage the imagination of the player and the audience, a racy Tango ... and several pieces from 'The Mermaid Challenge' which are also in the new RCM Celebration Series.

Harpsichord - Level 4 - Digital Download SKU: A0.1438096 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. 21st Century,Contemporary,Contest,Festival,Instructional,Jazz. Score. 54 pages. Barbara Arens #1018198. Published by Barbara Arens (A0.1438096). As a former harpsichordist, I know that it's difficult finding contemporary pieces that are expressive, lyrical, enjoyable, or even fun to play! The first 8 pieces here are movements from a Suite in baroque form - but with a difference! A Gavotte merges into a jolly Rumba; the Allemande has a Tango feeling... the pieces lie well under the harpsichordist's fingers and exploit the beauties of the instrument. The 12 further pieces are adaptations from the composer's piano works - they are a joy to play on the harpsichord!

Harpsichord - Level 3 - Digital Download SKU: A0.862503 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 2 pages. Michael Butkus-Bomier #2032023. Published by Michael Butkus-Bomier (A0.862503). Thirds, seven-note scalar runs, and syncopation characterize this final entry in the series of Modal Inventions. The Locrian mode was not a true church mode. It was given that name by jazz musicians, who wanted a modal designation for each of the seven modes for every major scale. This piece uses cut-time, and a half-note figure as its subject. The countersubject is a scale. Each exposition and its reverse end with a syncopated series of thirds, like the E Major Invention of Bach. These elements mix and match themselves through the piece, which ends on a B7 chord without a 3rd or 5th degree, giving the finale its ambiguous, Locrian sound. All nine inventions make a nice program for the opening of a three-element recital. They also make an excellent introduction into the world of modern music, since the two-part invention format is familiar, and the scalar aspect is also a musical staple throughout the eras, even though the modal derivatives rather than the parent major scales are used. MBB.