:: SHELLS ::

ODYSSÉE opus 37 pour harpe solo

  • page 1 ;  4th system ; 4th bar 2/4 ; 1st beat : bass clef we should read an octave Ab written in esoteric sounds as a result from the pedal gliss, instead of an octave written in normal sounds. This octave is not played, it is heard through the mecanism. Same thing for 5th system ; 1st bar 2/4. Also, treble clef we should read a G octave in eight-note instead of an eight-rest.
  • page 2 ; 4th system ; 3rd bar ; 2nd beat upper staff : the A is an eight- note and not a sixteenth-note. Also the Cb pedal is missing at the end of the first beat of this bar.
  • page 3 ; 3rd system ; 2nd bar : these three bars of 4/4 must be changed for two bars of 6/4. The 4/4 comes back at the 4th system’s 1st bar.
  • page 3 ; 4th system ; 3rd bar : the Bb of the treble clef is in harmonic sound (played where written). Also 5th system ; last bar in 3/8 : natural courtesy alterations are missing for the C’s and F’s in treble clef, as well as for the pedals C and F natural at the beginning of the bar.
  • page 5 ; 1st system; last two bars : senza rall. must be changed to a poco rall. then a tempo on the first bar of the 2nd system. Also 2nd system ; 1st bar 2nd beat : the A is flat in treble clef. Also 4th system ; 2nd bar; bass clef: the last sixteenth note is an A instead of a B.
  • page 6 ; 1st system ; 3rd bar ; upper staff : a tie is missing on the B natural from the 3rd to the 4th beat. Also in the 2nd system ; 2nd and 3rd bars; upper staves : ties are missing on the natural B’s from the 2nd to the 3rd beat. In the 5th system, thirty-second notes are corrected by sixty-fourth notes (sixteenth notes remain unchanged), completing a single measure instead of two, before the D octave. Note that B’s are sharp # inside these sixty-fourths.
  • page 7 ; 1st system; 2nd bar 2/4 : thirty-second notes are corrected by sixty-fourth notes (sixteenth notes remain unchanged), completing a single measure instead of two, before the B octave.

SUITE GALACTIQUE opus 39 pour harpe solo

  • page 1 ; 2nd system ; 1st bar : add a flat in front of the low A left hand
  • page 1 ; 4th system ; 2nd bar : take off the slur that ties the Eb’s between the 2nd and 4th beats. We must replay the Eb on the 4th beat
  • page 3 ; 4th system : bass clef in front of the 1st low 6th octave A
  • page 4 ; 2nd and 4th systems ; the two inserts indicated metric eightnote=120 : we must add the indications loco  after these inserts for both staves, so that the following notes are not played one octave higher.
  • page 4 ; 4th system ; the glissando that begins on the 6th octave E : among the gliss componant notes, we must change the G# for a Gb. No need of pedal change
  • page 5 ; 4th system ; end of the 1st bar to the beginning of the 2nd bar : the slur that links the Ab is a phrasé indication for the melody Ab-B-E … it is not a tie to the next bar’s Ab, it Then the arpeggiated chord Ab-E-Ab of the 2nd bar is played entirely.
  • page 6 ; 1st system ; 1st bar : we must add flats for the A’s octaves written into the 5th and 6th beats ot the lower staff

RAGA opus 41 pour deux harpes (score and separate parts)

Harp 1

  • bar 29 ; percussion staff (finger cymbal) : we should have a half rest and a quarter rest instead of a dotted half rest and a dotted quarter rest
  • senza mesura before letter C : it is permitted to improvise more with the metal sliding key on the A before the down beat of Harp 2 at C
  • bars 65 à 68 : gradual crescendo along these four bars
  • bars 93-95-97: add the ankle bells simultaneously with the table’s percussive,as they are written at bar 99
  • bar 117 : add the G# pedal on the last beat – even if not necessary. Vibrations of the harp will allow to hear the G# in esoteric sounds, which will be more interesting at the listening.

Harp 2

  • bar 10 : on the 1st beat, add a courtesy trebel clef a the upper staff
  • bar 39 : upper staff ; add a sharp in front of the A
  • bar 85 : upper staff ; add a flat in front of the E
  • bar 101 : at the bass clef, 2nd beat ; add a 4th octave D in eight-note, as in bar 103
  • bar 102 : upper staff ; add a sharp in front of the C


LA MADONE opus 43 berceuse pour harpe solo

  • bar 16 : middle staves ; upper staff ; 4th beat ; C with an accent should be double-dotted
  • bar 17 : middle staves ; lower staff ; add a treble clef at the beginning of 2/8
  • bar 20 : main treble clef ; 1st to 2nd beat ; the two A’s of the octave are tied
  • bar 29 : middle staves ; lower staff ; 1st beat ; we should read A#
  • bar 30 : main treble clef ; 1st beat : we should read Db
  • bar 33 : main treble clef ; the note in parenthesis is a D instead of a B
  • bar 38 : main treble clef : F and C are two quarters instead of two half-notes
  • bar 54 : middle staves ; upper staff ; 2nd beat : add a courtesy treble clef
  • bar 59 : middle staves ; lower staff ; 1st beat : add a courtesy bass clef
  • bar 66 : middle staves ; lower staff : add a bass clef in front of the third Ab-C in harmonic sounds
  • bar 66 : we shall read molto rall. above the sospiro ; the thirty-second notes in free rhythm must be played from “fast to slow” instead of the contrary, and we may ultimately change the three last 32nds into a triplet that fill the very last sixteen-note of the bar
  • bar 67 : 2nd beat : G sharp pedal missing
  • bar 68 : 1st beat : A natural pedal missing


STELLAE SALTANTEM opus 49 pour harpe acoustique et harpe électrique