These two sets of music, known as Traveling Troubadour, originated with Set One written for the troubadour harp in 1971. The concept was to provide music for a mature (or older) student learning to play the harp, but the pieces are easily adapted for the piano.

Set One of the series was written also from a pedagogical need. Each of the six little pieces is in a different mode and each has a distinct nationalistic sound. By the time mature students complete Set One, they will have learned about modal harmony, styles, and techniques.

With the harp, it is customary practice to roll chords. Because this version is intended for both harp and piano, the symbol for roll chords is attached where decided; otherwise, the chords are to played “flat.”

Traveling Troubadour, Set Two, was composed directly for the piano and is reflected in the stylistic differences and technical demands of the player. Successive repeated notes and articulations that only can effectively be executed on the keyboard are obvious but can be played on the harp with slight compromises, such as tempo changes. Styles and modal harmonies differentiate the pieces, much as they do in Set One.

Although both sets of the Traveling Troubadour can be played on the troubadour harp, only Set One was specifically written for that instrument. This version omits pedal markings and fingerings created by harpist Marylee Dozier.

Each piece (except for U.S.A.) begins with a prelude to set the ambiance, which then is followed by a short song (tune) written in that style..

Set One: harp/piano

Italy: Reminiscent of the Italian style, the Alberti Bass is used here. Though used by many other composers, including Mozart, Domenico Alberti (from the first half of the 1700s) used it extensively, which is probably why the technique was named after him.

Ireland: hints of Irish folksongs can be heard—perhaps “Father Murphy” in the distance. Note the unorthodox key signature: it reflects the minor key with consistent F# and Bb. The mixed one flat and one sharp defines the ascending melodic minor—but for descending, as well, where otherwise it would have Eb and F natural. The mixed signature is not common practice, but used it to urge the student to think what the key signature actually means, and to apply it in a very practical manner. Typically, the purpose of a key signature is immediately challenged with the first occurrence of a non-harmonic tone (an F-sharp in the key of C major, for instance, or any chromaticism.

England: In the Dorian mode, common in much English folk music. Here is a nice little round in d minor.

France: A series of 7-6 suspensions stylize this pastoral piece.

Transylvania: Whole-tone scales, not as with Debussy, but more as Bartok, accented with 16th/dotted 8ths rhythms.

Spain: In the Phrygian mode, common in much Spanish music, in a guitar-like style.

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Set Two: piano/harp

Zimbabwe: The restful, tinkling-plucked sound of the kalimba, part of the mbira family of instruments found in Zimbabwe.

Siam: A gentle breeze, wafting from the nearby sea, in a quasi-Asian style. Inspired by one of our cats, a Tonkinese we named “Sammy” (from “S(i)am”)

Switzerland: Hot chocolate on a winter’s day, or perhaps chocolate cake on a rotating cake platter?

Austria: The spirit of W.A. Mozart graces this piece.

Trinidad: steel pan (steel drums) of the Caribe, not by sound but by hint of technique.

U.S.A. Jubilee: Americana in the 19th century? Foster, or perhaps Souza? Perhaps precursor to early jazz? Folksy and festive. The only piece without a prelude.

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