Wind Across The Poppy Field was written for a pedal harp trio, but although all players have to switch between D♮ and D# numerous times in multiple octaves, it is possible for lever harpists to manage all the necessary changes, with a little planning. As I’ve included quite a few 6th octave Bs, and the very final notes for Harps 1 and 2 are 1st octave Bs, a lever harp with an extended range is an advantage. But there are ways round these limitations without spoiling an audience’s enjoyment of the music, so don’t be put off if you don’t have pedals or a 38-string lever harp!

It’s also worth pointing out that although the difficulty level of the piece is given as Moderately Advanced, the Harp 3 part is less demanding than the Harps 1 and 2 parts.

Incidentally, you’ll notice a few sudden changes in dynamics, from mp to f, for example, or you’ll find that one hand is supposed to be playing more loudly than the other. This is because there are occasions when a phrase passes from player to player, and the continuity of that phrase needs to be brought out.

You’ll also notice that at the very end all parts have a final pppp flourish of notes written in a smaller font. This isn’t because they’re optional, or anything like that, but merely because they’re a last whispered breath of wind, and since they’re hemidemisemiquavers (or 64th notes for those of you who use mathematical terminology) the sheer quantity of black caused by all those beams made the notes seem as if they should be heavy and loud, which, obviously, they shouldn’t be. That’s all: it’s just a way of saying Please play this really really softly... Please note, too, that those final notes are subtly different in each part.