What is your musical background?
I have three degrees in music—a Bachelor’s, Master’s, and Doctorate. I was originally trained as a classical singer and pianist. I came to harp at age 35 because it was a very “Celtic” thing to do and I am of Welsh-Irish heritage. I also thought it would be cool to sing with the harp and self-accompany.

What types of arrangements do you like to do? Do you have a favorite combo?
I mostly write solo harp arrangements, although I have written quite a few duets. I also arrange pieces for voice with harp accompaniment. My favorite combo, however, is to write solo-duo arrangements that can stand alone for a soloist or be used with an optional duet part.

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How do you decide what repertoire to arrange? 
There are many reasons I choose to arrange a piece. Most of my arrangements evolved because I needed them for a gig and there weren’t any decent ones available, or sometimes none at all. Some of my duet arrangements developed as teacher-student pairs. However, most of the time, I just feel the need for self-expression through composing. Sometimes I will hear a church organist play a piece at a worship service and say, “Hey, that would make a great harp arrangement,” and then I go home and get to work.

Are there certain criteria you look for when selecting a piece to arrange?
I would say that an attractive melody is the most enticing thing to arrange. Because of my training as a vocalist, I instinctively hear a beautiful melodic line first. After that, I look at the characteristics, range, and chromaticism of the melody, to see if it will transfer well to the harp.

Can you describe your arranging process? What’s the first step?
It usually starts with the melody. I sit at the computer and notate the melody into my Encore program, humming the notes as I enter them one by one with the mouse. As I do this, I determine the correct time signature and key signature that would be optimal for the harp. Then I write in some tentative chord symbols and figured bass as I hear the harmonic movement implied by the melody. I will also throw in some editing like fermatas, repeat signs, first and second endings, and codas at this time. I also figure out how many measures I need to have on a page and per system so the arrangement fits nicely on each page. Once I have the “shell” of the arrangement written out, then I take it to the harp and start fleshing out the voicing and chords.

How long does it take you to create an arrangement from idea to publication? What is the most time-consuming part of the process?
I think the shortest turn-around time I had was about three months and the longest was 15 years! The most time-consuming part is the editing. I now send my music out to at least three other harpists to have them play through it to catch any errata and to make some editing suggestions. Then I make their edits and put the piece away for a week. Then I pull it out again and find more errata. I can proofread from now until kingdom come and still not catch everything. It usually takes at least three printings to catch the minutia.

What do you think is the most challenging aspect of arranging?
For me, the most challenging aspect is continually raising the bar on the quality of my arrangements and not compromising. I am rabid about my pieces having extreme visual appeal on the music rack. I want the arrangements to be “challenging but accessible,” if that makes any sense, and for the melody to be instantly recognizable.

How have you chosen to publish your arrangements?
My first arrangements were published by Maryjean Zarick at Paradise Music. Then I established my own press, Dragonflower Music. Several years ago, I approached Afghan Press about taking over the printing and distribution of my publications. I wanted to put my energies into the creative process of composing, and not be fulfilling orders and invoicing customers. So now, they publish everything I write.

What’s your advice to someone who would like to start arranging?
Just whip out a piece of manuscript paper and start doing it! Like anything, it takes trial and error and many failures before you get good at it. However, I also advise taking a formal music theory course if don’t have any theory training. Having a strong theory background results in arrangements that are light-years ahead in quality and sophistication.

What’s the most common mistake amateur arrangers might make?
They think that just because they play the harp a little they are automatically adept arrangers. Arranging is a specific skill that takes many years to hone. Throwing up a bunch of notes on a staff does not make one an arranger! Another common mistake is to write the arrangement at the piano and then put the word “harp” on it, thinking that is acceptable.

Do you have any funny stories pertaining to arranging?
Well, I was once at a harp conference, anonymously flipping through the sheet music bins next to another customer. When she saw my arrangements she commented, “I cannot stand her arrangements.” I said, “Oh, I think they are all right and I do play several of them.” To this she said, “Oh, I guess they are pretty good arrangements, but I just cannot stand her!” I turned to her, extended my hand, and said, “Allow me to introduce myself, in that case,” and pointed to my name tag. She blanched and scurried away. I still don’t know who she was. I wanted to autograph one of my pieces and give it to her as a gift! I don’t care if she did not like me, I just wanted her to play my arrangements. •

Play on, Darhon

Darhon Rees-Rohrbacher has written over 200 arrangements. They are available from Melody’s Traditional Music, as well as other harp music retailers. You can visit her website at dragonflower.com for a complete list of her arrangements.

A native of Cleveland, Ohio, Darhon Rees-Rohrbacher initially trained as a classical vocalist and pianist, she began her harp studies after moving to Upstate New York where she followed a multi-faceted career path as harper, arranger, singer, teacher, and piano accompanist. Her musical skills have taken her from the most formal, orchestral concerts to very intimate chamber performances wearing historical costume. She is a well-known harp composer whose arrangements are sold internationally. Rees-Rohrbacher is also a nurse (RN and MSN) who pursues her interest in healing arts as a college nursing instructor.