Konrad Harley

For sheet music of my compositions and arrangements, visit Sheet Music Plus. I post demos of my new sheet music releases on my YouTube channel. Send me a message if you'd like to be added to my email list. Some of my compositions celebrate the beauty of mathematics. I've also done some piano and choral arrangements of pop songs and some organ and choral church music. Most recently, I've been working on arrangements for voice and piano.

Oh! Happy Groves - John Barrett, arr. Konrad Harley

Sheet music: Oh! Happy Groves

Still I'm Wishing - Henry Purcell, arr. Konrad Harley

Sheet music: Still I'm Wishing

The Moon that Lighted Me over the Plain - Newfoundland Folk Song, arr. Konrad Harley

Sheet music: The Moon that Lighted Me over the Plain

O Happy Fair - William Shield, arr. Konrad Harley

Sheet music: O Happy Fair

Harmony - Irish, arr. Konrad Harley

Sheet music: Harmony

Thou Soft Flowing Avon - Thomas Augustine Arne, arr. Konrad Harley

Sheet music (vocal): Thou Soft Flowing Avon

Sheet music (flute or oboe): Thou Soft Flowing Avon

Full Fathom Five - Henry Purcell, arr. Konrad Harley

Sheet music: Full Fathom Five

I Love My Love in the Morning - Irish Traditional, arr. Konrad Harley

Sheet music: I Love My Love in the Morning

Sweet Isle - Irish Traditional, arr. Konrad Harley

Sheet music: Sweet Isle

Gather Your Rosebuds - William Lawes, arr. Konrad Harley

Sheet music: Gather Your Rosebuds

Orpheus with His Lute - Konrad Harley, inspired by a melody by Maurice Greene

Sheet music: Orpheus with His Lute

Gai lon la, gai le rosier - Quebec Folk Song, arr. Konrad Harley

Sheet music: Gai lon la, gai le rosier

C'est l'aviron - Quebec Folk Song, arr. Konrad Harley

Ulican Dubh, Oh (The Song of Sorrow) - Traditional Irish Song, arr. Konrad Harley

Sheet music: Ulican Dubh, Oh

A True Lover - Canadian Folk Song, arr. Konrad Harley

Sheet music: A True Lover

I'll Give My Love an Apple - Canadian Folk Song, arr. Konrad Harley

Sheet music: I'll Give My Love an Apple

Proud Nancy - Newfoundland Folk Song, arr. Konrad Harley

Sheet music: Proud Nancy

When First I Saw - Henry Purcell, arr. Konrad Harley

Sheet music: When First I Saw

Charming Moggy, arr. Konrad Harley

Sheet music: Charming Moggy

The Morning Dew - Canadian Folk Song, arr. Konrad Harley

Sheet music: The Morning Dew

A Peaceful Life - Henry Carey, arr. Konrad Harley

Sheet music: A Peaceful Life

The Seeds of Love - English Folk Song, arr. Konrad Harley

Sheet music: The Seeds of Love

I've Got Peace Like a River - African-American Spiritual, arr. Konrad Harley

Sheet music: I've Got Peace Like a River

Furies for Piano - Konrad Harley

Sheet music: Furies

As I Walked Through the Meadows - English Folk Song, arr. Konrad Harley

Sheet music: As I Walked

Phillis, My Fairest (Catch for 3 Voices) – Dr. Hayes (1769), arr. Konrad Harley

Sheet music: Phillis, My Fairest

Fleeting Glimpses for Clarinet and Piano - Konrad Harley

Sheet music: Fleeting Glimpses

The Thoughtful Lover - Anonymous (c. 1733), arranged by Konrad Harley

Sheet music: The Thoughtful Lover

Once I Loved a Maiden Fair - 17th-century English Song, arranged by Konrad Harley

Sheet music: Once I Loved a Maiden Fair

The Crystal Spring - English Folk Song, arranged by Konrad Harley

Sheet music: The Crystal Spring

Come, Phyllis - Thomas Ford (1607), arranged by Konrad Harley

Sheet music: Come, Phyllis

Bird on a Briar - based on the melody and words of an English cleric (c. 1300), arranged by Konrad Harley

Sheet music: Bird on a Briar

Some Can Flatter, Some Can Feign - William Corkine (1610), arranged by Konrad Harley

Sheet music: Some Can Flatter

By Dimpled Brook - Thomas Augustine Arne (1710-1778), arranged by Konrad Harley

Sheet music: By Dimpled Brook

What Is Power - based on a melody by Henry Purcell (1659-1695), arranged by Konrad Harley

Sheet music: What Is Power

Begone, Dull Care - based on a 17th century English song, arranged by Konrad Harley

Sheet music: Begone, Dull Care

Celia in a Jessamine Bower - Anonymous (c. 1733), arranged by Konrad Harley

Sheet music: Celia in a Jessamine Bower

Trolly Lolly Lo - William Cornysh II (1465-1523), arranged by Konrad Harley

Sheet music: Trolly Lolly Lo

Contentment - Konrad Harley

Sheet music: Contentment

Toccata on "Nun komm, der Heiden Heiland" for Organ

Prelude on "Erschienen ist der herrlich Tag" for Flute and Piano

Prelude on "Holy Manna" for Clarinet and Piano

Prelude on "Beach Spring" for Clarinet and Piano

Prelude on "It's Me" for Piano

Prelude on "Prospect" for Flute, Bassoon, and Piano

Prelude on "St. Columba" for Flute and Piano

Touch of Zest for Piano

Zigzag for Clarinet and Piano

The Boulder for Piano

Prelude on "Resignation" for Violin and Organ

Prelude on "Nobody Knows" for Piano

The Champion for Flute and Piano

Pendulum for Clarinet and Piano

Falling Leaves for Clarinet and Piano

Problem Solver for Clarinet and Piano

Wave Form for 2 Flutes and Piano

Reverie for Clarinet and Piano

The Last Line for Oboe and Piano

March for Clarinet and Piano

Clockwise Spiral for Oboe and Piano

Golden Root for Trumpet and Piano

Night Air for Piano

Fine Point for Clarinet and Piano

Power Play for Trumpet and Piano

Skipping Stones for Piano

Arabesque for Clarinet and Piano

Going in Circles for Piano

Balancing Act for Flute and Piano

Nocturne for Clarinet and Piano (Inspired by Emil Post's Tag System)

Reflection for Oboe and Piano (on the Enumeration of Partitions by Binary Representation)

Rondo in C Major for Piano

Siphonophore for Piano

Infinite Staircase for Piano and Organ

Puzzle Piece for Piano

Deep Roots for Piano

Prelude in E Major for Piano

My Brain Is Open (A Tribute to Paul Erdos) for Piano

Reflection for Piano (on the Enumeration of Partitions by Binary Representation)

Prelude in G Major (Bubble Sort) for Piano

Pendulum for Piano

Wave Form for Piano

Golden Ceiling for Piano

Nocturne for Piano (Inspired by Emil Post's Tag System) - shorter version

Nocturne for Piano (Inspired by Emil Post's Tag System) - longer version

Two-Gen Swing for Piano

Dialogue of the Evil and the Odious for Piano

Balancing Act for Piano (Inspired by Sequence A005812 in the OEIS)

Hailstone Etude for Piano (The Hailstone Sequence and the Collatz Conjecture)

Spiral Study for Piano (on a Golden Ratio Fractal Sequence)

Toccata in A Minor for Piano (Miwin's Dice)

Waltz in C Major for Piano (Derangements)

Toccata in A Minor for Piano (Interleaved Multiples)

Humoresque in A Major for Piano (Leaf Nodes in a Binary Tree)

About Me

Konrad Harley (1986-) received his ARCT diploma in Piano Performance at the Royal Conservatory of Music in Toronto in 2007, his B.Mus. degree in Organ Performance at the University of Toronto in 2008, and his Ph.D. in Music Theory at the University of Toronto in 2014 ("Harmonic Function in the Music of Sergei Prokofiev"). While studying at university, Konrad Harley was the organist and choir director at Christ Church Woodbridge (2006-2013) and the piano accompanist of the Queensmen Male Chorus (2006-2012). In 2016, he presented a paper on Prokofiev's harmonic language at the Symposium on Prokofiev and the Russian Tradition in Baton Rouge, Louisiana. An essay by Konrad Harley on the analysis of Prokofiev's music is included in the book Rethinking Prokofiev (Oxford University Press, 2020). Since 2015, he has been the organist and choir director at St. Barnabas Church in Toronto.

Doctoral Thesis

Read my dissertation here (University of Toronto TSpace)

Title: Harmonic Function in the Music of Sergei Prokofiev

Author: Konrad Harley

Advisor: Ryan McClelland

Institution: University of Toronto, Faculty of Music

Keywords: Harmony; Music theory; Prokofiev; Russian music; Soviet music

Issue Date: June 2014

Abstract: This dissertation examines aspects of harmonic function in the music of Sergei Prokofiev. Chapter 1 provides a survey of music theory literature on Prokofiev's music--including many Russian studies--and discusses the theoretical underpinnings of my analytical approach. Chapter 2 deals with Prokofiev's uses of symmetry and inversion in tonal plans and harmonic progressions, emphasizing the importance of perfect-fifth-related harmonic alternatives and long series of perfect fifths in works in what Prokofiev called his "classical line." The central topic of Chapter 3 is sequential harmony. This subdivides into discussions of Prokofiev's characteristic use of brief linking chords that clearly express dominant function; long, structural, but "obscure" dominants; plagal sequential trajectories in which a written-out ritardando seems to compensate for the lack of a culminating D-T relation; and directional changes ("volte-faces") signalling the end of sequential passages. Chapter 4 considers questions of harmonic function in light of ladovaia peremennost' (modal variability) and tonal pairing, which for Prokofiev is typically major-third-based; the discussion extends to a variety of harmonic techniques involving reinterpretation, substitution, or redirection by major third. In Chapter 5, the focus shifts to the semitone. Investigating the harmonic-functional implications of events commonly referred to as chromatic displacements, I suggest that the concept of chromatic substitution is often of limited value and explore some of the ways in which harmonic-functional balance and tonal closure arise in spite of (or in some sense due to) these events. Chapter 6 offers a conclusion and suggestions for future research, emphasizing the value of studying Prokofiev's harmonic practice in relation to nineteenth-century precedents (rather than to the Classical style), highlighting some of the harmonic techniques and tonal strategies that cut across the conventional boundaries of Prokofiev's About and oeuvre, and re-evaluating the ways in which certain traditional tonal principles are relevant even to Prokofiev's idiosyncratic "modern line."

KONRAD HARLEY