Piano Perspectives - Summer 2014

PIANOT h e M a g a z i n e f o r P i a n o T e a c h e r s

SU

MM

ER

2

014

summer Favourites

Great Music & Musicians

Essential syllabus Titles

Stories Make it Easy to Learn the notes

GRAND Trios

In the Studio with geri rea

2014 Catalogue Your guide to the latest Piano releases FREE

Introducing Essentials of Music Theory WEB

Music Theory, Now iN The cloud!

• No need to install the program on your computer

• No need to work with your IT department to find out compatibility of your network with the software

• No need to install updates for improvements

• Can access EMT Web from any home or school —any computer with internet access and a flash-enabled browser

Check out alfred.com/EMT for a video tour!

Customise printable tests, syllabi, & lesson plans using the components provided, or upload your own flash movies, sound, text, and image samples.

Unlike other programs, EMT integrates ear training into every lesson plan, played by a variety of acoustic instruments.

Exercises provide reinforcement for each concept. Questions are randomised so exercises can be replayed without duplication of material.

The teacher sees an overall score for each student, a breakdown for each concept, along with full scorekeeping and recordkeeping functions for an unlimited number of students.

Musical examples are from symphonies, marches, operas, oratorios, concertos, and piano literature from many periods and cultures.

Glossary of Terms offers definitions of all the terms and symbols covered in the lessons, including spoken pronunciations, and visual examples. They are also linked in the lessons for quick reference.

Clean layout, easy to find lesson plans, student scores, and customisation options, along with a thorough help tutorial.

PIANO PERSPECTIVES 01

47

Igor Stravinsky (1915) by Jacques-Émile Blanche

(1861–1942)

CONTENTS

Piano Teaching Tips By Nancy Bachus and Tom Gerou

Syllabus Listings By Nancy Bachus

Stories make it easy to learn the notes By Rebecca Wilson

Blitz ‘n’ Pieces with Samantha Coates

In the studio with Geri Rae By Geri Rae

Grand Trios By Melody Bober

Summer 2014 Catalogue Your Guide to the Latest Piano Releases


CONTENTS

4

12

147

2


47


(1861–1942)

CONTENTS

Piano Teaching Tips By Nancy Bachus and Tom Gerou

Syllabus Listings By Nancy Bachus

Stories make it easy to learn the notes By Rebecca Wilson

Blitz ‘n’ Pieces with Samantha Coates

In the studio with Geri Rea By Geri Rea

Grand Trios By Melody Bober

Summer 2014 Catalogue Your Guide to the Latest Piano Releases


CONTENTS

4

12

147

2

02 PIANO PERSPECTIVES

PIANO TEACHING TIPS

I n a private lesson, the introduction or single units can be studied each month, with a brief discussion of one

page each week. Students can also be assigned additional projects related to the specific pieces they are studying. A style period could be featured to better understand its style and relationship to repertoire being learned.

Many students attending their first formal music appreciation or music history class are overwhelmed by the unfamiliarity of centuries of music history and styles. Although they had been introduced to Bach, Beethoven, and Mozart, they often lack a clear understanding of the overall historical picture.

For teachers, it is a balancing act to teach basic music fundamentals, technique, and to prepare for recitals. To also teach historical context and musical style—who, when, where and what—can seem overwhelming or unfeasible. Since most music taught in lessons developed from Western culture, at least an overview of music history is essential for musical insight and understanding of style differences.

A student does not need to know music fundamentals or theory to begin to understand music history. Its development, from the ancient Greeks and Romans to the present, can be easily grasped through artwork and by

listening to music from each period. Listening while looking at the artwork further enhances the learning process and makes it enjoyable. A written activity about the topics that have been presented helps to reinforce the learning.

Book & CD 39060

With such a vast subject as the history of Western music, it is useful to introduce a framework, or timeline, on which to hang details. By focusing on one style period within this timeline, students will develop a deeper understanding of the music they are learning. After studying all of the units and listening to the music on the CD, the development of Western music can be seen and understood.

18

Listening Guide

CD Track 2: “ fines terre salutare dei nostri jubilate deo omnis terra” from Viderunt omnes by Léonin (plainchant)

The free-flowing melody is sung without accompaniment.

CD Track 3: “Notum fecit” from Viderunt omnes by Pérotin (four-part organum)

In this four-part organum, there is a drone below three moving voices. Imagine how the voices would sound in a large cathedral.

Summary: The Middle Ages

During the the 4th century, Christianity became the major religion in Europe after the collapse of the Roman Empire to invading barbarians.

• The Christian church became the central force in medieval life.

• Monasteries began to educate and to preserve knowledge of the past.

• Sacred music was originally a single vocal line chanted or sung by monks, following the rhythm of words.

• Guido of Arezzo developed a system of music notation similar to what is used today.

• Plainchant developed into polyphony, while secular music in the courts remained primarily monophonic.

Connect the Dots

Draw lines to connect each term with its matching definition.

• non-religious music

• a person or organization that financially sponsors the arts

• music for church

• where monks and nuns live

• one voice

• travelling musicians from the Middle Ages

• many voices

• a highly decorated book of music from the Middle Ages

monasteries and convents •

illuminated manuscript •

secular music •

polyphonic •

patron •

monophonic •

troubadour, minstrel, minnesinger •

sacred music •

an organ from

the Middle Ages

PIANO TEACHING TIPSfrom Nancy Bachus and Tom Gerou

We both are very proud

and excited about Great

Music and Musicians,

Book 1, a new addition

to Premier Piano Course.

This unique book is

suitable for many age

groups and can be used

in different settings:

private lessons, group

lessons, general music

classes, or home-schooling.

AN OvErvIEw Of THE BOOk:The introduction focuses on musical style, a timeline, and how to listen to music. The subsequent units are overviews of major musical style periods. Each unit highlights cultural trends, important composers, musical forms, and how music relates to other arts. The enclosed CD includes excerpts from important musical compositions to illustrate and reinforce what was presented.

3 from Great Music & Musicians

In Unit 7, The Turn of the 20th Century, different art movements and styles are vividly illustrated. This emphasis illustrates how much art influenced many of the composers during this time. The music is perceived differently when looking at the art.

Each unit of the book begins with a one-page overview of the time period. Notice the discussion on page 43 of the many different styles in the 20th century and how composers often changed styles during their careers. A focus is on Impressionism in art and music as an important style at this time.

Pages 44 and 45 follow with highlights of important musical developments from the time. First, Expressionism in art and music is shown and discussed. Next, George Gershwin’s jazz-influenced style is presented, followed by neoclassicism, with its look back to the 18th century.

A two-page art spread provides unique insight into life at the time. There are many details in the art works to be discovered. These spreads are meant to captivate the student’s imagination and bring the time period to life. This provides opportunity for discussion of the student’s observations and reactions. We suggest listening to a related musical example from the CD while viewing the spread.

Page 48 from Great Music & Musicians

The final page of each unit has a summary of the most important

concepts, listening examples, and a written review. Listening examples from the chapter are repeated here but with added suggestions to guide the students’ listening in each example.

In order to maximize lesson time, an Answer Key for all the activities is provided on the last page of the book. It can be used to quickly check the answers, or it can be cut and removed.

This book is a wonderful teaching tool that can be used in many ways. But most of all, it should be enjoyed by looking at the beautiful artwork and listening to the great music that is a part of our cultural heritage.

Great Music & Musicians will take you and your students on a musical journey throughout history. Enjoy your travels!

Sincerely, Nancy Bachus & Tom Gerou


43

Impressionism

At an art show in 1874, the painting Impression, Sunrise by Claude Monet (1840–1926) was described as unfinished—a sketch. Monet and other artists used brush strokes of pure color to show the reflection of light on objects. This style of art was called Impressionism.

The term was also used to describe the music of Claude Debussy (1862–1918). Inspired by a poem, his Prelude to the Afternoon of a Faun portrays the dreams and visions of a faun (a Roman god, half man and half goat) through unusual melody, harmony, and orchestration.

CD Track 16: Prelude to the Afternoon of a Faun (1894) by Claude Debussy

Impression, Sunrise (1872) by Claude Monet

Faun by Léon Bakst (1866–1924)

Claude Debussy

Unit 7The Turn of the 20th Century

By the 20th century, developments in science and technology began to influence society and the arts. International communication allowed musicians to develop an awareness of cultures from around the world. Musical trends and styles changed quickly as composers explored new ideas. Many even wrote in multiple styles throughout their musical careers. The music was often a reaction against the overly emotional style of the Romantic period. Composers continued to use musical forms and instruments of the past but in new and unique ways.

Expressionism

Influenced by new psychological studies of

the subconscious mind, Arnold Schoenberg

(1874–1951) developed a musical style called

Expressionism. Schoenberg no longer accepted

beauty as necessary. Instead, he used harsh

musical dissonances to express powerful,

yet personal, inner emotions. Schoenberg’s

Pierrot Lunaire uses a technique known as

sprechstimme, a type of sung speech using

approximate pitches and wide leaps.

CD Track 17: “Valse de Chopin”from

Pierrot Lunaire (1912)

by Arnold Schoenberg

In the Expressionist painting The

Scream by Edvard Munch (1863–1944),

fear is conveyed through the use of

heavy brushstrokes, striking colors,

and the distorted face.

The Scream (1893) by Edvard Munch

44

Portrait of Adele Bloch-Bauer I

(1907) by Gustav Klimt (1862–1918)

From Klimt’s “Golden Phase,” this

painting uses gold leaf (real gold

hammered into very thin sheets).

45

Jazz Influences

George Gershwin (1898–1937) began to work

in the field of popular music at age 15 when he

heard the African-influenced rhythms of jazz. He

was one of the first musicians to be successful

in both popular and serious music. Among his

works are many Broadway musicals, piano

concertos (Rhapsody in Blue and Concerto in F),

the orchestral piece American in Paris, and an

opera (Porgy and Bess).

In 1927, Gershwin went to Paris to study

composition with the famous teacher Nadia

Boulanger (1887–1979). She told him she could

teach him nothing and encouraged him to

continue his unique jazz-influenced style.

CD Track 18: Rhapsody in Blue (1924)

by George Gershwin

Sergei Prokofiev (1934)

by Pyotr Konchalovsky

(1876–1956)

George Gershwin (1936) by

Arthur Kaufman (1888–1971)

A Premier Composer

Some 20th-century composers used forms

favored by Classical composers, like sonatas and

symphonies. This is known as neoclassicism.

Sergei Prokofiev (1891–1953) studied and

conducted the symphonies of Haydn as a

student. He decided to compose his first

symphony in the style of Haydn, yet he used

unexpected harmonies, wide melodic intervals,

and other individual features. The third

movement is a gavotte, which was a popular

Baroque court dance. However, it certainly

departs from the style of Haydn.

46

Taking place in St. Petersburg, Russia, the exotic and brightly colored stage set reflects elements of primitivism.

Petrushka (1911) by Alexander Benois (1870–1960)

Primitivism

Through his use of energetic rhythms and complex harmonies, Igor Stravinsky (1882–1971) became identified with a musical style called Primitivism. He revolutionized music with his early works for the Ballets Russes (The Russian Ballets). The music of Petrushka uses the technique called parallel harmonies (chords locked into an unchanging shape that move up or down).

Primitivism in art idealized folk and non-Western cultures. The brilliant colors and rough, flat decorations of Alexander Benois’ Petrushka set design and Picasso’s self-portrait reflect this style.

CD Track 19: “Russian Dance” from Petrushka (1911) by Igor Stravinsky

Self-Portrait (1907) by Pablo Picasso (1881–1973)

47


(1861–1942)

4848

Word Scramble

Unscramble each composer’s name to match his musical style:

Listening Guide

CD Track 16: Prelude to the Afternoon of a Faun by Claude Debussy (Impressionism)

A flute playing a dreamy solo opens, followed by the harp and horns—unique colors for a concert hall in 1894.

CD Track 17: “Valse de Chopin” from Pierrot Lunaire by Arnold Schoenberg (sprechstimme)

The reciter’s use of sprechstimme and the lack of traditional chords gives a surreal atmosphere.

CD Track 18: Rhapsody in Blue by George Gershwin (jazz-influenced concerto)

The opening of this concerto for piano and orchestra begins with a “wailing” clarinet.

CD Track 19: “Russian Dance” from Petrushka by Igor Stravinsky (Primitivism)

A full orchestra opens with the theme. Woodwinds, strings, and piano are featured in turn, along with exciting percussive effects.

Summary: The Turn of the 20th Century

Around the turn of the 20th century, there were many different musical styles. Some composers felt the extreme emotionalism of Romantic music needed to be limited.

• Most composers rejected Romantic tradition.

• Western musicians were introduced to art and music from different cultures.

• Many composers wrote in different, unique styles within their careers.

• Trends in the visual arts influenced music. Jazz (with its complex rhythms) and technology (especially music recordings) impacted the arts.

• Forms and instruments of the past were still used in the 20th century, but often in very different ways.

K R I S T V A S N Y

V E K P R O F O I

G E W N S H I R

G O C R E N S H E B

S U B S Y D E

(Primitivism)

(Neoclassicism)

(Jazz Influence)

(Expressionism)

(Impressionism)

1.

2.

3.

4.

5.

modern grand piano

From top: Page 44-45 from Great Music & Musicians, Page 46-47 from Great Music & Musicians


PIANO TEACHING TIPS

I n a private lesson, the introduction or single units can be studied each month, with a brief discussion of one

page each week. Students can also be assigned additional projects related to the specific pieces they are studying. A style period could be featured to better understand its style and relationship to repertoire being learned.

Many students attending their first formal music appreciation or music history class are overwhelmed by the unfamiliarity of centuries of music history and styles. Although they had been introduced to Bach, Beethoven, and Mozart, they often lack a clear understanding of the overall historical picture.

For teachers, it is a balancing act to teach basic music fundamentals, technique, and to prepare for recitals. To also teach historical context and musical style—who, when, where and what—can seem overwhelming or unfeasible. Since most music taught in lessons developed from Western culture, at least an overview of music history is essential for musical insight and understanding of style differences.

A student does not need to know music fundamentals or theory to begin to understand music history. Its development, from the ancient Greeks and Romans to the present, can be easily grasped through artwork and by

listening to music from each period. Listening while looking at the artwork further enhances the learning process and makes it enjoyable. A written activity about the topics that have been presented helps to reinforce the learning.

Book & CD 39060

With such a vast subject as the history of Western music, it is useful to introduce a framework, or timeline, on which to hang details. By focusing on one style period within this timeline, students will develop a deeper understanding of the music they are learning. After studying all of the units and listening to the music on the CD, the development of Western music can be seen and understood.

18

Listening Guide

CD Track 2: “ fines terre salutare dei nostri jubilate deo omnis terra” from Viderunt omnes by Léonin (plainchant)

The free-flowing melody is sung without accompaniment.

CD Track 3: “Notum fecit” from Viderunt omnes by Pérotin (four-part organum)

In this four-part organum, there is a drone below three moving voices. Imagine how the voices would sound in a large cathedral.

Summary: The Middle Ages

During the the 4th century, Christianity became the major religion in Europe after the collapse of the Roman Empire to invading barbarians.

• The Christian church became the central force in medieval life.

• Monasteries began to educate and to preserve knowledge of the past.

• Sacred music was originally a single vocal line chanted or sung by monks, following the rhythm of words.

• Guido of Arezzo developed a system of music notation similar to what is used today.

• Plainchant developed into polyphony, while secular music in the courts remained primarily monophonic.

Connect the Dots

Draw lines to connect each term with its matching definition.

• non-religious music

• a person or organization that financially sponsors the arts

• music for church

• where monks and nuns live

• one voice

• travelling musicians from the Middle Ages

• many voices

• a highly decorated book of music from the Middle Ages

monasteries and convents •

illuminated manuscript •

secular music •

polyphonic •

patron •

monophonic •

troubadour, minstrel, minnesinger •

sacred music •

an organ from

the Middle Ages

PIANO TEACHING TIPSfrom Nancy Bachus and Tom Gerou

We both are very proud

and excited about Great

Music and Musicians,

Book 1, a new addition

to Premier Piano Course.

This unique book is

suitable for many age

groups and can be used

in different settings:

private lessons, group

lessons, general music

classes, or home-schooling.

AN OvErvIEw Of THE BOOk:The introduction focuses on musical style, a timeline, and how to listen to music. The subsequent units are overviews of major musical style periods. Each unit highlights cultural trends, important composers, musical forms, and how music relates to other arts. The enclosed CD includes excerpts from important musical compositions to illustrate and reinforce what was presented.


In Unit 7, The Turn of the 20th Century, different art movements and styles are vividly illustrated. This emphasis illustrates how much art influenced many of the composers during this time. The music is perceived differently when looking at the art.

Each unit of the book begins with a one-page overview of the time period. Notice the discussion on page 43 of the many different styles in the 20th century and how composers often changed styles during their careers. A focus is on Impressionism in art and music as an important style at this time.

Pages 44 and 45 follow with highlights of important musical developments from the time. First, Expressionism in art and music is shown and discussed. Next, George Gershwin’s jazz-influenced style is presented, followed by neoclassicism, with its look back to the 18th century.

A two-page art spread provides unique insight into life at the time. There are many details in the art works to be discovered. These spreads are meant to captivate the student’s imagination and bring the time period to life. This provides opportunity for discussion of the student’s observations and reactions. We suggest listening to a related musical example from the CD while viewing the spread.


The final page of each unit has a summary of the most important

concepts, listening examples, and a written review. Listening examples from the chapter are repeated here but with added suggestions to guide the students’ listening in each example.

In order to maximize lesson time, an Answer Key for all the activities is provided on the last page of the book. It can be used to quickly check the answers, or it can be cut and removed.

This book is a wonderful teaching tool that can be used in many ways. But most of all, it should be enjoyed by looking at the beautiful artwork and listening to the great music that is a part of our cultural heritage.

Great Music & Musicians will take you and your students on a musical journey throughout history. Enjoy your travels!

Sincerely, Nancy Bachus & Tom Gerou


43

Impressionism

At an art show in 1874, the painting Impression, Sunrise by Claude Monet (1840–1926) was described as unfinished—a sketch. Monet and other artists used brush strokes of pure color to show the reflection of light on objects. This style of art was called Impressionism.

The term was also used to describe the music of Claude Debussy (1862–1918). Inspired by a poem, his Prelude to the Afternoon of a Faun portrays the dreams and visions of a faun (a Roman god, half man and half goat) through unusual melody, harmony, and orchestration.

CD Track 16: Prelude to the Afternoon of a Faun (1894) by Claude Debussy

Impression, Sunrise (1872) by Claude Monet

Faun by Léon Bakst (1866–1924)

Claude Debussy

Unit 7The Turn of the 20th Century

By the 20th century, developments in science and technology began to influence society and the arts. International communication allowed musicians to develop an awareness of cultures from around the world. Musical trends and styles changed quickly as composers explored new ideas. Many even wrote in multiple styles throughout their musical careers. The music was often a reaction against the overly emotional style of the Romantic period. Composers continued to use musical forms and instruments of the past but in new and unique ways.

Expressionism

Influenced by new psychological studies of

the subconscious mind, Arnold Schoenberg

(1874–1951) developed a musical style called

Expressionism. Schoenberg no longer accepted

beauty as necessary. Instead, he used harsh

musical dissonances to express powerful,

yet personal, inner emotions. Schoenberg’s

Pierrot Lunaire uses a technique known as

sprechstimme, a type of sung speech using

approximate pitches and wide leaps.

CD Track 17: “Valse de Chopin”from

Pierrot Lunaire (1912)

by Arnold Schoenberg

In the Expressionist painting The

Scream by Edvard Munch (1863–1944),

fear is conveyed through the use of

heavy brushstrokes, striking colors,

and the distorted face.

The Scream (1893) by Edvard Munch

44

Portrait of Adele Bloch-Bauer I

(1907) by Gustav Klimt (1862–1918)

From Klimt’s “Golden Phase,” this

painting uses gold leaf (real gold

hammered into very thin sheets).

45

Jazz Influences

George Gershwin (1898–1937) began to work

in the field of popular music at age 15 when he

heard the African-influenced rhythms of jazz. He

was one of the first musicians to be successful

in both popular and serious music. Among his

works are many Broadway musicals, piano

concertos (Rhapsody in Blue and Concerto in F),

the orchestral piece American in Paris, and an

opera (Porgy and Bess).

In 1927, Gershwin went to Paris to study

composition with the famous teacher Nadia

Boulanger (1887–1979). She told him she could

teach him nothing and encouraged him to

continue his unique jazz-influenced style.

CD Track 18: Rhapsody in Blue (1924)

by George Gershwin

Sergei Prokofiev (1934)

by Pyotr Konchalovsky

(1876–1956)

George Gershwin (1936) by

Arthur Kaufman (1888–1971)

A Premier Composer

Some 20th-century composers used forms

favored by Classical composers, like sonatas and

symphonies. This is known as neoclassicism.

Sergei Prokofiev (1891–1953) studied and

conducted the symphonies of Haydn as a

student. He decided to compose his first

symphony in the style of Haydn, yet he used

unexpected harmonies, wide melodic intervals,

and other individual features. The third

movement is a gavotte, which was a popular

Baroque court dance. However, it certainly

departs from the style of Haydn.

46

Taking place in St. Petersburg, Russia, the exotic and brightly colored stage set reflects elements of primitivism.

Petrushka (1911) by Alexander Benois (1870–1960)

Primitivism

Through his use of energetic rhythms and complex harmonies, Igor Stravinsky (1882–1971) became identified with a musical style called Primitivism. He revolutionized music with his early works for the Ballets Russes (The Russian Ballets). The music of Petrushka uses the technique called parallel harmonies (chords locked into an unchanging shape that move up or down).

Primitivism in art idealized folk and non-Western cultures. The brilliant colors and rough, flat decorations of Alexander Benois’ Petrushka set design and Picasso’s self-portrait reflect this style.

CD Track 19: “Russian Dance” from Petrushka (1911) by Igor Stravinsky

Self-Portrait (1907) by Pablo Picasso (1881–1973)

47


(1861–1942)

4848

Word Scramble

Unscramble each composer’s name to match his musical style:

Listening Guide

CD Track 16: Prelude to the Afternoon of a Faun by Claude Debussy (Impressionism)

A flute playing a dreamy solo opens, followed by the harp and horns—unique colors for a concert hall in 1894.

CD Track 17: “Valse de Chopin” from Pierrot Lunaire by Arnold Schoenberg (sprechstimme)

The reciter’s use of sprechstimme and the lack of traditional chords gives a surreal atmosphere.

CD Track 18: Rhapsody in Blue by George Gershwin (jazz-influenced concerto)

The opening of this concerto for piano and orchestra begins with a “wailing” clarinet.

CD Track 19: “Russian Dance” from Petrushka by Igor Stravinsky (Primitivism)

A full orchestra opens with the theme. Woodwinds, strings, and piano are featured in turn, along with exciting percussive effects.

Summary: The Turn of the 20th Century

Around the turn of the 20th century, there were many different musical styles. Some composers felt the extreme emotionalism of Romantic music needed to be limited.

• Most composers rejected Romantic tradition.

• Western musicians were introduced to art and music from different cultures.

• Many composers wrote in different, unique styles within their careers.

• Trends in the visual arts influenced music. Jazz (with its complex rhythms) and technology (especially music recordings) impacted the arts.

• Forms and instruments of the past were still used in the 20th century, but often in very different ways.

K R I S T V A S N Y

V E K P R O F O I

G E W N S H I R

G O C R E N S H E B

S U B S Y D E

(Primitivism)

(Neoclassicism)

(Jazz Influence)

(Expressionism)

(Impressionism)

1.

2.

3.

4.

5.

modern grand piano

From top: Page 44-45 from Great Music & Musicians, Page 46-47 from Great Music & Musicians

SyllABuS lISTINGS

04 PIANO PERSPECTIVES04 PIANO PERSPECTIVES

AuSTrAlIA lOvES NANCy BACHuSA comprehensive syllabus listingAuSTrAlIAN MuSIC ExAMINATIONS BOArd rEPErTOIrE frOM THE “SPIrIT” SErIES The Baroque Spirit, The Classical Spirit, The Romantic Spirit, and Beyond the Romantic Spirit, Books 1 and 2 Both “Spirit” books together: The Baroque Piano, The Classical Piano, The Romantic Piano, The Modern Piano

Grade & List Composer Title “Spirit” Book ReferenceGrade 1 / List A Duncombe, W Trumpet Tune/Fanfare Minuet Classical Spirit 1, p37/BP p39Grade 1 / List A Handel, G.F Gavotte in G Major Baroque Spirit 2, p18/BP p20Grade 1 / List B Pleyel, Ignaz Minuet in C Major Romantic Spirit 1, p12/RP p14Grade 1 / List B Duncombe, W Sonatina in C Major (all 3 mvts.) Classical Spirit 1, p36/BP p38Grade 1 / List B Kuhlau, F Theme and Variations Classical Spirit 2, p25/CP p89Grade 2 / List A Graupner, J Intrada Baroque Spirit 2, p30/BP p94Grade 2 / List A Anon. att Bach Musette in D MajorAnh. 126 Baroque Spirit 1, p55/BP p57Grade 3 / List A Zipoli, Domenico Verso (Fughetta) in E Minor; Little Verse (same) Baroque Spirit 1, p26/BP p28Grade 3 / List A Arne, Thomas Gigue (Sonata No. 6) Baroque Spirit 2, p57/BP p121Grade 3 / List A Seixas, Carlos de Toccata in C Minor Baroque Spirit 2, p50/CP p114Grade 3 / List A Anon. att Bach Polonaise in G Minor, Anh 123 Baroque Spirit 2, p24/BP p88Grade 3 / List A Purcell, Henry Hornpipe in E Minor Baroque Spirit 1, p58/BP p60Grade 4 / Studies & Pieces Fischer, J Chaconne Baroque Spirit 1, p60/BP p62Grade 4 / List B Gade, Niels Boy’s Round Dance Romantic Spirit 2, p. 25/RP p89Grade 5 / List A Bach, J.S Invention No. 8 in F Major Baroque Spirit 1, p52/BP p54 Grade 5 / List D Ibert, Jacques A Giddy Girl Beyond R. Spirit 2, p42/MP p100Grade 5 / List C Granados, Enrique Vals poetico, #5 & 6 Beyond R. Spirit 1, p46/MP p48Grade 6 / List B Bach, C.P.E Allegro di molto Classical Spirit 2, p. p29/CP p93Grade 6 / List C MacDowell, E The Brook, Op. 32/2 Romantic Spirit 2, p. 53/RP p117Grade 7 / List C Schubert, Franz Moment Musical, Op. 94/3 Romantic Spirit 2, p. 18/RP p82Grade 7 / List D Ravel, Maurice Valses Nobles & Sent. 2 Beyond R. Spirit 2, p28/MP p92Grade 8 / List D Debussy, Claude Des pas sur la neige Beyond R. Spirit 2, p32/MP p96Cert. of Perf / List C Villa-Lobos, Heitor O Polichinelo, Vol 1/7 Beyond R. Spirit 2, p56/MP p120Piano Leisure / G4 Mozart, W.A Andante Classical Spirit 2. P. 47/CP 111Piano Leisure / G5 Debussy, Claude The Little Nigar Beyond R. Spirit 1, p61/MP p63Piano Leisure / Cert Perf Villa-Lobos, Heitor O Polichinelo, Vol 1/7 Beyond R. Spirit 2, p56/MP p120

AuSTrAlIAN MuSIC ExAMINATIONS BOArd rEPErTOIrE frOM ExPlOrING PIANO ClASSIC SErIES (rEPErTOIrE BOOk)Grade & List Composer Title Book ReferencePreliminary/List B Haydn, F. J Quadrille Level 2, page 18Preliminary/List B Mozart, W.A Menuet in F Major, K. 2 Level 1, page 24Preliminary/List B Reeinecke, Carl Elegy Level 2, page 32Preliminary/List B Haydn, F. J German Dance in E Major Level 1, p17 OR 32Grade 1 / List A Böhm, Georg Minuet in G Major Level 3, page 28Grade 1 / List A Clarke, Jeremiah King William’s March Level 2, page 20Grade 1 / List A Graupner, Cristoph Bourrée in D Minor Level 1, page 15Grade 2 / List A Bach, C.P.E March in D Major Level 4, page 42Grade 2 / List A Anon. att Bach Minuet in G Major, Anh. 116 Level 4, page 40Grade 2 / List A Anon. att Bach Minuet in D Minor, Anh. 132 Level 4, page 18Grade 2 / List B Clementi, Muzio Sonatina in C, Op. 36/1 (3rd) Level 3, page 26Grade 3 / List B Clementi, Muzio Sonatina in C, Op. 36/1 (1st/2nd) Level 3, page 22-25Grade 3 / List B Diabelli, Anton Sonatina in F, Op. 168/11 (1st) Level 4, page 46Grade 3 / List B Lichner, Heinrich Sonatina in F, Op. 4/2 (1st) Level 5, page 33Grade 3 / List B Schumann, Robert Wilde Reiter, Op. 68/8 Level 4, page 36Grade 4 / List B Schumann, Robert Kleine Romance, Op. 68/19 Level 5, page 32Grade 4 / Studies & Pieces Maykapar, Samuel At the Blacksmith Level 4, page 24Piano Leisure / G2 Tchaikovsky, Peter Melodie antique francaise, Op. 39/16 Level 4, page 22Piano Leisure / G3 Chován, Kálmán Gypsy Legend Level 2, page 30Piano Leisure / G3 Mozart, W.A Polonaise in F Major Level 4, page 16


ASSOCIATEd BOArd ExAMINATIONS (ABrSM) 2013-2014 SyllABuSGrade 2/List A Attwood, Thomas Allegro: Sonatina No. 2 in C Major (1st mvt.) Classical Spirit, Book 2, p11/CP p73Grade 2/List A Duncombe, William Giga Classical Spirit, Book 1, p38/CP p40Grade 2/List B Glinka, Mikhail Polka (Russian Dance) Exploring Piano Classics, Level 3, p18Grade 3/List A Bach, C.P.E. Allegro in G Major, H. 328 Classical Spirit, Book 1, p21/CP p23Grade 4/List A Diabelli, Anton Sonatina in F Major, Op. 168, No. 1 (1st mvt.) Exploring Piano Classics, Level 4, p46Grade 5/List A Beethoven, Ludwig Minuet in D Major, WoO7, No. 7 Romantic Spirit, Book 1 p16/RP 18Grade 5/List B Tárrega, Francisco Adelita (Ed. N. Bachus in ABRSM Exam Pieces) Romantic Spirit, Book 1 p60/RP 62Grade 5/List B Palmgren, Selim West-Finnish Dance, Op. 31, No. 5 Romantic Spirit, Book 1 p58/RP 60Grade 5/List B Tchaikovsky, Peter Daydream, Op. 39, No. 21(Album for Young) Exploring Piano Classics, Level 5, p46Grade 6/List A Scarlatti, Domenico Sonata in C Minor, K.11, L.352 Baroque Spirit, Book 2, p46/BP p110Grade 6/List B Brahms, Johannes Waltz in Ab, Op 39, No. 15 Romantic Spirit, Book 2, p50/RP p114Grade 6/List B Chaminade Élegie, Op. 126, No. 7 Romantic Spirit 2, p34/RP p98

TrINITy ExAMS 2012-2014Initial Saluntrinskaya The Shepherd Pipes Exploring Piano Classics, Prep Level, p18 Grade 1 Duncombe Fanfare The Classical Spirit, Book 1, p. 37, CP, p39Grade 3 Zipoli Versi (Fugetten)—Fugetta The Baroque Spirit, Book 1, p. 26, BP, p28Grade 5/GroupB Debussy Page d’album Beyond the Romantic Spirit, Book 1, p14, MP, p16 Tchaikovsky Sweet Reverie (Dreams) Exploring Piano Classics, Level 5, p46Grade 6/GroupA CPE Bach Allegro di molto The Classical Spirit, Book 2, p. 29, CP, p93Grade 7/GroupB Ravel Assez lent No. 2 (Valses nobles) Beyond the Romantic Spirit, Book 2, p. 28, MP, p92

ANZCA 2013-2014Preparatory Praetorius German Dance Exploring Piano Classics, Prep LevelPreparatory Reinagle Allegretto Exploring Piano Classics, Prep LevelPreparatory Geoffroy Little Minuet Exploring Piano Classics, Prep LevelPreparatory Bartók Moderato Exploring Piano Classics, Prep LevelPreliminary Arnold Gigue in C major Exploring Piano Classics, Level 1Preliminary Anon Tambourin Exploring Piano Classics, Level 1Preliminary Gurlitt The Chase Exploring Piano Classics, Level 1Preliminary Anon Rococo Dance Exploring Piano Classics, Level 1Preliminary Bartók Come Home, Lidi Exploring Piano Classics, Level 1Preliminary Gurlitt A Deserted Garden Exploring Piano Classics, Level 1Grade 1 Anon Old English Air Exploring Piano Classics, Level 2Grade 1 Corelli Sarabande Exploring Piano Classics, Level 2Grade 1 Le Couppey Melody in C Exploring Piano Classics, Level 2Grade 1 Beethoven Russian Folk Song Exploring Piano Classics, Level 2Grade 1 Tcherepnin Chimes Exploring Piano Classics, Level 2Grade 1 Stravinsky Lento Exploring Piano Classics, Level 2Grade 2 Graupner Air en Gavotte Exploring Piano Classics, Level 3Grade 2 Beethoven German Dance Exploring Piano Classics, Level 3Grade 2 Böhm Minuet in G Major Exploring Piano Classics, Level 3Grade 2 Glinka Russian Dance Exploring Piano Classics, Level 3Grade 2 Rebikov The Clown Exploring Piano Classics, Level 3Grade 2 Bartók Under the Tree Exploring Piano Classics, Level 3

BP: The Baroque Piano, CP: The Classical Piano, RP: The Romantic Piano (Format of both “Spirit” books in one volume)

26036 2603826040 26042

31347 31352 31348

31355 31349 31358

31350 31361 31351

31364 38841 38842

One of the hardest things for a piano beginner to learn is to read the notes, and yet it’s crucial to their progress. The Easy Notes theory books teach the notes through stories, which makes learning the notes fun and easy.

The Magnetic Stave and Characters strengthen note learning with hands-on activity. It works! Kids love it! It’s easy to use!

For more information go to www.easy-notes.com

This is Bug B sitting on the middle line of Treble Stave Street, because here she is as ‘snug as a bug in a rug’.

COMPETENT MUSIC READERS

right from the first lesson

for beginners to become

a n e a s y w a y t o t e a c h t h e n o t e s

Easy NotesEasy NotesEasy Notes

S tories and other associations can be such a help when you are trying to learn or remember

something. On an outdoor adventure programme I was watching on TV a guy was tying a knot in a rope, and as he was doing it he was saying, “the rabbit comes out of the hole, runs round the tree, and goes back in the hole”. I was intrigued, so I looked it up and found two different ways of learning how to tie this knot, called a ‘bowline’, a knot which is used to form a fixed loop at the end of a rope.

One way went like this:

Tie a bowline by forming a loop in the standing part of the line. Pass the end up through the eye of the loop, around the back of the standing part and then down through the eye again.

Even though these instructions are straightforward, I did have to study them a bit to understand them, and I knew that if I tried to tie a bowline later I’d struggle to remember how to do it.

Then I looked for instructions that had the rabbit story, and I found this:Make a loop in the rope; this is a ‘rabbit hole’, and above it is a ‘tree’.

Put the end of the line up through the loop - the rabbit pops up out of the hole,

then it goes around the tree,

gets scared and goes back down in its hole.

Now tighten the knot and you have a secure loop which can be used to tie a dingy to a dock, tie a dog to a post, or a thousand other uses.

After I read these instructions, I went looking for a piece of string because I really wanted to tie that knot! Now that I had the rabbit in my mind, it was fun to tie the knot, and it was easy. I could tie it again and again without looking at the instructions – all I had to do was think of the rabbit.

Why is this way of teaching so effective? First of all it’s fun, which is motivating – that’s what got me hunting for the string. Secondly, it’s engaging. It captures your attention easily, and you are led through the thought process without having to try to understand it.

Thirdly, it uses an association, which gives you a handle on the information so you can keep it in your memory.


STOrIES MAkE IT EASy

STOrIES MAkE IT EASy TOlEArN THE NOTESBy Rebecca Wilson

Visit www.easy-notes.com to view a video of this five-year-old in action!

STOrIES MAkE IT EASy


When you tie the knot, all you have to remember is to make the tree and the hole, and then get the rabbit moving! This is such a powerful way to learn and remember things, as the association allows you to keep the instructions in your mind until you master them. Then, after tying the knot a number of times, you’d be able to do it without thinking about the rabbit any more. It was interesting, though, that the guy on the programme still talked about the rabbit as he was tying the knot, even though he’s probably tied a bowline thousands of times. We often have an affection for associations that have helped us to learn – we just like them.

Easy Notes uses this approach in teaching the notes on the piano and the stave to beginners. Just like the rabbit helped me to tie the bowline, stories and characters can make it fun and easy for kids to learn and remember the notes.

And speaking of rabbits, this year, as I’ve been using Easy Notes with my beginner students, I’ve been changing one of the characters, Boot B, to Bunny B. The story goes that there is a gate with three posts down on ‘Bass Stave Farm’, just below the dog’s kennel (which they learn about in Easy Notes). Field F is growing under the gate and Bunny B is hopping over it.

On the stave, Field F grows below the bottom line of Bass Stave Farm, and Bunny B is on the second line because of his two big ears. When you see a note on the second line, think of Bunny B with two ears – ‘two lines, two ears’. And where is that Bunny on the piano? Hopping over the gate, with Field F growing under it. Easy! Now the notes on the stave and the notes on the piano are linked.

This change has been working really well with the kids – it’s a strong character association, and they all really like Bunny B. So I’ve decided to incorporate it into Easy Notes when it’s time to reprint the books - watch out for Bunny B hopping over the gate in the 2nd edition!

One five-year old student I started teaching this year very politely corrects me when I say Boot B by mistake – she’d much prefer Bunny B! She now has a big pile of 18 note flashcards that she can name and play on the piano. I can’t help saying to her, “Wow, you’re only five and look at all the notes that you know!” It still amazes me how these five-year olds can learn so many notes and read and play the music in their piano books so easily – thanks to Bunny B (and the other characters).

Visit www.easy-notes.com to view a video of this five-year-old in action!

As stated by Sprenger, “Everyone can learn under the right circumstances. Learning is fun! Make it appealing.”2 Sometimes a simple story, like a rabbit running around a tree or hopping over a gate, can create the right ‘circumstances’ for real learning to take place. It’s great how a story can turn something that’s difficult to learn into something that’s not only easy to learn, but fun as well. Creating learning ‘circumstances’ like this when we teach can open up the potential of our students’ minds to take so much more in, understand so much more, and retain it all while they build it into their long term memories, where it stays for life – securely attached like a well-tied bowline!

1 The character magnets and magnetic stave come with the Wilbecks Easy Notes - Magnetic Stave Whiteboard and Character set. The gate will be available in the 2nd edition of the Easy Notes theory books.

2 Source: http://en.wikipedia.org/wiki/Learning_styles, Marilee Sprenger in Differentiation through Learning Styles and Memory

Rebecca Wilson is the author of Easy Notes for Piano Beginners

www.easy-notes.com

From left: Students can practise putting the gate and the character magnets1 in the right place on the piano, and Students can also practise putting the magnets on the magnetic stave1. This hands-on activity is a great way to practise identifying and locating the notes.

Chosen to reflect a variety of moods, these new superb piano arrangements have been carefully selected to the highest standards and come in a handy

format that combines convenience with durability.

The spiral binding ensures that the Piano Playbook sits flat on a piano or any music stand, while the crisp engraving is a pleasure to read. The books

each contain between 30-50 timeless, popular and inspiring works.

The full range is available now in all good print music retailers.

Piano Playbook

AM1006665

AM1006698

AM1006676

AM1006709

AM1006687

AM1006720

PianoPerspectives_PianoPlaybook_297x210.indd 1 3/10/13 6:09 PM


www.blitzbooks.com.au

Theory teaching has evolved

How To Pass

Grade 5 Theory

by Samantha Coates

Suitable for the AMEB Grade 5 Theory s

yllabus

NEW

EDITION

NEW

EDITION

Suitable for the AMEB Grade 5 Musicianship syllabus

Grade 5 Musicianship

How To Pass

Suitable for the AMEB Grade 4 Musicianship syllabus

Grade 4 Musicianship

NEWEDITION How To Pass

REVISED EDITIONby Samantha Coates and Michelle Madder 2

BOOK

A Graded Guide for Pianists of All Ages

Sight ReadingHow To Pass

Perfect preparation for Grades 3-4

Leve

ls 11-15

Levels 1

6-20

3BOOK

by Samantha Coates and Michelle Madder

Perfect preparation for Grade 5

Sight Reading

How To Pass

A Graded Guide for Pianists of All Ages

SAVE THE DATE for these workshops with BLITZ author Samantha Coates! Brisbane: Monday Jan 13 @ Masson Music, Mt Gravatt. PH: 3349 2006 Sydney: Thursday Jan 16 @ Carlingford Music, Carlingford. PH: 9873 2333 Melbourne: Friday Jan 24 @ Pat’s Music (The Piano Shop), Sth Oakleigh. PH: 9563 8711

Switch to Your students will love you for it!

BlitzEvolvedA4FullpgAdWkshopsPH.indd 1 8/10/13 12:31 PM


Blitz ‘n’ PiecesSamantha Coates (a.k.a. “Miss Blitz”) – author of the ‘How to BLITZ!’ series of Theory,

Musicianship and Sight Reading – answers common questions from our readers.

Dear Miss Blitz,

What exactly is the difference between

Theory and Musicianship, and which do you think is better?

Confused, Tasmania

Dear Confused,

This would have to be the question I am asked most often! For Grades 1, 2 & 3, the answer is: almost nothing. I find that by the time students finish Grade 3 in either Theory or Musicianship, they pretty much know the same things. There are minor differences such as:

n T1 contains only 3 major keys, whereas M1 contains minor keys too

n Binary/Ternary form is introduced in Theory in Grade 2 but in Musicianship it’s Grade 3

n M3 covers Imperfect cadences, while T3 covers Plagal cadences

n M3 covers modulations, which in Theory is not dealt with until grade 4

The real differences come in from Grade 4 onwards; the Musicianship syllabus has the aural component. I feel that aural development is essential for any student and I much prefer the Musicianship syllabus for this reason; however, Theory is much more popular around Australia! This amazes me, as the written papers for Theory are so much harder; students will opt for this over having to do an aural exam, yet the aural exams are not very hard at all!

Dear Miss Blitz,

I have heard that your ScaleBlitzer app is now

free to install. Do we then have to pay for the different levels?

Interested, Victoria

Dear Interested,

Yes ScaleBlitzer is free to install for the month of November, to help students really prepare for their

exams! The Stage 1 pack (Grades P-1) is also free, for any instrument. The higher levels vary in price from 99c to $4.99.

We have had incredible feedback from students and teachers who say that their scales ended up being the best part of their exam after using ScaleBlitzer. Very exciting!

Dear Miss Blitz,

What do you think about the online

exams, and can your books be used to prepare for them?

Curious, Tasmania

Dear Curious,

Yes the Blitz workbooks can be used to learn all the content for the online exams, and then students just need to complete the online tutorials prior to taking the exam, to get used to the format.

I think online exams are an excellent option when convenience is of the utmost importance. However I do think there is an invaluable experience to be gained from doing the ‘face-to-face’ written exams, and I wouldn’t like to see students’ music writing skills diminish as a result of doing everything online.

Dear Miss Blitz,

I am interested in trying out the Music

Craft syllabus but there are no Blitz Books for it and my student doesn’t want to swap. Are you planning to write books for Music Craft?

Hopeful, NSW

Dear Hopeful,

Unfortunately I have no plans to write any texts for the Music Craft syllabus. The workbooks and teacher guides that the AMEB have produced are extremely comprehensive and contain valuable information on the set works. It’s definitely best to work from those if pursuing the Music Craft syllabus.

¥¨ Æ

Hey Mark, just so you know - the top 4 critters are mine, they were drawn for me by a graphic artist in Nov 2000, and the grad hat is trademarked. Of the bottom 4 critters, the music symbols are simply a font called Bach, and the grad hat is clip art which can be purchased anywhere. The hat also happens to be almost identical to the one used on the cover of Master Your Theory - woo hoo! So no copyright issues here.

¥¨ Æ


¥¨ Æ


¥¨ Æ


¥¨ Æ


¥¨ Æ


¥¨ Æ


BLITZ ‘N’ PIECES


GERI REA

D uring my thirty years of piano teaching I have checked out most of the teaching courses on the market. Whilst I had my preferences, favouring book one of

a particular course but book two of another, there was no single solution which could be adapted to the needs of all my students - until the Premier Piano Course. Now my seventy five students venture through the rainbow of eight levels with unparalleled success and enjoyment. I’m experiencing the satisfaction of watching young pianists become highly motivated, competent music readers and developing all-round musicianship and artistry.

So, what’s the difference?

Firstly, the Premier Piano Course lays down the foundations comprehensively. Reading from the stave is not introduced until students have grasped posture, note values and a complete geography of the keyboard. Gone is the old method of reading in C position (and the struggles we all had to break free of it) but in its place intervallic training enables the student to read one note in relation to another; melodic seconds and thirds, simply explained as steps and skips. Children grasp it and there’s no holding them back. Premier has great consistency and its layout and structure enables students to apply this knowledge confidently, encountering increasing intervals as they progress through the levels.

One of the difficulties I’ve found teaching young children is the lack of consolidation material that course books offer. No sooner has one concept been taught then another is being presented. Premier Piano Course has a wealth of support material that enables students to grasp and practise each concept in a variety of pieces, thus building confidence before the next challenge. The Performer is the first of these, correlated to the corresponding course book, with its charming collection of songs, solos and duets. Then there’s the Pop and Movies book, again carefully related to the course level, where students can play inspiring popular tunes which they recognise – such an important aspect of learning from the outset.

Whilst the lesson book gives clear directions regarding technique, there is support material for this too. An in depth look at posture, arm weight, finger weight, free movement and more. Each aspect has a technique instruction, exercise and artistic etude to perfect the concept.

The theory book deserves a mention because the title fails to do it justice. Full of colourful illustrations, it contains enjoyable games and activities designed for both teacher and student together. There are ‘imagination stations’ requiring creative application, ‘now hear this’ addresses aural training, ‘now play this’ is sight reading practise, ‘learning links’, a quirky fact, maybe about potato chips or Yosemite National Park (how refreshing!) and ‘fun zone’ which speaks for itself. Allowing five minutes of lesson time for this book ensures a wholesome spectrum of musical training.

Our aim as piano teachers is not simply to reproduce notes from manuscript, but to impart to our students an ability to interpret and play with creative flair. This is in the very DNA of Premier. Right from the outset dynamics are introduced, a splash of pedal is included and a dictionary of musical terms and symbols equips students for musical performing. But more so, the range of styles and genres with their well chosen titles, give teacher and pupil opportunity to discuss artistry and interpretation. Duets for teacher and student (which go beyond harmonies of the tonic and dominant!) lend a dimension which delights pupils and their parents, who hear a foretaste of things to come.

I am an advocate of parental involvement with my students and actively encourage them to participate in their child’s learning, no matter what their musical experience. The Premier Piano Course facilitates this with parent student flash cards (with all the questions and answers on one side for the uninitiated) which can also be useful in the studio. An ‘At

In the StudIo wIth


GErI rAE

D uring my thirty years of piano teaching I have checked out most of the teaching courses on the market. Whilst I had my preferences, favouring book one of

a particular course but book two of another, there was no single solution which could be adapted to the needs of all my students - until the Premier Piano Course. Now my seventy five students venture through the rainbow of eight levels with unparalleled success and enjoyment. I’m experiencing the satisfaction of watching young pianists become highly motivated, competent music readers and developing all-round musicianship and artistry.

So, what’s the difference?

Firstly, the Premier Piano Course lays down the foundations comprehensively. Reading from the stave is not introduced until students have grasped posture, note values and a complete geography of the keyboard. Gone is the old method of reading in C position (and the struggles we all had to break free of it) but in its place intervallic training enables the student to read one note in relation to another; melodic seconds and thirds, simply explained as steps and skips. Children grasp it and there’s no holding them back. Premier has great consistency and its layout and structure enables students to apply this knowledge confidently, encountering increasing intervals as they progress through the levels.

One of the difficulties I’ve found teaching young children is the lack of consolidation material that course books offer. No sooner has one concept been taught then another is being presented. Premier Piano Course has a wealth of support material that enables students to grasp and practise each concept in a variety of pieces, thus building confidence before the next challenge. The Performer is the first of these, correlated to the corresponding course book, with its charming collection of songs, solos and duets. Then there’s the Pop and Movies book, again carefully related to the course level, where students can play inspiring popular tunes which they recognise – such an important aspect of learning from the outset.

Whilst the lesson book gives clear directions regarding technique, there is support material for this too. An in depth look at posture, arm weight, finger weight, free movement and more. Each aspect has a technique instruction, exercise and artistic etude to perfect the concept.

The theory book deserves a mention because the title fails to do it justice. Full of colourful illustrations, it contains enjoyable games and activities designed for both teacher and student together. There are ‘imagination stations’ requiring creative application, ‘now hear this’ addresses aural training, ‘now play this’ is sight reading practise, ‘learning links’, a quirky fact, maybe about potato chips or Yosemite National Park (how refreshing!) and ‘fun zone’ which speaks for itself. Allowing five minutes of lesson time for this book ensures a wholesome spectrum of musical training.

Our aim as piano teachers is not simply to reproduce notes from manuscript, but to impart to our students an ability to interpret and play with creative flair. This is in the very DNA of Premier. Right from the outset dynamics are introduced, a splash of pedal is included and a dictionary of musical terms and symbols equips students for musical performing. But more so, the range of styles and genres with their well chosen titles, give teacher and pupil opportunity to discuss artistry and interpretation. Duets for teacher and student (which go beyond harmonies of the tonic and dominant!) lend a dimension which delights pupils and their parents, who hear a foretaste of things to come.

I am an advocate of parental involvement with my students and actively encourage them to participate in their child’s learning, no matter what their musical experience. The Premier Piano Course facilitates this with parent student flash cards (with all the questions and answers on one side for the uninitiated) which can also be useful in the studio. An ‘At

IN THE STudIO wITH

PIANO PERSPECTIVES 13PIANO PERSPECTIVES 13

Home Book’ takes parent and child on a musical adventure story and doubles as a record of the practises, challenges and victories which arise at home. It also addresses many of the questions which parents frequently ask, and provides direction and exercises which a parent can give at home between lessons. Furthermore, each lesson and performer book is available with a CD which enables students to play duets and non-musical parents to check notation and rhythmic accuracy between lessons.

Many of us have just finished our end of year concerts. Premier offers no shortage of repertoire for such an event, no matter how large your teaching practice. The Pop and Movies collection includes a whole range of Disney favourites, James Bond, The Entertainer, Star Wars, Superman, Happy Birthday… need I go on? The Christmas books host a selection of traditional carols and popular songs. To accommodate those who just have to play it, Jingle Bells is introduced at several levels of increasing complexity so that no one’s disappointed. There’s no doubt about the research that has gone into producing this comprehensive course.

Just when I thought it couldn’t get better, along come two new themed books, Jazz Rags and Blues for the early levels and Masterworks for the higher. There’s Little Frog Boogie, Night Jazz, and Strawberry Rag to name a few, each with charming lyrics and swinging duet accompaniments. Masterworks at level five offers eighteen carefully selected piano pieces ranging from the Sonatina to the Russian folk song. Spanning just short of three hundred years of musical genres, the big names are all there, from J S Bach to Beethoven with a few discoveries besides. As I’ve come to expect, the arrangements, fingering and performance directions are faultless and perfectly selected for students on the correlating lesson books.

So, before I close, I’ve thought hard to try and bring a little balance to my review. Is there anything that could have been done better? Perhaps there could have been a colour choice other than grey for the final level, but surely this deserves to be overlooked. When I introduce a new piece to my young students and they sight read with the confidence of one who has practised, I know this course works.

Summer is here and we piano teachers prepare to compete with the full spectrum of outdoor activities presented to our students. But practising the piano needn’t be a chore. With bright appealing covers and exciting titles, Geri Rea’s new collection for elementary to intermediate students aims to inspire creative performance with themes that children love.

Surfing Sailing and Sprinting was composed for boys and girls who seek action and adventure. Titles include Danger – with its mounting dynamic tension, Top Speed Sprint – a five finger workout in which young fingers can test out their finger control at speed, Little Brave – featuring the tom tom drum bass which boys love and fourteen other action packed pieces designed to tempt active kids to the piano stool.

Most importantly, Surfing Sailing and Sprinting is designed to enable young performers to play hands together with the security of ‘five fingers on five notes’. Carefully annotated fingering and dynamics and small melodic intervallic progressions enable the young pianist to perform a full finger workout with confidence.

The Playground is a collection of 12 pieces for those who are ready to expand their geography of the keyboard – extending the range of notation to an octave, in the setting of a traditional play park, complete with swings, skateboards and a hint of Geri’s English village background. The play park offers a range of styles from swinging blues (Skate Park) to ragtime (Raggy Tracky Dacks), a variety of tempos and keys and encourages creative interpretation with clearly marked performance directions, articulation and dynamics.

World in Harmony, Geri’s latest book, is a compilation of 12 pieces created to facilitate a voyage of discovery through musical cultures of the world. Students will enjoy the marching rhythm of England’s ‘Changing of the Guard’, escaping to Trinidad’s Carnival Calypso or perhaps the popular New Orleans Show Boat; an opportunity to show early talent at a concert or performance.

Working together with LGS (South Pacific), World in Harmony has been written to assist in supplying music and educational resources to children of the South Pacific. All revenue raised from

the sale of this book is committed to this purpose. Join with us in a musical journey that will bring a little harmony to the lives of children in the South Pacific.

Go to www.timtopham.com to watch a review of Surfing Sailing and Sprinting, The Playground and World in Harmony in ‘Top 10 books for boys’.

AlSO AvAIlABlEMusical Menagerie Geri’s first book is a collection of short animal themed pieces created for young pianists who are ready to play hands together. Written in accessible keys, the pieces enable the performer to experience the fun of playing hands together within familiar hand positions. Fourteen titles including Donkey Plod, Kangaroo Bounce and Rhino Rumpus portray animal characteristics musically and the ‘picture this’ feature encourages creativity by prompting a visual image for each piece.

G e r i R e a

G e r i R e a

C

M

Y

CM

MY

CY

CMY

K

The_Playground_New_a.pdf 1 20/06/11 1:14 AM

SuMMEr FAvOurITES

9780992344610

9780992344603

9780992344627


GrANd

GrANd TrIOS

I hope your teaching year will be soon off to a fabulous start and you are enjoying your students as much as I am treasuring every moment with mine! It is always a bit

of a challenge to prepare selections for recitals after having just gotten back to school, but along with fantastic solos and duets, we have added something special to our recitals: Trios! These have been so popular, the students actually clamour to participate. There are several reasons for this:

1. They love the camaraderie. Duets are special, but having 3 people on a bench is just exciting – to play, listen to and watch. And the ensemble possibilities are endless: a teacher and 2 students, a parent and 2 siblings, 3 siblings or 3 friends, etc. It’s a lot of fun.

2. They love the sound it creates. Again, duets offer a fuller sound, but having every part of the keyboard covered gives a whole different dimension.

3. They love the challenge. Not only do trios give the students a great opportunity to count and keep a steady beat; they offer wonderful musical and expressive skills as they listen for the integration and blending of parts.

I am excited to introduce Books 5 & 6 of Grand Trios for Piano for your intermediate and late intermediate students. Let’s take a look at “Prelude in G Major” from Book 6. This piece is fast-paced, with a key change to E flat Major in the middle section that offers a change in dynamic level as well. A challenging rhythmic section provides the segue back to the “A” theme with a powerful ending, making this piece especially nice for a recital opener or showstopper lose. Here are a few tips on learning, preparing and performing this trio:

1. Your intermediate students are getting older (and maybe bigger!). Feel free to add a bench for the performance so everyone is comfortable. I have students that want to share the bench until they graduate. That is perfectly fine as well!

2. One of the main challenges of playing trios is getting acclimated to the layout. The middle part is probably the most difficult to follow. During practice, make sure your students know exactly where to look as pages are being turned.

3. Assign the page turn to the part that can afford to drop a hand. For instance, the high part could turn at bar 9; the middle part at bar 18; the middle part at bar 27. Of course memorising is ideal – no page turns to worry about!

4. Knowing the parameters of each part is also helpful. Where does their particular part lie on the keyboard? What are the highest and lowest notes? How close will they be to their neighbour’s hands? Studying this as the learning process is taking place puts them at ease and creates a higher level of comfort when they finally put the piece together as a group.

5. The Students will want to make special note of the dynamics as the melody is transferred between the three parts. One of the star attributes to playing trios successfully is being sensitive to fellow players and contributing their individual part in the most musical way to benefit the work as a whole. I have students that enjoy learning each other’s parts. This is another way they can become familiar with the design of the piece.

6. Rhythm, phrasing, articulation are all important teaching tools within each part.

Clockwise from top left: 00-37322, 00-37323, 00-37324, 00-37327, 00-37326 and 00-37325.


As in all music, these components of expression will bring the piece to life. When learning individual parts, it is crucial to abide by the tempo marking and obviously play with a steady beat. This can be achieved several ways:

1. Use the metronome at home and at the lesson.

2. Play one of the parts with your student at the lesson.

3. Make a recording of the other 2 parts and have the student play along.

One of the major deterrents teachers have from using trios is the time factor and getting students together to practice. I have found that if you practice individually with the metronome or recording as stated above, the task of putting it all together becomes much easier. If the strict, disciplined practice has been done on their own, they may use the sessions where they are together to get used to the sound of everyone’s live performance, discover the musical flow of the piece with all three part, and become confident in their musicianship skills. We already know they are going to enjoy the time together!

Many times we as teachers have to go the extra mile to provide opportunities for students to come together to practice. Oftentimes, I will provide donuts and orange juice for a Saturday morning practice, or perhaps an evening pizza party/rehearsal would be fun. Encourage students to go over to each other’s houses for a special time of practice. If they are old enough to drive, many of my students will just pop in on each other’s lessons for a few minutes of practice. This is extremely helpful.

Do you have students that get extremely nervous at recitals? Maybe even decide not to perform at all? Trios are a wonderful way for these students to stay involved in a nonthreatening way. Having two additional people working with you, right beside you, is less intimidating than being on your own. It keeps them playing, and they usually resume solo work at some point.

Want to really energise your recital? Perform “Prelude in G Major” as a double trio. You won’t believe the amazing sound 12 hands can make!

I would like to add that utilising trios with your younger students is a thrilling experience as well. The Grand Trios for Piano books 1, 2 and 3 offer opportunities for props, costumes and added instrumentation as their imaginations allow.

Wishing you all the best as you incorporate trios at your next recital!

Sincerely,Melody BoberAuthor, Arranger, Composer

The award-winning Piano Time is a hugely successful series for all budding pianists. With a full range of carefully paced and attractive books – teaching and technique books, pieces and duets – Piano Time is an enjoyable way to teach and learn the piano.

‘A breath of fresh air for teachers and pupils alike’ – Piano Journal

www.encoremusiceducation.com.au www.accentpublishing.com.au

Play, create, perform, achieve!For more information Call 1800 553 223

or visit www.encoremusiceducation.com.au

Piano/keyboard students love the engaging approach of Encore on Keys. It develops complete musicians through improvisation, aural training and awareness, keyboard harmony, sight-reading, chord chart reading, ensemble playing, transposition, rhythm coaching and music literacy. Developed in Australia, Encore on Keys features world-class musical arrangements on CD. The fun-factor is embedded through the vibrant and contemporary flair that sets Encore on Keys apart from other method books.

You simply will not find a better approach to music education!

Award-winning

Australian program

Creating Smart Musicians

JUNIOR PIANO SERIES for 4–7 yr beginners

This two year holistic course offers an exciting range of musical experiences over four levels. Children meet their instrument right from the start, sing along with the music, participate in story-telling and games, play percussion instruments and engage with the music through gestures and movement activities. Students who successfully complete the Junior Series advance to the Achiever Series.

PRIMARY PIANO SERIES for 8–12 yr beginners

This one year, two level course is comprehensive and lots of fun. Essential foundation skills are developed through finger taps, finger zips, rhythm taps, repertoire pieces, ensemble playing and flash cards.

ACCENT ON KEYS for 13 yr+ beginners

This one year, two level course has been specifically developed for the older beginner student. It incorporates theory worksheets that ensure a thorough understanding of music notation, terms and signs.

ACHIEVER SERIES – Follow-on/Advancing

Students progress to the Achiever Series after they have completed either the Junior, Primary or Accent on Keys Series. The four book Achiever Series takes students to a higher level of artistry, technical proficiency and creative flair. Student learning is extended to include the inventive skills of improvisation and keyboard harmony. The carefully graded curriculum is aligned to several examination syllabi such as AMEB and ANZCA.

EME_KEYS_A4ad.indd 1 7/9/12 3:08:07 PM

BärENrEITEr

Ross Hamilton first released his analytical notes on the AMEB grade books for piano in 2000. Since then, they have become the preferred choice in general knowledge preparation for hundreds of teachers and students throughout Australia. The books cover all aspects of the examination syllabus in a clear and concise manner, using language that is appropriate to students of that level. They are an invaluable resource for the teaching studio.

Ross Hamilton is a graduate of Sydney University, where he studied piano with Margaret Hair, analytical techniques with Nicholas Routley and Nicholas Cook, and music education with Peter Dunbar-Hall. His research interests include piano music of Australian composers and music education for gifted and talented students. He has taught piano for more than 20 years, working with students from beginner to licentiate level. He is also an adjudicator and an accompanist.

* Syllabus compilations © Copyright AMEB Ltd. Reproduced with kind permission of AMEB Ltd. No authority of the AMEB is expressed or implied.

Grade 6 No. 4

Copyright © 2011 by R. A. Hamilton 11

minor scale). There is a tonic pedal in the bass. Several right hand motifs (e.g. b.12-13, b.14-15) are introduced, which will return later in the piece.

An ostinato (repeating pattern) is introduced in the first two bars, based on three triads (IV, i and ii). This continues (sometimes modified) in b.3-10 and in b.15-22.

23-37 A new motif (ek x ) is introduced at the end of b.23 and b.27, alternating between E minor (b.23-26, 31-33) and Cs minor (b.27-30, b.34-37). The accompaniment is mostly based around the tonic triad of each key. The E minor passages usually have a raised 4th and 6th (As and Cs). The dynamic level reaches f in b.37.

38-54 The meter becomes more regular, but contradicting this is a 13-note ostinato in the left hand, in Cs minor in b.38-43 and E minor in b.47-51.

Bars 44-46 and 52-54 function as interludes, based mostly around various 7th chords. 55-63 A return of the motif from b.12-13, now f or ff. The left hand harmony is based around

E minor in b.56-59, Cs minor in b.60 and F minor in b.61-63. 64-72 A return of the motif from b.14-15 in F minor, with a tonic pedal in the bass. The ostinato

figure is used intermittently in the left hand (b.66-68, b.71-72). 73-91 A return of the dotted quaver motif from b.23, with altered rhythm, in bars 73-74, 78,

81-82, 86, 88 and 90. The underlying harmony alternates between Cs minor (b.73-76, b.81-84) and F minor (b.77-80, b.85-91). The piece ends on a low tonic note.

Style This piece is in a contemporary classical style, characterised by: • frequent changes of time signature and tempo. • irregular (additive) time signatures, where the beats are of differing lengths, e.g. 5/8 (2 + 3) or 7/8 (2 + 3 + 2, 3 + 2 + 2, or 2 + 2 + 3). • absence of key signatures and avoidance of traditional dominant-tonic cadences. • use of altered scales, modal harmonies and dissonance. • slow rate of harmonic change, with constant use of pedal. • use of ostinato, and of short motifs rather than sustained melody lines.

Other Australian composers of Terry’s generation include Ann Carr-Boyd, Ross Edwards, Graham Hair, Roger Smalley and Martin Wesley-Smith.

Signs and terms (Italian) • e = 160 indicates a tempo of 160 quaver beats per minute. • Open-ended ties (b.1, etc.) indicate laissez vibrer, i.e. the sound should continue to ring. • - (tenuto) means hold and slightly stress the note. • A double sharp (

M ) raises the pitch of a note by a whole tone. • riten[uto] means hold back the speed (i.e. immediately slower). • a tempo means return to the former speed. • poco a poco cresc[endo] means gradually becoming louder, little by little. • A pause or fermata (U) means hold for longer than the written value. • accel[erando] means gradually becoming faster. • The grace notes in b.69 are acciaccature (crushed notes). • dim[inuendo] molto means gradually becoming much softer. • sempre dim[inuendo] poco a poco means always becoming softer, little by little. • ritard[ando] means gradually becoming slower. • 8va (ottava) means play an octave higher than written. • The diminuendo in the final bar fades to nothing (al niente).

Analytical noteson the AMEB Grade BooksPIANO SErIES 15 ANd 16; PIANO fOr lEISurE SErIES 1, 2 ANd 3*by Ross Hamilton

Sample pages

Grade 2 No. 6

Copyright © 2011 by R. A. Hamilton

10

Easy does it Fred Kern

Composer • Fred Kern is an American pianist and teacher. He was born in Illinois in 1946.

• Kern completed a doctorate of musical arts at the University of Northern Colorado,

and is a professor of music at the University of North Texas.

• He has written many pieces for piano students, and is a co-author of the Hal Leonard

Student Piano Library.

Title • “Easy does it” is an expression meaning relaxed and unforced.

• The title of this piece relates to the rhythm, which should have an easy swing.

Time and rhythm

• The time signature means four crotchet beats in a bar (simple quadruple time).

• The top number of the time signature indicates that there are four beats in each bar.

The bottom number shows that the value of each beat is a crotchet, or quarter note.

• The paired quavers are to be swung (i.e. played unevenly, approximately [ep ]r ).

Key • The key of this piece is G major. The key signature contains one sharp.

• There is a brief hint of A minor in bars 16-17 (indicated by Gs), but no real modulation.

Analysis • Easy does it is in binary (AB) form, and contains two main sections plus an introduction.

Introduction (bars 1-4) Section A (bars 5-12) Section B (bars 13-21)

Signs and terms (Italian)

• q = 144 means that the suggested tempo is 144 crotchet beats per minute.

• Slurs ( or ) show notes that should be played legato (smooth and connected).

• Staccato (.) means short and detached.

• Leger lines are small lines for notes above or below the stave (e.g. bar 4).

• F (mezzo forte) means moderately loud.

• P (p seconda volta) means moderately soft the first time, and soft for the repeat.

• Ties (e.g. bar 5, right hand) join two notes of the same pitch into one longer note.

• 8va (ottava) seconda volta means play an octave higher than written the second time.

• loco seconda volta means play at the written pitch the second time.

• > indicates an accent, which means to emphasise the note; syncopation (off-beat

accents, e.g. bar 12) is a common feature of jazz music.

• The alternate endings to the repeated sections are called first and second time bars.

Teaches rhythm in a way that promotes pattern identification.

Premier Rhythm Readers

Develop Premier Students Today!

Uses a non-position reading approach that promotes freedom of movement

around the keyboard.

Premier Note Readers

Available from your favourite sheet music retailer and www.musicroom.com.au

&

?

43

43

∑Swaying gently

f 5

œ

∑

œ œ œ

Œpœœ13

13

2

2

3

œœ

.˙

œœ Œ Œ

œ œ œ

Œ œœ23

œœ

.˙

&?

6

œœ Œ Œ

œ œ œ

Œ œœ œœ.˙

œœ Œ Œ

œ œ œ

∑

˙ œ

∑

œ œ œ

&?

11

Œ œœ œœ Œ œ œ

.˙

œœ Œ Œ

œ œ œ

Œ œœ œœ.˙

.˙Œ œœ œœ

.˙ ∑.˙

Name intervals.

Name notes.

LH over

symtheAt - -pho ny hall you can hear

played.sicmu - think

stay all day.

rit.

I couldall;

celI - los sound best of

Press damper pedaland hold to end.

27

MIDDLE

CA BG

LOW

?w ww

ASpace

BLine

1 2

Up a 3rd

Up a 2nd

New Notes A and BA 2nd and 3rd up from Low G

Symphony HallCD 39/40 GM 20

Theory Book: pages 26–27

A phrase is a group of notes similar to a sentence. It expresses a musical idea. A longer slur (called a phrase mark) is used to show a phrase. Phrases are usually played legato.

? 43 ˙ œ œ œ œ .˙ œTie

Phrase

14

Moderate, with energy

1

1

125

4

72

2

11

15

3

3

11

15

( )

)(

Reveille* Boogie

In the rhythm below, the stress is on the first quarter note . This note is syncopated.

Count:

Tap and count aloud 3 times each day .

New Rhythm

Theory Book: page 10Performance Book: pages 8–9

New Time Signature

Common Time: c = 44

CD 11/12 GM 6

develops…

more thana Method

more thana Method

Non-position reading

New Rhythm reinforced 4 times

New Rhythm modified

Student identifies new notes

Less

on B

ook

3

Less

on B

ook

1B

SuMMEr 2014 CATAlOGuE



Lesson • Theory • Performance • Technique • Pop & Movie Hits • Christmas Books Levels 1A, 1B, 2A, 2B, 3, 4, 5, 6

Dennis Alexander • Gayle Kowalchyk • E. L. Lancaster • Victoria McArthur • Martha Mier

Support for Teachers and Students!Visit premierpianocourse.com

Premier Online Assistant is Alfred’s newest resource to support teachers and students who are using Premier Piano Course. In these short videos, co-author Gayle Kowalchyk explains each new concept in a concise way.

Students can watch each on their computer or smart device to: 1. Introduce the concept before they study it in the lesson. 2. Review the concept after they have studied it in the lesson.

let Premier Online Assistant become your personal teaching assistant.


SUMMER 2014 CATALOGUESUMMER 2014 CATALOGUE

Jazz, Rags & BluesMartha MierPremier Jazz, Rags & Blues books include original pieces that reinforce concepts introduced in corresponding Lesson Books. Popular composer Martha Mier has composed all new music in a variety of styles, including ragtime, boogie, and jazz. Students will enjoy performing these pieces for family and friends in an informal setting or on a recital.

Book 1A NEW! .......................41038 Book 1B NEW! ........................41039

16

Night Jazz

Lesson Book: page 43

? ww

F E

step down

step down

Space 3

M I D D L E

F G C

B A S S

E3 2 34

RHLH

? b 43 ..‰

5

œœœ135

‰ œœœ.œ Jœ œ

RH

LHπ

Gently

‰ œœœ ‰ œœœ.œ Jœ œ

Œœœœ œœœ

124

.˙‰ œœœ ‰ œœœ

.œ Jœ œ

5

‰ œœœ135

‰ œœœ.œ Jœ œ

‰2

œœœ ‰ œœœ.œ Jœ œ

˙˙134

œœœb 124

˙ œ...˙˙1

23

Jœ1

œ2. Jœ œ

Duet: Student plays two octaves higher.

&

?

43

43.˙

3

JazzChords

∑1.2.

Gently

p∑

.˙3

tunesstrummed

∑

œ œ4

œfillon

thethe

nightgui -

∑

.˙air,tars,

&

?

..

..

5

.˙3

fromwhile

∑

∑

.˙3

thewe

∑

œ4

œ œbandgaze

o -at

verthe

∑

.˙there.stars.

Music by Martha Mier Words by Gayle Kowalchyk

24

A Little Ragtime


? # 44Œ2

œ.

3 Œ œ.

œ.

Œ œ.

ŒRH

LHP

With a steady beat

Œ œ. Œ œ

.œ.

Œ œ.

ŒŒ1

œ. Œ œ

.œ. Œ œ

.Œ

Œ œ. Œ œ

.œ. Œ œ

.Œ

? #5

Œ œ. Œ œ

.œ. Œ œ

.Œ

Œ œ. Œ œ

.œ. Œ œ

.Œ

Œ œ. Œ œ

.œ.

Œ œ.

ŒŒ œ

. Œ œ.

œ.

Œ œ.

Œ

Duet: Student plays one octave higher.

&

?

44

44

œ5 ˙ œ

∑F

With a steady beat

Ó ˙˙

1

Ó

œ ˙ œ#w#

2

w

Œœ# œ œ

&

?

5

œ ˙# œw

2

Ó ˙˙

Ó

œ ˙ œw

w

Œ œ5

œ œ

Martha Mier

Book 1B

Book 1A

Great Music & MusiciansNancy Bachus & Tom GerouGreat Music & Musicians provides a foundation for understanding the major cultural periods, musical styles, and the development of music through the ages. The book and CD includes art and listening examples to encourage discussions. Although not correlated page-by-page, Book 1 is appropriate for piano students in various levels of Premier Piano Course (based on the individual student’s reading level). It also may be used with other piano methods or in group lessons.

Book 1 NEW! ......................... 39060

31

Unit 5The Classical Period (1750–1820)

The term classical is often used for all Western art music (in contrast to popular music). When used more specifically, it refers to the cultures of ancient Greece and Rome, or to the stylistic time period from 1750 to 1820.

The discovery of the ruins of Pompeii, Italy in the 1740s revived interest in Greco-Roman cultures. The rediscovered art and architecture of Greece and Rome were seen as the greatest of all time and became models for 18th-century artists. The classical ideals of logical thinking, perfect form, balance, simple expression, and emotional control influenced all the arts, including music.

31

The Music Party (1774) by Louis Rolland

Trinquesse (c.1745–1800)

Music in Late 18th-Century Society

At this time, music was seen mainly as entertainment. The aristocracy (wealthy upper class) and people of the new middle class (merchants) hired musicians, made music themselves, and attended public concerts. Art music became available to all levels of society for the first time.

Vienna, Austria, became the most important center for music in Europe. About 8,000 aristocrats lived or spent time there each year.

Giovanni Panini (1691–1765) painted pictures of Roman ruins in the 1740s for northern European tourists to take home as souvenirs.

Armide (1761) by Gabriel de Saint-Aubin (1724–1780)

Greco-Roman themes were favorite subjects for operas.

36363636

Summary: The Classical Period

The rediscovery of the ruins of Pompeii in the 1740s revived interest in the “classical” civilizations of Greece and Rome.

• Greek ideals of balance, logic, and emotional restraint became the models for composers.

• Music was written primarily for entertainment or for amateur performers.

• The piano surpassed the harpsichord in popularity and public concerts of instrumental music increased.

• By the end of the era, classical forms (symphony, sonata, and concerto) were transformed by Beethoven in length and emotional power.

Listening Guide

CD Track 9: Symphony No. 94 (“Surprise Symphony”) by Franz Joseph Haydn (Classical symphony)

The phrases are balanced with a short theme answered by another short one. Listen for the loud surprise.

CD Track 10: Eine kleine Nachtmusik by Wolfgang Amadeus Mozart (serenade)

A fanfare-like theme opens the work. Other themes follow, often separated by short rests.

CD Track 11: Flute Sonata in G Major by Carl Philipp Emanuel Bach (sonata)

The flute is accompanied by a harpsichord.

1. an early type of piano

2. a piece an orchestra plays

3. a short sonata

4. composer of the “Surprise Sympony”

5. He became famous around age six.

6. a piece for piano and orchestra

7. He invented the piano.

F O ___ T ___ ___ I A ___ O

___ y ___ P H ___ N y

S ___ N A T ___ N ___

H ___ y D ___

M ___ z ___ R T

C O ___ ___ E ___ T O

C ___ I ___ T O F ___ R ___

Fill in the Blank

Complete the term for each description by filling in the missing letters.

a fortepiano

32

The Belvedere from Gesehen, Vienna (1759) by Bernardo Bellotto (c. 1721–1780)

The Symphony

In the 18th century, more than 12,000 works named symphony appeared in a variety of styles. Known as “the father of the symphony,” Franz Joseph Haydn (1732–1809) brought this form to new heights, composing more than 100.

Haydn was Director of Court Music to the royal Hungarian Esterházy family for more than 40 years. His contract required him to wear a servant’s uniform, compose and rehearse any music the Prince wanted, and to supervise all the household musicians.

In his Symphony No. 94, at the end of a soft section in the second movement, a very loud chord “surprises” the audience. At a rehearsal, Haydn pointed to the score and said, “There the ladies will jump.”

CD Track 9 : Symphony No. 94 (“Surprise Symphony”) (1791) by Franz Joseph Haydn

Multi-movement Forms

As Italian instrumental music spread throughout Europe, many composers wrote music with three or four movements (separate pieces making one large work). They evolved into classical forms known by the performance instruments or groups:

• Symphony—a large composition for orchestra

• Sonata—a composition for a solo instrument, sometimes with piano accompaniment

• Concerto—a composition for soloist and orchestra

Franz Joseph Haydn

Wolfgang Amadeus Mozart

Ludwig van Beethoven

Book 1





16

&

?

43

43œ1

œ1 œ3 œ œ œ

p

Andante

œœ1 œ3 œ œ œ

œ

œ1 œ2 œ# 5

œ œ

œ

œ1 œ2 œ œ œ

&

?

..

..

5

œœ1 œ œ œ œ

F œ

œ1 œ œ œ œ

œœ#2 œ3 œ5 œ œ œ

3 Œ Œ

‰ œ5

œ œ œ ‰p

&

?

..

..

9

œ1

-

œ1 œ# 3 œ# 5 œ œf* œ

2

œ œ œ œ œ

œ-

œ œ# œ œ œ

œ3

œ œ œ œ œ

dim. œ-2

œ œ œ œ œ

&

?

14

œ3

œ œ œ œ œ

œ-2

œ œ œ œ œ

œ3

œ œ œ œ œ

œ-2

œ œ# œ œ œ

œ

œ œ œ œ œ

&

?

..

..

19

œ2

œ œ œ œ œP

œ1

œ œ œ œ œ

œ

œ#2 œ3 œ5 œ œ œ Œ Œ

‰ œ5

œ œ œ ‰

The Setting SunLesson Book: page 27

CD 23/24

Johann Christian Bach (1735–1782)

* The short line (tenuto mark) means to play the note with a slight emphasis and hold for its full rhythmic value.

22

&

?

#

#

c

c

œ

3œ

Œ

F

Allegro

œœ œ

œ

œ

5

œ

1

œ

3

œ

œ

5

œ

1

œ

2

œ

.˙ œ

2

œ

œ

5

œœ

œ

œ

œœ

œ

œœ œ

œ

œ

5

œ œ œ

œ

œœ

œ

&

?

#

#

4

r

œ

3

œ

2

œ œ œ œ œ œœ

˙

5

Ó

œ

5

œ œ

œ

œ

5

œœ

œ

œ

œ œ œ

f

˙ œ œ œœ

œ

5

œœ

œ

œŒ

&

?

#

#

7

œ

2

œ œœ œ

1

œ

3

œ

2

œ

œœ

35

Œ

˙

˙

15

œ œ œ œ œ œ

5

œ

œœ

13

œœ

œœ

Œ

p

œ

3

œ œœ

œ

1

œ œœ

œ

5

Œ

œ

1

Œ

&

?

#

#

10

œ

4

œ œ œ

3

œ

1

œ œœ

œ

1

Œ

œ

3

Œ

œ

4

œ œœ œ œ œ

œ

œŒ

œ

Œ

œ

2

œ œ œ œ œ

5

œ

˙

1

œ

5

œœ

œ

œ

3

œ

2

œ œ œ

Sonatina in G Major(First Movement)


CD 25/26

Premier Performer Keep the LH softer than the RH to create the perfect balance between the melody and the accompaniment.

Thomas Attwood (1765–1838)

Book 5

Book 3

MasterworksEd. Gayle Kowalchyk and E. L. LancasterPremier Masterworks books include standard repertoire from the four stylistic periods to reinforce concepts introduced in corresponding Lesson Books. The pieces are in their original form and have not been adapted. Dynamics, phrasing, fingering, and pedal are editorial in some selections. Students will enjoy performing these pieces for family and friends in a formal recital or on special occasions.

Book 3 & CD NEW! .............................................40513

Book 4 & CD NEW! ..............................................40514

Book 5 & CD NEW! ..............................................40515

Book 6 & CD NEW! ..............................................40516

Technique 5By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha MierTechnique 5 continues and expands on the technical and artistic tools learned in Technique Books 1A–4. Six new Technique Tools clearly present technical goals through appealing and descriptive exercises. Artistic Etudes showcase a student’s technique in an expressive musical setting and Masterwork Etudes provide training to play standard masterworks.

Technique Tools: Even Sixteenth Notes • Playing Grace Notes • Body Balance • Over and Back • Building Scale Velocity • Sustained Notes

Book 5 NEW! ...........................35261

12

Playing Grace NotesOn the closed keyboard cover, “play” the exercises hands separately, then hands together .

In measures 3 and 4 of each exercise:• Use very light weight on the grace note. It should be quick and soft .• Use more weight on the note that follows . It should be louder .• Think “light-heavy .” Use a rising wrist as you play the second note .Grace notes are played quickly before the note on the beat .

Technique Tool 2

Lesson Book: pages 16–17

&

?

b

b

43

43

jœ3 œ5Œ Œ

œ4

œœ12

œœp scherzando

Allegro

jœ1 œ3

Œ Œ

œ œœ œœ

jœ4 œ3 œ œ

œ œœ œœ

˙ œ

œ5

œœ13

œœ

jœ5 œ4Œ Œ

œ œœ œœ

&

?

b

b

6 jœ4 œ2 Œ Œ

œ œœ œœ

œ œ œ

œ œœ œœ

.˙

œ œœ œœ

jœ3 œŒ Œ

œ œœ œœ

jœ1 œ Œ Œ

œ œœ œœ

&

?

b

b

..

..

11 jœ4 œ œ œ

œ œœ œœ

˙ œœ

œ5

œœ13

œœ

jœ2 œ Œ Œ

œ œœ œœ

jœ1 œ Œ Œ

œ5

œœ12

œœ

œ2 œ œ œ œ œ

œ5

œœ13

œœf

œ Œ Œ

œœ12

Œ Œ

Carl Czerny (1791–1857) Op . 777, No . 22

(adapted)

&

?

b

b

4

4

4

4

œœ# �23

23

Œ œ

P

P

œ� Œ

œœ# �Œ

œœ�Œ

œœ# � Œ œœ� Œ

œœ# �Œ

œœ�Œ

j

œ#

2

3

œ�3

2

Œj

œœ� Œ

j

œ#œ� Œ

j

œœ� Œ

j

œ#œ� Œ

j

œœ� Œ

j

œ#œ� Œ

j

œœ� Œ

1.

2.

Masterwork Etude 2

Graceful Waltz

38 Lesson Book: pages 44–45

Artistic Etude 4

&

?

bb

bb

43

43

œœœ œœœ œœœp

Moderato e cantabile

œœœ œœœ œœœ œœœ œœœ œœœ

.œ5

jœ œ œ

œœœ œœœ œœœ

œ œ3

.œ4

Jœ

œœœ145

œœœ œœœ

.˙

&

?

bb

bb

6

œœœ245

œœœ œœœ

.˙#

œœœ135

œœœ œœœ

.œ5

Jœœ œ

2


œ œ3

œ œ œ œ


.˙

œœœ#œœœ

œœœ

.˙

&

?

bb

bb

11

œœœ134

œœœ œœœ˙1

œ3

fœœœ œœœ œœœ

œ œ œ œ

œœœ œœœ œœœ˙ œ

3


œ œ .œ Jœ

œœœb135

œœœ œœœ

.˙4

Finding the Heart Note

A Note from the Heart

In Technique Book 4, you chose your own heart notes from the choices marked in the music . Now, you are ready to find your own heart notes . If needed, review Technique 3, page 4, and Technique 4, page 32 .

• Play A Note from the Heart and choose where you would like to play your heart note in each phrase . Draw the heart with a red pencil .

• Add and to indicate how the other notes in the phrase lead to and go away from the heart notes .

Technique Tip: Play the RH chords lightly in measures 1–22 to allow the LH melody to “sing out .”

Book 5



SUMMER 2014 CATALOGUE

Technique 1A–1B Technique Tools: Relaxed Shoulders • Arm Weight • Moving Freely • Strong Fingertips • Finger Weights • Repeated Notes • Thumb Position • Finger Independence • Gentle Hand Rock

Book 1A ................................................................. 27627

Technique Tools: Smooth Legato • Crisp Staccatos • Rising Wrist • Amazing Phrasing

Book 1B ................................................................. 27628

Technique 2A–2B Technique Tools: Dynamic Shading • Crossing Over the Thumb • Solid-Sounding Chords • Two-Note Slurs • Seamless Melodies • Balance Between Melody andAccompaniment • Damper Pedal Footwork

Book 2A ................................................................. 32077

Technique Tools: Three-Note Slurs • Preparing Quickly for Hand Crossings • Feel the Downbeat • Finger Stretches • Legato Pedal • Finger 1 Under Finger 3 • Finger 3 Over Finger 1

Book 2B .................................................................. 32177

Technique 3–4 Technique Tools: Changing Fingers on Repeated Notes • Double-Note Shifts • Contracting the Hand • Ovals

Book 3 ....................................................................34105

Technique Tools: Staccato against Legato • Playing In and Out of Black Keys • Speed Links • Open the Hand • Rock the Alberti Bass

Book 4 NEW! ........................................................34106

Technique 1A–4The Technique Books in Alfred’s Premier Piano Course help students develop the physical skills needed to play artistically, expressively and effortlessly. These goals are accomplished through Technique Tools, Hands-Together Workshops, Patterned Exercises, Artistic Etudes, and Masterwork Etudes.


18

Here I Am to Worship(Light of the World)

© 2001 THANK YOU MUSIC (PRS) (Administered worldwide at EMICMGPublishing .com excluding Europe which is administered by kingswaysongs .com)

All Rights Reserved Used by Permission

Words and Music by Tim HughesArr . by Kowalchyk and Lancaster

Use after pages 60–61.

G G

MIDDLE

CC D E FD E F

3 2 14 4 52 3

C POSITION

15

&

?

44

44˙3

œ œLight of the

ww15

Moderately

p ˙ œ œworld, You stepped

ww12

˙ œ œdown in - to

wwœ œ ˙dark - ness,

ww

&

?

5

˙ œ œo - pened my

ww

˙ œ œeyes, let me

wwwsee

ww13

w

w5

20

&

?

#

#

44

44

œ2

œ œ œ ŒWon - der- ful, so

Œ˙

25

œ

Moderately

FŒ ..˙

13

won - der - ful is

œ œ œ œ œ

Œ ..˙14

Your un - fail - ing

œ œ œ œ œ

&

?

#

#

4

Œ ˙ œlove. Your

.˙ Œ

œ œ œ œ Œcross has spo - ken

Œ˙

25

œ

Œ ..˙mer - cy o - ver

œ œ œ œ œ

Œ ˙24

œme.

w

&

?

#

#

8

..˙ œNo

.˙ Œ

œ œ œ œ Œeye has seen, no

Œ˙ œ

Œ ..˙ear has heard, no

œ œ œ œ œ

Œ ..˙heart could ful - ly

œ œ œ œ œ

? # 44Œ .

.˙15

œ5

˙ œ

Moderately

P

RH

LH

Œ ..˙

œ ˙1

œ3

Œ ˙ œœw

4

‰ jœ1 œ

2

œ ˙.˙

1

œ

simile

Œ ..

˙

œ5

˙ œŒ ..˙

œ ˙ œ4

? # ‰ jœ œ œ ˙.˙

3

œ

8

‰ jœ œ œ ‰ jœ œ œ˙ ˙

Œ ..

˙

œ ˙ œŒ ..˙

œ ˙ œ3

Œ ˙ œœw

Use after page 42.

© 2002 THANKYOU MUSIC (PRS) (Administered worldwide at EMICMGPublishing.com excluding Europe which is administered by kingswaysongs.com)All Rights Reserved Used by Permission

Beautiful OneWords and Music by Tim Hughes

Arr. by Tom Gerou

DUET PART (Student plays 1 octave higher.)

Book 1B

Book 1A

Alfred’s Basic Piano LibraryPraise Hits 1A & 1B

Praise Hits 1AArr. Gayle Kowalchyk and E. L. LancasterTitles: Because He Lives • Blessed Be the Lord God Almighty • Here I Am to Worship • Jesus, Name Above All Names • More Precious Than Silver • Open the Eyes of My Heart • Praise the Name of Jesus • Shout to the North • There Is None Like You.

Book 1A NEW! ..................................................... 40070

Praise Hits 1BArr. Tom GerouTitles: Amazing Grace (My Chains Are Gone) • As the Deer • Beautiful One • Blessed Be the Name of the Lord • Come, Now Is the Time to Worship • How Great Is Our God • Mighty Is Our God • More Precious Than Silver • Shout to the Lord • Worthy, You Are Worthy • You Are My All in All.

Book 1B NEW! ......................................................40071

These two new Praise Hits books fill the need for contemporary Christian music supplementary pieces for your beginning piano students. The thoughtful and uplifting arrangements feature teacher duet parts and lyrics. Performances of the songs are sure to find their way quickly into recitals, family gatherings, and church services. The books are correlated page-by-page with Alfred’s Basic Piano Library: Lesson Book, Levels 1A and 1B.

Now available:

CD for Alfred’s Basic Adult All-in-One Course, Level 3 ..........41438

These collections of solos are designed to promote musical excellence for elementary through early intermediate level pianists. In each book Melody has chosen a favourite masterwork from the four stylistic Periods—Baroque, Classical, Romantic, and Contemporary—and written six original pieces in Jazz, Blues, Ragtime, Latin, Ballad, and Showstopper styles. With 10 solos in each book, students are provided with technical challenges as well as expressive opportunities for musical growth in mood, rhythm, melody, harmony, form, articulation, and dynamics.

Book 1 (E/LE) NEW! .................................................41397 Book 2 (LE/EI) NEW! ................................................41398 Book 3 (EI) NEW! ......................................................41399

&

?

#

#

44

44

.œ3 Jœ .œ Jœ

œ5

œ

1

œ3

œ

1

œ œ œ œ

Gracefully (q = 84)Both hands 8va

Pœ

˙ œ4 œ2

œ5

œ1

œ œ œ œ œ2

œ

œ1 œ5 œ œ

2

œ

œ œ œ œ ˙

&

?

#

#

4

œ œ œ œ œ œ

˙15

œœ15

œœ

.œ Jœ .œ Jœ

œ5

œ œ œ œ5

œ œ œFœ

˙ œ œ

œ œ œ œ œ œ œ2

œ

&

?

#

#

7

œ œ œ œ3

œ

œ œ œ œ ˙

œœ œ œœ13

˙15

œ4

œ ˙

˙135

œœ13

œ

œ5

œ2

˙1

P

˙24

3

œ

1

œ œ œ2

œœ3

œ œ œ ÓoverLH

&

?

#

#

11

˙ œœ13

œ

œ5

œ2

˙F

˙# 24

3

œ œ# œ œ2

œœ3

œ œ# œ Ó

LHover

˙13

œœ œ

œ5

œ2

˙P

˙n24

3

œn

1

œ œ œ2

œœn15

3

œ œ œ Ó

LH

6

Winter Memories

Melody Bober

Ballad

&

?

44

44

Óœ1

œ œ œ

œ.5

œ. Ó

Spirited (q = 144)

Fœœœ œ#

2

œœœ œ2

œœœ. œ.3

∑LH LH

œ œ œ.Œ œ.

Ó œœ .12

Œ

&

?

4

ww13

Œ œ1

œ œ. œ.

Óœ œ œ œ

œ.œ. Ó

œœœ œ#2

œœœ œ2

œœœ. œ.∑

LH LH

&

?

7

œ œ œ.Œ œ.

Ó œœ .Œ

w

Œ œ. ˙

Óœ

1

œ œ œ

œ.5

œ. ÓP

&

?

10

œœœ œ#2

œœœ œ2

œœœ.Œ

∑LH LH

Ó œ1

œ œ œ

œ.5

œ. ÓF

œœœ œ#2

œœœ œ2

œœœ.Œ

∑LH LH

12

Trampoline Tricks

Melody Bober

Showstopper

Book 3

Book 1

A Perfect 10Melody Bober




&

?

44

44

Ó jœ#

2

˙35

>

œ.2

œ.Ó

Fast

FŒ œœb

25

œ œ œœ œ.

œ.Œ Ó

Ó jœ

2

˙>

œ. œ. Ó

Œ œ œœ œœ œ œ.

œ.Œ Ó

&

?

5

Ó jœ#

2

˙35

>

œ. œ.Ó

Œ œœb œ œ œœ œ.

œ.Œ Ó

œ1

œ œ œ œœœ#.

œ œ œ œ.

∑

‰ jœ œ#4

œ3

œ#2

&

?

9

Ó jœ#

2

˙>

œ>.

œ.Ó

F


œ.Œ Ó

Ó jœ

2

˙>

œ. œ. Ó

Œ œ œœ œœ œ œ.

œ.Œ Œ

œ.

&

?

13

Ó jœ#˙>

œ. œ.Ó


œ.Œ Ó

œ œ œ œ œœœ# œœœ>

˙ œ œf

˙ Ó

œ œ œ œ

&

?

17

Óœ

1

œ œ œœb

œœ.œœ.

ÓP

œœ œ œ œ

∑

wwjœ

5

œ. jœ œ. œ#2

˙˙Ó

œ œ2

œ3

œ

2

Jibberjive

Mike Springer

1 Performance Model 2 Practice Tempo (q = 120) 3 Performance Tempo (q = 160)

&

?

#

#

44

44

‰ ...œœœ-135

œœœ# .œœœ.

œ5

œ œ œ# œF

Happily! ( )œ œ = œ œ3 j

...œœœ-jœœœœn -

œœœœ œœœœ.

œ1

œb2

œ1

œ œ

œœœ.

125

œœœ.

124

jœœœ œ.jœœœ.

œ œ œœ

∑

œ1

œ3

œ# œ œ œn œ œ

&

?

#

#

5

‰ ...œœœ-124

œœœ#.

œœœ.

œ œ œ œf

œœœ œ. ‰ jœœœœ>

1235

œœœœ œ œœœ.

œœ4

œœ

œœ13

œ# œ œœœ#n>

œ œ œœœ>...œœ#

13

Jœœ> œ

œœœœ>.F

∑

‰ Jœ1

œ œ œ

&

?

#

#

9

‰ ....œœœœ-

œœœ# .œœœ.

œ.œœ.

12

œ.œœ#.

13

f....

œœœœn -jœœœœn -

œœœœ œœœœ.

œ.4

œœ.

12

œ. œœ.

œœœ.œœœ.

124

œœœ œ. ‰ jœœœ>

œ.œœ .

œ.œœ .

...œœœ

jœœœ#>.Œ œ

œ3

œ1

œ#2

œ>.1

Ó

&

?

#

#

13

œ1

œ œ œœb>

œœ œ œ

œ.5

œœœ.

œ# .5

œœœb .P cresc.

œn 3

œ# œ œ> œ œ œ

œ. œœ. œ.œœ#.

œ1

œ#2

œ1

œ5

œ#2

œ œn>.

...œœœ# J

œœœœœœ œœ>.

12

f∑

‰ Jœ5

œ œn œ#

12

Cruisin’ Down the Coast

Mike Springer

13 Performance Model 14 Practice Tempo (q = 120) 15 Performance Tempo (q = 152)

Book 3

Book 1

Not Just Another Jazz BookMike Springer

From wild ragtime to smoky blues, the Not Just Another Jazz Book series has it all. These carefully graded arrangements are perfect for concerts, parties and recitals, or they can be played just for fun. These books include accompaniment CDs that feature bass and drum parts to create the sense of playing in a jazz trio. Pianists can play along with the CDs at both practice and performance tempos.

Book 1 & CD (EI) NEW! ..........................................40527 Book 2 & CD (I) NEW! ............................................40528 Book 3 & CD (LI) NEW! ..........................................40529

Carol Matz now adds another much-requested style to her very popular Famous & Fun series. These three books are collections of great, familiar rock songs. The optional duet parts for teacher or parent add to the fun! These carefully graded books may be matched to any piano method and the songs will get students sitting down to practice!

Book 1 (EE) NEW! .....................................................41002 Book 2 (EE/E) NEW! .................................................41003 Book 3 (E/LE) NEW! .................................................41004

&

?

44

44

Ó ˙4

Cheese -( 1 – 2 )

∑

Moderately fast

Fœ1

œ ˙burg - er in

∑

˙ œ œpar - a - dise.

∑

w

∑

? b 44 Ó˙135

˙2

Moderately fast, in two

RH

LH P

www125

w1

www˙ ˙

wwwœ œ ˙

5www ˙...

˙ œœœ˙ œ œ˙ ˙w

wwwœ œ ˙

? b9 www ˙

...˙ œœœ˙ œ œ

˙ ˙w

wwwœ œ ˙

13

Ó ˙w

www˙ ˙

www˙

wwwU

wu

8

Cheeseburger in Paradise

Words and Music by Jimmy Buffett

Arranged by Carol Matz

© 1978 CORAL REEFER MUSIC and OUTER BANKS MUSIC All Rights Administered by CORAL REEFER MUSIC

All Rights Reserved

DUET PART (Student plays one octave higher)

&

?

#

#

44

44

Ó œn3

œjœ ‰

œ5

œ œ œŒ ‰ Jœb

3

Fast rock

f

∑

œ œ .˙

Ó œn3

œjœ ‰

œ œ œn3

œŒ ‰ Jœb

3

&

?

#

#

4

∑

œ œ .˙

Œ œ1

œ2

œb4

œ œ œb1

œ

2

œŒ Ó

jœ ‰ Œ Ó

‰ Jœ

2

.˙

&

?

#

#

7

Ó œn3

œjœ ‰

œ œ œ œŒ ‰ Jœb

3

∑

œ œ .˙

Œ œ#1

œ2 œ

4

œ œ œn1

œ

1

œŒ Ó

? # 44wwwn1

35

œ1

œ œ œ

Fast rock

RH

LH F

˙ œœœn œœœ ‰jœœœ

œ œ œ œwwwœ œ œ œ

4 ˙

4

œœœn œœœ ‰jœœœb

134

œ œ œ œ

? # wwwœ œ œ œ

˙˙ œœœb œœœ ‰jœœœnn

œ œ œ œ

7wwwœ œ œ œ

˙ œœœn œœœ ‰jœœœ#

12

œ œ œ œwwwœ œ œ œ

21

Rock and RollWords and Music by Jimmy Page, Robert Plant,

John Paul Jones and John BonhamArranged by Carol Matz

© 1972 (Renewed) FLAMES OF ALBION MUSIC, INC. All Rights Administered by WB MUSIC CORP.

Exclusive Print Rights for the World Excluding Europe Administered by ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

DUET PART (Student plays one octave higher)

Book 3

Book 1

Famous & Fun RockArr. Carol Matz

SuMMEr 2014 CATAlOGuE SuMMEr 2014 CATAlOGuE



Teen students love to play current popular pieces by their favourite recording artists or from blockbuster movies and TV shows. These three collections by Dan Coates are carefully graded to match the student’s proficiency while still remaining faithful to the sound of the original recordings. Included is music by favourite artists such as Katie Perry, fun., Bruno Mars, Owl City, and more.

Book 1 (EI) NEW! ......................................................41000 Book 2 (I) NEW!.........................................................41007 Book 3 (LI) NEW! ......................................................41394

Current Hits for TeensArr. Dan Coates

&

?

bbb

bbb

44

44

‰ jœ1

œ œ œ3 œ œ œ

I know I can’t take one more

œ5

œ

2

œ œ5

œ œ

Slowly

P.œ

2

œ œ ˙step towards you,

œ œ2

œ œ5

œ œ

&

?

bbb

bbb

3

‰ jœ œ œ œ œ œ œ’cause all that’s wait - ing is re -

œ œ

2

œ œ5

œ œwgret.

œ œ2

œ œ5

œ œ

&

?

bbb

bbb

5

‰ jœ1

œ œ œ3 œ œ œ

And don’t you know I’m not your

œ œ œ œ œ œ

.œ2

œ œ ˙ghost an - y - more?

œ œ œ œ œ œ

&

?

bbb

bbb

7

‰ jœ œ œ œ œ œ œYou lost the love I loved the

œ œ œ œ œ œ

˙ Œ œ3 œmost.

œ œ œ œ œœ4

6

JAR OF HEARTS

Words and Music by DREW LAWRENCE, CHRISTINA PERRI and BARRETT YERETSIAN

Arranged by Dan Coates

© 2010 WB MUSIC CORP., PIGGY DOG MUSIC, MISS PERRI LANE PUBLISHING and PRIMARY WAVE YERETSIAN All Rights on behalf of itself and PIGGY DOG MUSIC Administered by WB MUSIC CORP.

All Rights Reserved

&

?

#

#

44

44

Œœ3

œ œ œ œDo you ev - er feel

˙15

˙

Moderately, with a steady beat

F

Œœ œ œ œ œ

like a plas - tic bag

˙n15

˙

&

?

#

#

3

Œœ œ œ œ œ

drift-ing through the wind,

˙ ˙

‰ jœ œ œ œ œ œ

want - ing to start a - gain?

˙ ˙

Œœ œ œ œ œDo you ev - er feel,

˙ ˙

&

?

#

#

6

Œœ œ œ œ œ

feel so pa - per thin,

˙n ˙

Œœ œ œ œ œ

like a house of cards,

˙ ˙

‰ jœ œ œ œ œ œ œ

one blow from cav - ing in?

˙ ˙

&

?

#

#

9

Œ œ2

œ œ œ œDo you ev - er feel

˙ ˙

‰ jœ œ œ œ œ œal - read - y bur - ied deep?

˙n ˙

Œ œ œ œ œ œ œSix feet un - der screams, but

˙ ˙

8

FIREWORK

Words and Music by KATY PERRY, MIKKEL ERIKSEN, TOR ERIK HERMANSEN, SANDY WILHELM and ESTER DEAN

Arranged by Dan Coates

© 2010 WHEN I’M RICH YOU’LL BE MY BITCH, EMI APRIL MUSIC PUBLISHING, INC., DIPIU SRL (Administered by ULTRA TUNES) and DAT DAMN DEAN MUSIC All Rights for WHEN I’M RICH YOU’LL BE MY BITCH Administered by WB MUSIC CORP.

All Rights Reserved

Book 3

Book 1

Classical Piano Anthology

Following on from the success of the widely acclaimed Romantic Piano Anthology, the Classial Piano Anthology provides a selection of pieces from the period for pianists of all levels.

Each volume provides two grades-worth of progressive repertoire, in line with the standards of all major piano examinations.

The music has been selected and edited by Nils Franke and includes practice notes as well as a CD of performances of each piece.

1

G. H

enle

Ver

lag

Music – Our Passion.Kat

alo

g ·

Cat

alo

gu

e

Klavier · Piano

KKat_RZ.indd 1 11.03.10 12:31

Music – Our Passion.

1

G. H

enle

Ver

lag

Music – Our Passion.Kat

alo

g ·

Cat

alo

gu

e

Klavier · Piano

KKat_RZ.indd 1 11.03.10 12:31


SUMMER 2014 CATALOGUESUMMER 2014 CATALOGUE


8

&

&

#

#

#

#

4

3

4

3

œ

�4œ� œ

�

œ�4

œ� œ�p

Allegretto (q = 112–138)

π

˙Œ

œœ

œœ

œ

1 p

œ�4

œ� œ�

œ�2

œ� œ�

P

˙

Œ

œœ

œœ

œ

&

&

#

#

#

#

5

œ3

œœ

œœ

1

œ�1

œ� œ�3

?

F

p

œ

3

œœ

œ

œ�1

œ�

œ

�œ

3œn

œœ

œ

1

œ

2

œ

œ�1

œ

3

œœ

œ

œ

�15(

œ�21)

œ�

,

,

&

?

#

#

#

#

9

œ

�4œ� œ

�

œ

�4

œ�

œ

�π

˙Œ

œœ

œœ

œ

1

œ�4

œ� œ�

œ�2

œ� œ�p

˙

Œ

œœ

œœ

œ

&

?

#

#

#

#

13

œ3

œœ

œœ

1

œ

�1

œ� œ�3

P

œ

3

œœ

œ

œ�1

œ� œ�

˙œ�

œ

2œ

œ�

.

.

.

˙

˙˙

ggg

125

œ�5

œ�2

œ

�&

F poco rit.

&

&

#

#

#

#

17

œ�4

œ

� œ�

œ�4

œ� œ�

a tempo

f

P

.˙

œœ

œœ

œœ

œ

5œ

œœ

œœ

1

œ� œ� œ�

œ3

œœ

œ

˙

Œ?

François Couperin(1668–1733)

Le petit rien(The Little Trifle)

60

&

?

b

b

b

b

4

3

4

3

œ

œ

13

œ5

œœ

œ

14

œ

œ

Œœ

œ

f ritmico

Valse humoristico (h. = 50–56)

œ

œ

13

œ5

œ

œ

œ

14

œ

œ

Œ

œ

œ

j

œ

5

œ

3

œœ

œœ

œ

˙œn

œ

5

œ

œ

œœ

35

œ

œ

14

˙

˙

13

œœ

œ

˙

&

?

b

b

b

b

5

œ

œ

134( )

œ5

œœ

œ

15

œ

œ

Œœ

œ

ƒ

œ

œ

13

œ5

œ

œ

œ

15

œ

œ

Œ œ

œ

j

œ

5

œ

13

œœ

œœ

14

œ

˙œ

œ

œ

œ

2

œœ

35

œ

œ

14

˙

˙

13

œ

˙

˙

&

?

b

b

b

b

9

œ

œ

œ œœ

œ

œ

œ

Œœ

œ

f

œ

œ

œ œ

œ

œ

œ

œ

Œ

œ

œ

j

œœ

œœ

œœ

œ

˙œn

œ

œ

œ

œœ

œ

œ

˙

˙

œœ

œ

˙

&

?

b

b

b

b

13

œ

œ

œ œœ

œ

œ

œ

Œœ

œ

ƒ

œ

œ

œ œ

œ

œ

œ

œ

Œ œ

œ

j

œœ

œœ

œœ

œ

˙œ

œ

œ

œ

œœ

œ

œ

˙

˙

œ

˙

&

poco rit.

LH over

Fine

Valse poético no. 4

Enrique Granados(1867–1916)

Book 3

Book 1

Classics for the Developing PianistSelected & Edited by Ingrid Jacobson Clarfield & Phyllis Alpert Lehrer

The five books in this series present 100 masterworks ranging from early-intermediate through advanced level that the editors believe developing pianists should study and perform. Each book contains 20 pieces selected from the four main style periods as well as additional suggestions for repertoire from the 20th century.

Book 1 (EI)................................................................... 37284 Book 2 (I) ..................................................................... 37285 Book 3 (LI) ................................................................... 37286

Classics for the Developing Pianist, Book 4Titles: Bagatelle in E-flat Major, Op. 33, No. 1 (Beethoven) • Fantasie in D Minor, K. 397 (W. A. Mozart) • Golliwog’s Cakewalk (Debussy) • O Polichinelo (Villa-Lobos) • Sonata in A Major, K. 208; L. 238 (D. Scarlatti) • Sonata in D Major, Hob. XVI/37; L. 50 (I) (Haydn) • Spanish Dance, Op. 5, No. 1 (Granados) • Waltz in C-sharp Minor, Op. 64, No. 2 (Chopin) • and more.

Book 4 (EA) NEW! .................................................... 37287

Classics for the Developing Pianist, Book 5Titles: Air and Variations (“The Harmonious Blacksmith”) (Handel) • Aufschwung (Soaring), Op. 12, No. 2 (Schumann) • Clair de lune (Debussy) • Consolation No. 3 in D-flat Major, S. 172 (Liszt) • Fantaisie-Impromptu, Op. 66 (Chopin) • Impromptu in A-flat Major, Op. 142, No. 2 (Schubert) • Intermezzo in A Major, Op. 118, No. 2 (Brahms) • and more.

Book 5 (A) NEW! ...................................................... 37288

&

?

#

#

#

#

c

c

Allegro con brio (q = 100–116)

r

œ

4

œ

f

œ

�1œ

�2œ

�1œ

m

232a

œ œ

m

œ

œ

œœœ

P

‰

j

œœ

24

� œœ

œœ

œœ

œœ

&

r

œœ

œ

�œ

�œ

�œ

m

œ œ

m

œ

œœœ

‰

j

œœ

24

� œœ

œœ

œœ

œœ

œ

14

Fœ

13

œ œ

12

œ œœ œ

�15

J

œ œ œ œ

J

œ

œ

1p

œ œ œ

1

œ œ

1

œ œ�

&

&

#

#

#

#

4

œ�4

œ

�œ

�œ

�œ

2œ

œœ

j

œ‰

œ�3

œ� œ� œ� œŒ

r

œœ

F

œ

�œ

�œ

� r

œ œœ

r

œ œœ

œ

5�

π

œœ

œœ

œœ

œ œ œœ

œ œ œœ

œ

r

œœ

œ

�œ

�œ

� r

œ œœ

r

œ œœ

œ� œœ

œœ

œœ

œ œ œœ

œ œ œœ

œ

&

&

#

#

#

#

7

œ œ œ œ

12

œ œ œ œ

�J

œ œ œ œ

J

œ

œ

2

œ

1

œ œ

1

œ œ

1

œ œ�

‰

J

œ

œ

�25œ

œ� œ

œ�14

œ

œ

Œ

œ‰

J

œ�

œ Œ?

œ

5

P

œ

2

œ

1

œ

œ� œ

1

œ

3

�œ

œ�œ

œ�œ

œ�œ

œ�œ

œ

œ

π

œ

2� œ� œ

�œ�1

œ

2

�œ

1

�

&

?

#

#

#

#

10

œ

4

� œ

cresc.

œ

œœ� œ

1

œ

3

� œ

œ�œ

œ�œ

œ�œ

œ�œ

œ

œ�a

œ

�2

œ�1

œ

�3

œ

�œ

�œ�

œ

5

�f

œ

3

œ

2

œ

œ

�œ

1œ

�3œ

œ�

œ

œ�

œ

œ

�œ

œ�

œ

œ

œœ�2

œ� œ� œ�1

œ�2

œ�1

&

?

œ�4f

œ

œ

œœ�

œ

1 œ�3

œ

œ

�œ

œ�

œ

œ

�œ

œ�

œ

œ

œ

F

œ�2p

œ�1

œ�3

œ� œ� œ�&

According to many scholars, trills in Haydn’s music should begin on the note above the main note and should be played on

the beat. The editors find in this opening passage, however, that beginning the trills on the main note enhances the melodic line

and continues a long held tradition.

11

Franz Josef Haydn (1732–1809)

Hob: XVI:37; L. 50

Sonata in D MajorI

&

?

b

b

b

b

b

b

b

b

b

b

c

c

Lento placido (q = 63–76)

∑

12

‰

p

a

œ

5

sempre legatissimo

u.c.

π

œ

2

œ

4

œ

1

œ

2

œ

4

œ

5

œ

œ

œœ

w

5

∑

12

‰œ

œ

œ

œœ

œœ

œ

œ

œœ

w

Ó Œ

œ4

cantando

P

‰œ

œ

œ

œœ

œœ

œ

œ

œœ

w

&

?

b

b

b

b

b

b

b

b

b

b

4

˙

5

œ

2œ

1œ

œ

5

‰œn

œœ

œœ

œœ

œœ

œœ

w

˙

4œ

œœ

œ

‰œb

œœ

œ

œœ

œ

œœ

œœ

w

.˙

2–1

œœ2

œ

œ

‰

b

œ

œ

œ

œœ

œœ

œ

œ

œœ

w

&

?

b

b

b

b

b

b

b

b

b

b

7

œ

Œ Œ

œ4F

‰œ

œ

œ

œœ

œœ

œ

œ

œœ

w

˙

5

œ

2œ

1œ

œ

‰œn

œœ

œœ

œœ

œœ

œœ

w

˙

3œ

œn1 œ

3œn

‰œn

œœ

œœ

‰œ

œœ

œnœ

˙˙

&

?

b

b

b

b

b

b

b

b

b

b

10

.˙ œœ

œ

œ

‰

a

b

œ

œ

œ

œœ

œœ

œ

œ

œœ

w

œ

Œ Œ

œ4F

‰ œ

œ

œ

œœ

œœ

œ

œ

œœ

w

˙

5

œnœ

œœ

‰

t.c.

œ

œnœb

œ

œœ

œ

œœ

œ

œ

w

The D-flats may be sustained with the sostenuto pedal, in which case the una corda pedal is not used.

Many pianists prefer to replay the bass notes in mm. 6, 19, 22, and 28.

98

Franz Liszt (1811–1886)S. 172

Consolation No. 3 in D-flat Major

Book 5

Book 4




&

?

4

4

4

4

Œ

Œ

Allegro moderato

Œ

œœ

œ

135

Œ

œœ

œ

œ

1

Œ

œ

Œ

F

Œ

œœ

œ

Œ

œœ

œ

œ

2

Œœ

Œ

Œ

œœ

œ

Œ

œ

œœ

œ

3

Œ

œ

Œ

&

?

4

œœ

œ#

b

�

135

œœ

œ

n

�Ó

œ� œ� Ó

f

Œ

œœ

œ

135

Œ

œœ

œ Œ

œ

4œ#

p

œœ

œœ

Œ

œ

œœ

125

œ

Œœ

Œ

Œ

œ

œœ#

125

Œ

œœ

œ

œ

5

Œ œ Œ

&

?

8

œœœ

œœœ

Ó

œ

œ

œ

œ

Ó

f

Œ

œœ

œ#

b

124

Œœ

œœ

˙

1

˙

p

Œ

œœ

œ

135

Œ

œœ

œ

˙˙

Œ

œœœ

124

Œ

œ

œœ

˙

1

˙

&

?

12

Œ

œœ

œ

135

Œ

œœ

œ

˙˙

œœœ

b

b � œœœ�

Ó

œ

œ

b

b �15

œ

œ� Ó

f

œœ

œ

b

�œœ

œ�Ó

œ

œ

b

�œ

œ� Ó

œœœ

b

n � œœœ�

Ó

œ

œ#

b

�œ

œ�Ó

14

SECONDOTeacher Good Humor

No. 9 from Teacher and Pupil, Book 1

Joseph Löw(1834–1886)

&

?

4

4

4

4

œ�4

œ�2

F

Both hands one octave higher than written throughout

Allegro moderato

œ

�œ�

œ

�œ

�

œ�

œ�

œ�

œ�

�œ� œ�

�œ�

œ�

�œ� œ��œ�

œ�

&

?

4

œ� œ

œ�

œ�

œ

�œ

œ�

œ�f p

œ

�œ�

œ

�œ

�

œ�

œ�

œ�

œ�

˙œ� œ�

˙œ�

œ�

œ

�œ�

œ� œ

�

œ�

œ�

œ� œ

�

&

?

8

œ� Œœ� œ�

œ�

Œ

œ�

œ�f p

˙b

�3œ� œ�

˙b

�3

œ�

œ�

˙�œ

�œ

�

� œ�

œ�

˙� œ� œ��

œ�

œ�

&

?

12

˙�œ�

œ�

� œ�

œ�

�œ�

œ�

�œ�

œ�f

�œ�

œ�

�œ�

œ�

�œ

�œ�

� œ�

œ�

15

PRIMOStudent Good Humor

No. 9 from Teacher and Pupil, Book 1

Joseph Löw(1834–1886)

Level 1

Masterwork Classics DuetsGayle Kowalchyk, E. L. Lancaster, & Jane Magrath

These graded collections of piano duets by master composers are among the best literature available at respective levels. Each duet, written by composers who lived in the 18th, 19th and 20th century, has been carefully edited and fingered for performance ease.

Level 1 (E) NEW! ......................................................40836 Level 2 (E/LE) NEW! ................................................40837Level 3 (LE/EI) NEW! ...............................................40838 Level 4 (EI/I) NEW! ..................................................40839

Levels 1 and 2 feature Teacher-Student Duets.

?

?

#

#43

43

ŒAllegretto

Œ

œœ35

œ1 œœ œ œœ œ

œœ15

pŒ Œ

œœ œ œœ œ œœ œ

œœŒ Œ

œœ35

ßœ1 œœ œ œœ œ

.

.˙

œœ24

pœ œœ œ œœ œ

œœŒ Œ

?

?

#

#

..

..

..

..

5 œœ35

œ œœ œ œœ œ

.2


.˙

œœ24

œ œœ œ œœ œ

4

œ

œœ Œ

œ Œ

Œ

Œ

œœ35

fœ� œ�

œ Œ Œ

?

?

#

#

10

œ3 œ# œ œ œ œ

Œ Œ œ2

œ� Œ Œ

œœ�Œ Œ

∑

∑

œœ35

œ� œ�

œ Œ Œ

œ3 œ# œ œ œ œ

Œ Œ œ2

?

?

#

#

15

œ� Œ Œ

œœ�Œ Œ

∑

∑

œœ35

pœ1 œœ œ œœ œ

œ5

Œ Œ

œœ24

œ œœ œ œœ œ

œ Œ Œ


œŒ Œ

?

?

#

#

..

..

20 œœ œ œœ œ œœ œ

œ Œ Œ

œœ35

fœ1 œœ œ œœ œ

œ3

œ œ

œœ35

œ1 œœ œ œœ œ

œ œ œ

œœ14 œœ

�15 œœ�

œœ œ� œ�

œœ Œ

œ Œ

SECONDO

2

German Dance

Franz Anton Hoffmeister (1754–1812)

&

&

#

#43

43

œ1Allegretto

pŒ

œ3 Œ œ1

Œ œ5

Œ

œ Œ œœ�13

Œ œ Œ

..˙

ßŒ œœ œœ

œœ Œ œœp

œœ Œ Œ

&

&

#

#..

..

..

..

5 œœ Œœœ

Œ œœ Œ

œœ Œ œœ35

Œ œœ Œ

˙ œœ

Œ œœ24

œœ

œœ Œ

œœ Œ

œ1f

œ

Œ

œ œ3 œ1 œ œ

Œ œ5

œ œ œ

&

&

#

#

10 œ œ œ�

œ œ œ�4

œ3 œ# œ œ œ œ

œ3

œ œ œ œ œ

œ Jœ ‰ œ1 œ

œ jœ ‰ Œ

œ œ3 œ1 œ œ

Œ œ5

œ œ œ

œ œ œ�

œ œ œ�4

&

&

#

#

8va15 œ3 œ# œ œ œ œ

œ3

œ œ œ œ œ

œ Jœ ‰ œ4p

œ jœ ‰ Œ

œ Œ œ

Œ œœ13

Œ

œ Œjœ

3 œ�

Œ œœ Œ

œ� Œjœ œ�

Œ œœ Œ

&

&

#

#..

..

20

œ� Œ œœ13

fŒ œœ

13

œœ

..˙

..˙

œ œ œ�2

˙35

œœ

œ jœ4 œ œ œ œ

œœ œ œ œ œ1

œ Œ

œ Œ

*

* Play the grace note quickly before the beat.

PRIMO

3

German Dance

Franz Anton Hoffmeister (1754–1812)

?

?

#

#42

42

‰

‰

Vivace

Œ ‰ Jœ5

F∑

œ� Œ

Œ ‰ jœ1

Œ œb �2

œ� œb �2

œ� Œ

œ�1

Œœ�1

pŒ

Œœ�5

œ� Œ

Œœ�

œ# � Œ

Œœ# �

œ� Œ

œ�Œ

?

?

#

#

..

..

9

Œ ‰ Jœ5

F∑

œ� Œ

Œ ‰ jœ1

Œ œ# �2

œ� œ# �2

œ�1 Œ

œ�Œ

œ�p

Œ

Œ œ�3

œ# � Œ

Œ œ# �

œ� Œ

Œ œ�

œ� ‰

œ�‰

?

?

#

#

..

..

‰

‰

17

Œ ‰ Jœ5

F∑

œ� Œ

Œ ‰ jœ#2

∑

œn �1

œ�

Œ œœ25

œ�3

œ1

œœ� œ�5

œ# �Œ

œp

œ�2

œœnn Œ

˙

œ# �2

œn �

œ� Œ

œ�Œ

?

?

#

#

25

∑

Œ ‰ jœ1

FŒ ‰ Jœ# 3

˙

œn � œ�1

˙

œ�4 œ�

˙

œ# œ�

œœŒ

œ œ�

˙

˙

œœ## �œœnn �

œ œ5f

&

œœ�Œ

&?

#

#

..

..

33

œ� œ�

œœ�‰ Jœ

1

œ� œœ�œ� ‰ jœ

1

œœ� œœœ�125

œ� œœ�

œœœ�Œ

œœ�Œ

∑ ?

œœnn �

pŒ

Œ ‰ Jœ5

œœ�Œ

œ� Œ

œ�2

Œ

Œ ‰

œœ�‰

SECONDO

24

Theodor Kirchner (1823–1903)Op. 57, No. 2

Mysterious Story

&

&

#

#

4

2

4

2

J

œ

5

F

Vivace

‰

œ� œ�∑

œ�3

œ�1

Œ

œ�3

œ

�œ#�3

œ� œ�

œ

�1 œ

œ� Œ

œœ

œ

�124

p

Œ

œœ

œ�125

Œ

œ

œœ

�Œ

œ

œœ�

Œ

œœœ#

�Œ

œœœ# �

Œ

œœ#

�‰

J

œ

5

F

œœ# �

‰

J

œ

1

&

&

#

#

.

.

.

.

9

œ�

œ�

œ� œ�

œ� œ

œ

�

œ� œ

œ�

œ

œ

�14 œ

œ#

�

œ

œ

�51

œ

œ#

�

œ

œ

�œ

5

œ

œ

�Œ

œ

œ

�p

Œ

œ� Œ

œœ

�Œ

œ# � Œ

œ# �2

Œ

œ�1

Œ

œ

�‰

œ# �‰

&

&

#

#

.

.

.

.

J

œ

F

‰

17

˙

Œ

œ# �3

˙

œ# � œœ# �

˙

œœ# �24

œœ�

œœ

œœ�12

œ

œ

�Œ

œ� Œ

œ# �2

p

Œ

œn �1

Œ

œ�1

œ# �

œ� œ�

œ

�‰

J

œ

F

œ# �‰

J

œ

&

&

#

#

25

œ

�œ#�

œ� œ# �

œ#

�œœ#

�24

œ# � œœ# �24

œœ#

�œœ

�13

œœ# � œ

œ�24

œœ

� œ

œ

25

œœ� œ

œ

14

œ

œ

�Œ

œ

œ� Œ

œœ

#n

�23Œ

œœ

#n �

23

Œ

œ

œ

� œ

œ#

�15

œ

œ�œ

œ#

�15

œœ

#�

Œ

œœ

#

�Œ

&

&

#

#

.

.

.

.

33

Œ

œ

œ

�

f

8va

Œ œ

�4

œ

œ

�Œ

œ�

Œ

Œ

œ

œœ

�125

Œ

œ

œœ

�124

œœ

œ

�œ

5

œœ

œ

�Œ

œn�

p

Œ

œ�1

Œ

œœ

�Œ

œ� Œ

œœ

#

�24Œ

œ# � Œ

œ

œ

�‰

œ� ‰

PRIMO

25

Theodor Kirchner (1823–1903)Op. 57, No. 2

Mysterious Story

Level 3 Level 4


&?

&

?

bb

bb

bb

bb

42

42

42

42

Primo

Secondo

‰

‰

Jœœœbb�125

Jœ�

1

Allegro molto, quasi presto (q = 132)

F

pedal ad lib.

∑

∑

œœœb��125

œœœn# �124 œœœ�135

œ�œn�� œb � œ�

1

œœ�24

∑

∑

œœ��35

œœb �24 œœn �13 œœœbb �235

?

œœ��12

œœ� œœ� œœb �14

∑

∑

œœn# �25 œœ# �14 œœ#n �13 œœ# �12

œœœ#nn �123

œ�1

œn �3

œ# �

∑

∑

œn �1 œ� œœb �13 œœ�24

œœnn ��24

œœb� œ�

1 œ�

&

?

?

?

bb

bb

bb

bb

5

∑

∑

˙25

œœ��œœ�

œœ�œœ�

f

with energy

∑

∑

˙

œœ��œœ�

œœ�œœ�

∑

∑

˙

œœ��œœ�

œœ�œœ�

p

Œ ‰3

≈ œ2 œ

Œ ‰ Jœ��2

&

..œœ Jœœ�25

œœ��œœ�

œœ�œœ�

F

bring out LH mel.

≈ œ1 œœ25

œ œœ œ1 œ2 œ3

œ�3

œœ�12

œœ�14

œœ�25

˙

œœ��œœ�

œœ�œœ�

pnon legato

œ2 œ1 œœ œ œœ œ1 œ2 œ3

œœ�14

œœ� œœ�

Jœœ ‰ œ�1

œœ�œœ�

œœ��œœ�

2

Tambourin Chinois(Chinese Drum)

for Kim Craig

Fritz Kreisler (1875–1962)Op. 3

Arr. Greg Anderson

?

?

&?

bbb

bbb

bbb

bbb

43

43

43

43

I

II

œ�3

œ2

œ

œ

œ

œ

Œœœœ�

125

Œ

Œ œœ�23

Œ&

f

f

Tempo di valse, in one (h. = 66)

pedal ad lib.

“Chim Chim Cher-ee” (from Mary Poppins)

Tempo di valse, in one (h. = 66)

pedal ad lib.

Words and Music by Richard M. Sherman and Robert B. Sherman

œ�

œ

œ

œ

œ

œ

œœœnn�

Œ œœœbb�

œœ� Œ œœœn�125

œ�

œ

œ2

œ

œ1

œ

Œ œœœnn�

Œ

Œ œœœn�Œ ?

œ

œ1

œ

œ3

œ

œ

œœbb�135

œœ�

œœ�

˙�

œ�

œ�3

œn � œn �

Œ œœ œ œœ�&

œœŒ Œ

Œ Œ œ�2

œœ�œ3 Œ

P

ƒ

RH

∑œ�1

œ�2

œ� œn � Jœ� ‰

œœ�35

œœ� œœ�

œœ�œœnn �

œœnn �

p

f

~~~~~~~~

~~~~gliss.

&?

&

?

bbb

bbb

bbb

bbb

7

Œ œœ œ œœ�

œœŒ Œ

Œ Œ œ� ?

œœ�œ Œ

F

RH

p

∑œ� œ� œ� œn � Jœ

� ‰

œœ�35

œœ� œœ�

œ�3

œn � œn �

p

F

œ1 œ

4

œ œ

œœ�

œœ�12

œœ�

Œ5

œ œ# œœ2

œ œ&

œ�5

Œ

F

P

dry, articulate

œ œ œ œœœ�

œœn � œœ�

Œ

5

œ œ#œ1

œn2

œ œ

œ� Œ

œ .œ125 jœ

5

œ�

œœ

œ�Œ

5

œ œ# œœb2

œ5

œœ� Œ~~~~

~~~~~~~~

~gliss.

2

© 1963 (Renewed) WONDERLAND MUSIC COMPANY, INC.This Arrangement © 2012 WONDERLAND MUSIC COMPANY, INC.

All Rights Reserved Used by Permission

Arr. Greg Anderson

Three Waltzes for Two PianosA Medley of Waltzes Made Famous in Disney Films

Three Waltzes for Two Pianos

Tambourin Chinois

Anderson & Roe Duos & Duets

This series is a collection of arrangements created and performed by the Anderson & Roe Piano Duo. The arrangements are designed to highlight the spirit of the original works while also reimagining piano duo choreography, supplementing the duo repertoire, and celebrating the joy of collaboration.

Ballet from Orphée et EurydicePiano Duets (1 Piano, 4 Hands) (A) NEW! ............... 40164

Tambourin ChinoisPiano Duet (1 Piano, 4 Hands) (A) NEW! ................. 40165

St. Matthew Passion Suite for Two PianosPiano Duo (2 Pianos, 4 Hands) (A) NEW!................ 401662 copies required for performance.

Three Waltzes for Two PianosA Medley of Waltzes Made Famous in Disney FilmsPiano Duo (2 Pianos, 4 Hands) (A) NEW!................ 400852 copies required for performance.



Ferruccio BusoniDuettino concertanteEd. Greg Anderson and Elizabeth Joy RoeFerruccio Busoni’s Duettino concertante for two pianos, four hands, is based on Mozart’s Finale of Concerto No. 19 in F Major, K. 459, for piano and orchestra. This work is a brilliant example of Busoni’s prowess as a transcriber as it retains the lightness and clarity of Mozart’s textures while utilising the resources of the modern piano.

Piano Duo (2 Pianos, 4 Hands) (A) NEW!...... 393642 copies required for performance.

Wolfgang Amadeus MozartSonatas K. 381; K. 358; K. 497; K. 521Ed. Charles TimbrellMozart’s four sonatas for one piano, four hands, are the first important works in the piano duet literature. This carefully researched edition contains historical information, in-depth notes on performing Mozart’s piano music, editorial fingering and metronome marks, as well as realisations of many ornaments.

Piano Duet (1 Piano, 4 Hands) (A) NEW! ......... 39487

Isaac AlbénizSuite Española, Op. 47Ed. Olga Llano Kuehl-WhiteSuite Española consists of eight pieces composed in the Spanish tradition of dances and songs. In this collection, Albéniz creates “tonal portraits” depicting different geographic areas of Spain.

Piano Solo (A) NEW! ..............................................40571

MasterworksAlfred Masterwork Editions feature clear engravings with valuable editorial suggestions that are easily distinguished from the composer’s original markings.





January & February ServicesArr. Carol TornquistTitles: Come, Now Is the Time to Worship • Forever • God of Wonders • Hosanna (Praise Is Rising) • How Deep the Father’s Love for Us • How Great Is Our God • In Christ Alone • Majesty (Here I Am) • The Wonderful Cross • You Are My All in All.

Book 1 (LI/EA) ................................ 38782

March & April ServicesArr. Carol TornquistTitles: Amazed • Beautiful One • Everlasting God • Hallelujah (Your Love Is Amazing) • He Knows My Name • Indescribable • Jesus Messiah • Mighty to Save • The Power of the Cross (Oh, to See the Dawn) • The Risen Christ.

Book 2 (LI/EA) ................................ 38783

What Praise Can I Play on Sunday? Arr. Carol Tornquist

January & February ServicesArr. Robert D. VandallTitles: Amazing Grace • Fairest Lord Jesus • Jesus, Keep Me Near the Cross • Let Us Break Bread Together • Morning Has Broken • What Wondrous Love Is This.

Book 1 (LI) .............................................. 38788

March & April ServicesArr. Robert D. VandallTitles: Christ the Lord Is Risen Today • Draw Me Nearer • Hosanna, Loud Hosanna • Jesus Paid It All • To God Be the Glory • Were You There?

Book 2 (LI) .............................................. 38789

What Can We Play on Sunday? Arr. Robert D. Vandall

This series of worship favourites are designed for busy church pianists who require accessible arrangements. Each book contains selections for holidays and holy days that occur during a specific two-month period, as well as general praise songs.

Each duet book in this series features hymns, spirituals, and folk tunes appropriate for Sundays that fall within two consecutive months of the church year, making planning music around scriptures and sermon topics easier.

May & June ServicesArr. Carol TornquistTitles: Ancient of Days • Blessings • The Family Prayer Song • Holy Is the Lord • Holy Spirit, Rain Down • Jesus, Draw Me Ever Nearer • Open the Eyes of My Heart • Revelation Song • There Is a Redeemer • A Thousand Little Things.

Book 3 (LI/EA) NEW!.................... 38784

July & August ServicesArr. Carol TornquistTitles: Amazing Grace (My Chains Are Gone) • Ancient Words • Blessed Be Your Name • Come to the Table • Enough • I Can Only Imagine • Let Freedom Ring • Let It Rise • Shout to the North, with My Country ‘Tis of Thee • You Are My King.

Book 4 (LI/EA) NEW!.................... 38785

May & June Services Arr. Robert D. VandallTitles: Breathe on Me, Breath of God • Children of the Heavenly Father • Come, Thou Almighty King • Come, Thou Fount of Every Blessing • Faith of Our Fathers • Rejoice, the Lord Is King.

Book 3 (LI) NEW! ................................ 38790

July & August ServicesArr. Robert D. VandallTitles: Battle Hymn of the Republic • Jesus Loves Me • My Country ‘Tis of Thee • Sweet Hour of Prayer / Standing in the Need of Prayer • This Is My Father’s World • This Little Light of Mine.

Book 4 (LI) NEW! .................................38791





January & February ServicesArr. Carol TornquistTitles: Come, Now Is the Time to Worship • Forever • God of Wonders • Hosanna (Praise Is Rising) • How Deep the Father’s Love for Us • How Great Is Our God • In Christ Alone • Majesty (Here I Am) • The Wonderful Cross • You Are My All in All.

Book 1 (LI/EA) ................................ 38782

March & April ServicesArr. Carol TornquistTitles: Amazed • Beautiful One • Everlasting God • Hallelujah (Your Love Is Amazing) • He Knows My Name • Indescribable • Jesus Messiah • Mighty to Save • The Power of the Cross (Oh, to See the Dawn) • The Risen Christ.

Book 2 (LI/EA) ................................ 38783

What Praise Can I Play on Sunday? Arr. Carol Tornquist

January & February ServicesArr. Robert D. VandallTitles: Amazing Grace • Fairest Lord Jesus • Jesus, Keep Me Near the Cross • Let Us Break Bread Together • Morning Has Broken • What Wondrous Love Is This.

Book 1 (LI) .............................................. 38788

March & April ServicesArr. Robert D. VandallTitles: Christ the Lord Is Risen Today • Draw Me Nearer • Hosanna, Loud Hosanna • Jesus Paid It All • To God Be the Glory • Were You There?

Book 2 (LI) .............................................. 38789

What Can We Play on Sunday? Arr. Robert D. Vandall

This series of worship favourites are designed for busy church pianists who require accessible arrangements. Each book contains selections for holidays and holy days that occur during a specific two-month period, as well as general praise songs.

Each duet book in this series features hymns, spirituals, and folk tunes appropriate for Sundays that fall within two consecutive months of the church year, making planning music around scriptures and sermon topics easier.

May & June ServicesArr. Carol TornquistTitles: Ancient of Days • Blessings • The Family Prayer Song • Holy Is the Lord • Holy Spirit, Rain Down • Jesus, Draw Me Ever Nearer • Open the Eyes of My Heart • Revelation Song • There Is a Redeemer • A Thousand Little Things.

Book 3 (LI/EA) NEW!.................... 38784

July & August ServicesArr. Carol TornquistTitles: Amazing Grace (My Chains Are Gone) • Ancient Words • Blessed Be Your Name • Come to the Table • Enough • I Can Only Imagine • Let Freedom Ring • Let It Rise • Shout to the North, with My Country ‘Tis of Thee • You Are My King.

Book 4 (LI/EA) NEW!.................... 38785

May & June Services Arr. Robert D. VandallTitles: Breathe on Me, Breath of God • Children of the Heavenly Father • Come, Thou Almighty King • Come, Thou Fount of Every Blessing • Faith of Our Fathers • Rejoice, the Lord Is King.

Book 3 (LI) NEW! ................................ 38790

July & August ServicesArr. Robert D. VandallTitles: Battle Hymn of the Republic • Jesus Loves Me • My Country ‘Tis of Thee • Sweet Hour of Prayer / Standing in the Need of Prayer • This Is My Father’s World • This Little Light of Mine.

Book 4 (LI) NEW! .................................38791

SUMMER 2014 CATALOGUE SuMMEr 2014 CATAlOGuE


Sacred Performer Series

Inspirational Hymn Medleys8 Solo Piano Arrangements of Timeless HymnsArr. Mary K. SalleeTitles: Praise to the Lord / Immortal, Invisible, God Only Wise • God, Whose Giving Knows No Ending / Come, Thou Fount of Every Blessing • A Mighty Fortress Is Our God / My Hope Is Built • Happy the Home When God Is There / Praise God, from Whom All Blessings Flow • O For a Thousand Tongues to Sing / Sing Praise to God Who Reigns Above • Hosanna, Loud Hosanna / Tell Me the Story of Jesus • Walking with Thee (O Master, Let Me Walk with Thee / I Want Jesus to Walk with Me) • Patriotic Medley (Battle Cry of Freedom / Battle Hymn of the Republic).

Book (A) NEW! ........................................................40827

A Jazz-Inspired Wedding8 Sophisticated Solo Piano ArrangementsArr. Craig CurryTitles: Air on the G String (from Orchestral Suite No. 3 in D Major) • Arioso (Sinfonia from Cantata No. 156) • Ave Maria (Schubert) • Bridal Chorus (from the opera Lohengrin) • Canon in D • Jesu, Joy of Man’s Desiring • Trumpet Voluntary • Wedding March.

Book & CD (A) NEW! ............................................40852

A Call to Praise10 Arrangements of Contemporary Christian FavoritesArr. Melody BoberTitles: Amazing Grace (My Chains Are Gone) • Come, Now Is the Time to Worship • God of Wonders • Here I Am to Worship • How Great Is Our God • I Will Be Here • In Christ Alone • Open the Eyes of My Heart • You Are My King (Amazing Love) • You Deliver Me.

Book (LI/EA) NEW! ...........................................39052

These four editions of the Sunday Morning Organist showcase innovative hymn arrangements, well-known classical repertoire, wedding favourites, and Christmas pieces, all arranged for organ and piano. Whether a timeless hymn, a classic, or an arrangement for a special event, Sunday Morning Organist duos for piano and organ will be a valuable and enjoyable resource for church musicians.

Sunday Morning Organist

Volume 8: Organ & Piano Hymn DuosTitles: All Creatures of Our God and King • America the Beautiful • Fantasia on Thanksgiving Themes • For the Beauty of the Earth • Foundation • Holy Spirit, Light Divine • How Wondrous and Great • I Stand All Amazed • Immortal, Invisible • The Lord My Pasture Will Prepare • A Mighty Fortress Is Our God • My Jesus, I Love Thee • O Love That Will Not Let Me Go • Search Me, O God.

(LI/A) NEW! ............................. 40543 2 copies required for performance.

Volume 9: Organ & Piano Classical DuosTitles: Allegro Gracioso • Clair de lune • How Lovely Is Thy Dwelling Place • Prelude, Fugue and Variation • Prelude on the Chorale • Rain • Rondeau • Sheep May Safely Graze • The Sunken Cathedral.


Volume 10: Organ & Piano Wedding DuosTitles: Ave Maria • Bridal Chorus • Canon in D • Jesu, Joy of Man’s Desiring • Ode to Joy • Sonata, K. 329 • Suite from Water Music • Wedding March.


Volume 11: Organ & Piano Christmas DuosTitles: And The Glory Of The Lord • Angels We Have Heard On High • Away In A Manger • Folk Carol Suite • Good Christian Men Rejoice • Here We Come A-Wassailing • It Came Upon a Midnight Clear • Joy To The World • O Come, All Ye Faithful • O Come, O Come, Emmanuel • O Little Town of Bethlehem • Postlude: A Celebration of Glory • Silent Night • The First Noel.


Volume 1: Solos for Christmas (I/LI) ....................................................................33259Volume 2: Solos for Special Sundays (LI/EA) .............................................. 33260Volume 3: Hymn Accompaniments and Reharmonizations (LI/EA) ....... 34059Volume 4: Introductions to Hymns and Carols (LI/EA).............................. 34060Volume 5: Best of the Saint Cecilia Series (LI/A) ..........................................34061 Volume 6: Voluntaries (with Pedal) (I/EA) ................................................... 38582Volume 7: Voluntaries (without Pedal) (I/EA ............................................... 38583

The dynamic Sacred Performer series offers arrangements in a myriad of styles for the church pianist. Most collections include approximate performance time for each piece to assist in planning.



2013 Greatest Pop & Movie HitsThis collection of recent chart and movie hits is loaded with great current songs you’ll want to play in 2013! Lyrics and chord symbols are included. Titles: Anything Could Happen (Ellie Goulding) • Blown Away (Carrie Underwood) • Doctor Who • Downton Abbey • Everybody Talks (Neon Trees) • Girl on Fire (Alicia Keys) • Heart Attack (Demi Lovato) • Home (Phillip Phillips) • Misty Mountains and A Very Respectable Hobbit (from The Hobbit) • and more.

Arr. Dan Coates(EP) NEW! .................................................41009

Arr. Carol Matz(BN) NEW! ................................................ 41010

Pop

ALFRED PIANO LEVELING AND METHOD CORRELATIONSkill Level Pop Level Alfred’s Basic

Prep CourseAlfred’s Basic Piano Library

Alfred’s Premier Piano Course

Early Elementary (EE) Levels A and B Level 1A Level 1A

Elementary (E) FF = 5 Finger (E/LE) Levels C and D Level 1B Level 1B

Late Elementary (LE) BN = Big Note (LE/EI) Levels E and F Level 2 Level 2A and 2B

Early Intermediate (EI) Level 3 Level 3

Intermediate (I) EP = Easy Piano (I/LI) Levels 4 and 5 Levels 4 and 5

Late Intermediate (LI) Levels 5 and 6 Level 6

The Hobbit: An Unexpected JourneyComposed by Howard ShoreFor The Hobbit, Howard Shore masterfully expands upon the musical palette of Middle-earth, blending familiar motifs from The Lord of the Rings trilogy with an exciting array of memorable new themes. In addition to the piano arrangements, this beautifully produced souvenir folio features an array of colourful photos from the film. Arr. Dan Coates(EP) NEW! ......................................................40315Arr. Carol Matz(BN) NEW! .....................................................40316

Song of the Lonely Mountain (from The Hobbit: An Unexpected Journey)Arr. Dan Coates(EP) NEW! ..................................................... 40851

Dreaming of Bag End (from The Hobbit: An Unexpected Journey)Composed by Howard Shore(A) NEW! .......................................................40835Arr. Dan Coates(EP) NEW! .....................................................40850

2013 Greatest Christian HitsTitles: 10,000 Reasons (Bless the Lord) (Matt Redman) • Jesus, Friend of Sinners (Casting Crowns) • Need You Now (How Many Times) (Plumb) • Redeemed (Big Daddy Weave) • plus 12 more.

Piano/Vocal/Guitar NEW! ................... 41001

Downton Abbey: The SuiteComposed by John Lunn / arr. Dan CoatesThis 10-page Easy Piano rendition of John Lunn’s haunting theme to the British TV show makes a great piano solo. This arrangement by Dan Coates makes it easier to play than the separately published Piano Solo version, while retaining its full sound.

Easy Piano (EP) NEW! .........................41392

Stage & ScreenNew Super Mario Bros.™ WiiComposed by Koji Kondo, Shiho Fujii, Ryo Nagamatsu, and Kenta NagataThe soundtrack to Nintendo’s New Super Mario Bros.™ Wii is packed with melodic, syncopated themes that sound great on the piano! Titles: Title Theme • Ground Theme • Underground Theme • Underwater Theme • Desert Theme • Castle Theme • and more!

(I/A) NEW! .....................................................38604(EP) NEW! ..................................................... 39429

Super Mario™ Jazz Piano ArrangementsComposed by Koji Kondo, Asuka Ohta, Soyo Oka, Ryo Nagamatsu, and Kenta Nagata The globally beloved musical themes of Nintendo’s Super Mario™ video games sound great when they’re played on the piano, and these new jazzy renditions make them more fun than ever!

(I/A) NEW! .....................................................38603

Also Available:Super Mario™ Series for Piano (I/A) ......38600

Super Mario™ Series for Easy Piano (EP) 38633



2013 Greatest Pop & Movie HitsThis collection of recent chart and movie hits is loaded with great current songs you’ll want to play in 2013! Lyrics and chord symbols are included. Titles: Anything Could Happen (Ellie Goulding) • Blown Away (Carrie Underwood) • Doctor Who • Downton Abbey • Everybody Talks (Neon Trees) • Girl on Fire (Alicia Keys) • Heart Attack (Demi Lovato) • Home (Phillip Phillips) • Misty Mountains and A Very Respectable Hobbit (from The Hobbit) • and more.

Arr. Dan Coates(EP) NEW! .................................................41009

Arr. Carol Matz(BN) NEW! ................................................ 41010

Pop

ALFRED PIANO LEVELING AND METHOD CORRELATIONSkill Level Pop Level Alfred’s Basic

Prep CourseAlfred’s Basic Piano Library

Alfred’s Premier Piano Course

Early Elementary (EE) Levels A and B Level 1A Level 1A

Elementary (E) FF = 5 Finger (E/LE) Levels C and D Level 1B Level 1B

Late Elementary (LE) BN = Big Note (LE/EI) Levels E and F Level 2 Level 2A and 2B

Early Intermediate (EI) Level 3 Level 3

Intermediate (I) EP = Easy Piano (I/LI) Levels 4 and 5 Levels 4 and 5

Late Intermediate (LI) Levels 5 and 6 Level 6

The Hobbit: An Unexpected JourneyComposed by Howard ShoreFor The Hobbit, Howard Shore masterfully expands upon the musical palette of Middle-earth, blending familiar motifs from The Lord of the Rings trilogy with an exciting array of memorable new themes. In addition to the piano arrangements, this beautifully produced souvenir folio features an array of colourful photos from the film. Arr. Dan Coates(EP) NEW! ......................................................40315Arr. Carol Matz(BN) NEW! .....................................................40316

Song of the Lonely Mountain (from The Hobbit: An Unexpected Journey)Arr. Dan Coates(EP) NEW! ..................................................... 40851

Dreaming of Bag End (from The Hobbit: An Unexpected Journey)Composed by Howard Shore(A) NEW! .......................................................40835Arr. Dan Coates(EP) NEW! .....................................................40850

2013 Greatest Christian HitsTitles: 10,000 Reasons (Bless the Lord) (Matt Redman) • Jesus, Friend of Sinners (Casting Crowns) • Need You Now (How Many Times) (Plumb) • Redeemed (Big Daddy Weave) • plus 12 more.

Piano/Vocal/Guitar NEW! ................... 41001

Downton Abbey: The SuiteComposed by John Lunn / arr. Dan CoatesThis 10-page Easy Piano rendition of John Lunn’s haunting theme to the British TV show makes a great piano solo. This arrangement by Dan Coates makes it easier to play than the separately published Piano Solo version, while retaining its full sound.

Easy Piano (EP) NEW! .........................41392

Stage & ScreenNew Super Mario Bros.™ WiiComposed by Koji Kondo, Shiho Fujii, Ryo Nagamatsu, and Kenta NagataThe soundtrack to Nintendo’s New Super Mario Bros.™ Wii is packed with melodic, syncopated themes that sound great on the piano! Titles: Title Theme • Ground Theme • Underground Theme • Underwater Theme • Desert Theme • Castle Theme • and more!

(I/A) NEW! .....................................................38604(EP) NEW! ..................................................... 39429

Super Mario™ Jazz Piano ArrangementsComposed by Koji Kondo, Asuka Ohta, Soyo Oka, Ryo Nagamatsu, and Kenta Nagata The globally beloved musical themes of Nintendo’s Super Mario™ video games sound great when they’re played on the piano, and these new jazzy renditions make them more fun than ever!

(I/A) NEW! .....................................................38603

Also Available:Super Mario™ Series for Piano (I/A) ......38600

Super Mario™ Series for Easy Piano (EP) 38633


A Piano Course to Bring Out the Music in Every Young Child, Ages 4, 5, and 6By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster

alfred.com/connectVisit musicforlittlemozarts.com today!Questions? Email [email protected] • Call 02 8707 3612 (Aust)

Music for Little MozartsMusic for Little Mozarts

And if you haven’t already used Music for Little Mozarts … Meet the Music Friends!This recruitment course introduces music and the piano to four- and five-year olds. The Curriculum Book contains five complete lesson plans for a classroom lesson of 45-60 minutes that include singing, listening, movement, rhythm activities, and beginning activities at the keyboard. The Music Workbook features pages for children to col our, rhythms to clap, and keyboard activities to use in the lesson. After completing the five lessons, students begin with Level 1 of the Music for Little Mozarts piano course.

Curriculum Book & CD (37545)Music Workbook (37548)

Christine H. Barden

Gayle Kowalchyk

E. L. Lancaster

Level 1Music Lesson Book (14577)Music Workbook (14580)Music Recital (19724)




To see other materials in the Music for Little Mozarts series, visit musicforlittlemozarts.com

Alfred Australia | PO BOX CP67, CONDELL PARK NSW P 02 8707 3600 | F 02 9793 1301 | [email protected] FOR SALE. ©Alfred Australia

Join us and stay connectedYour destination for exclusive product sneak-peeks, videos, piano artist interviews, teaching tips, giveaways and much more!

All of the publications featured in this magazine are readily available from our large distribution centre based in Sydney.Please help our continued support of Australian Music Education by purchasing your print music and other music resources from Australian retailers and local online stores.If you are experiencing any difficulties obtaining our material, please feel free to email us on our dedicated email for piano teachers: [email protected] or phone 02 8707 3612.Designed by Sarah Christensen Design. Printed in Australia.

Piano Perspectives - Summer 2014

Documents

Transcript of Piano Perspectives - Summer 2014