Piano Perspectives Issue 1 2013

I ssu e 1 2013

PIANO The Magazine for Piano Teachers

Hanging out with Alfred Music at the MTNA Conference in Los Angeles Beyond the Romantic Spirit

RHYTHMIC and harmonic innovations Strategies for Teaching Improvisation to Beginners

2013 Catalogue Your guide to the latest Piano Releases

FREE

S T N E T N O C 4 2

“ I like the digital age, but nothing compares to the original.”

CONTENTS 6

Hanging out with Alfred Music at the

to Beginners

By Elissa Milne

By Tom Topham

By Nancy Bachus

Beyond the Romantic Spirit

By Nancy Bachus

15

Strategies for Teaching Improvisation

MTNA Conference in Los Angeles

Rhythmic and Harmonic Innovations

10

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at www.baerenreiter.com PIANO PERSPECTIVES

01

ELISSA milne

Hanging out with Alfred Music at the

MTNA CONFERENCE in los angeles

By Elissa Milne

The MTNA (Music Teachers National Association) conference is convened every March in a different city in the United States of America. Last year it was New York; this year Los Angeles. (In 2015, Las Vegas, for those who like to gamble AND plan ahead.)

S

trictly speaking the MTNA Conference this year was held in Anaheim (Orange County is not the same thing as Los Angeles, I was assured by locals). Even more strictly speaking - at Disneyland.

Literally.

So the decision to attend this year’s MTNA conference was made for me by my family. Who spent 4 days in the happiest place on earth while I experienced one of the biggest music teacher conferences on earth!

publishers, exam boards and instrument manufacturers present showcases to highlight their latest products and services. And did I mention the performance competitions that are held throughout the conference? It’s a hive of musical and pedagogical activity.

A lot of the action happens in the Exhibit Hall, where publishers and manufacturers congregate to display their wares.

Alfred are a massive part of the North American music education scene, and their display area in the Exhibit Hall took pride of place. My Little Peppers and Pepperbox Jazz series were part of the Alfred display (my publisher, Faber Music, is distributed in Australia and the US by Alfred), and I was quickly made to feel part of the extended Alfred family!

Hanging out at the Alfred stands I had the chance to discover the newest, hottest

This conference is huge. Keynote addresses and masterclasses are held in huge ballrooms that can accommodate every conference attendee, and there are up to five different events on at any given time, so just working out the timetable of events you want to attend requires some pretty serious homework.

Nearly any teaching topic that might interest a piano teacher is covered, and

02 PIANO PERSPECTIVES

From left: Iris and Morty Manus with authors, Elissa Milne and Robert D. Vandall

publications coming off the Alfred presses – and to chat with the authors.

Nancy Bachus (who is touring Australia in June and July*!) has two extraordinary repertoire series published by Alfred.

The Exploring Piano Classics series now extends to Level 5 (Grade 4/5 standard) with Repertoire and matching Technique books. The Repertoire collections are excellent, but I am particularly excited by the Level 5 Technique book: all kinds of voicing and balance exercises, introductions to trills and mordents, a range of ways to practice extended chord progressions, detailed arpeggio work, cantabile tone and alternating between different kinds of touch.

I’m not sure that I’ve ever seen a book so well suited to the technical needs of Grade 4 and 5 pianists. This book (and the Level 4 Technique, an essential prequel) will become an indispensible resource for developing and strengthening all the pianistic skills needed to go on to harder repertoire.

Level 5 Repertoire pieces are microcosms of the technical skills being explored in the Technique book: easier, rather than harder, to allow for maximum success and minimum irritation!

Cherished classics (Tchaikovsky’s Sweet Dreams, Opus 39, No.21; Bach’s Minuet from the French Suite in E major, No.6) and some lesser known works (by Gershwin and Maykapar, for example), are introduced with beautifully written historical and stylistic notes: you’ll want all your Grade I then discovered a series called Belwin Contest Winners. The title of the series doesn’t mean much to those of us outside North America, but these are great collections of sheet music-style solos for beginner piano students, nearly all written in the 50s and 60s.

Book 1 is for students who have been learning for between a term and a year.

My favourite pieces include Little Frog (Louise Garrow) and Distant Chimes (Jon George) both published in 1969.

[Hello, hipsters.]

Book 2 is roughly Preliminary standard, although the pieces are a bit longer

“Hanging out at the Alfred stands I had the chance to discover the newest, hottest publications coming off the Alfred presses – and to chat with the authors.” than we’d normally expect at this level.

Tricky Traffic (Louise Garrow, again!) and Blinky the Robot (David Carr Glover) are my current favourites, from 1967 and 1960 respectively, both unbelievably clever pieces that kids will love the feel and the sound of.

Book 3 heads into Grade 2 territory.

Aeolian Harp (William Gillock) is a complete surprise. Very hard to believe that this very contemporary-sounding piece was written in 1957- you will love it.

Book 4 is most appropriate for Grade 5 standard students, with extended recitalappropriate pieces that will intrigue (The Peacock, by Olive Dungan) and charm (Lament, by Gilbert Allen).

Alfred’s newest repertoire collection is Classics for the Developing Pianist, compiled by two of North America’s most respected teachers. This is a 5 book, 100 piece collection/curriculum: a top of the pops collection of classics for piano lessons! Book 3 includes many Grade 5 favourites, while Book 4 is more at the Grade 6/7 level, and Book 5 is Grade 8 standard. Great selections and great value for advanced students.

Also catching my eye on the Alfred stands was a new Dancing on the Keys book by Catherine Rollin. This series is a collection of original pieces in a range of dance styles (Rumba, Gigue, Mazurka, Cha Cha, Paso Doble, etc.) and Book 3 has 5 new pieces at Grade 3 and 4 Piano for Leisure standard. Focussing on dance styles is a brilliant concept, and these books are great fun.

It wasn’t just books I was seeing at the conference: Dan Coates is one of my alltime favourite Alfred authors, and I was really excited to chat with him in person!

Dan has new arrangements coming out

all the time, but I just love reminding people about Dan’s own original pieces.

“Classical Folly”, from his collection With You In Mind, is a seriously fun piece for Grade 5/6 standard students. Order it in. Teach it. You will thank me!

Alfred hosted an Author Appreciation cocktail party during the conference, and getting to hang out with Dan and with Nancy Bachus, Dennis Alexander, Jane McGrath, Robert Vandall, Gayle Kowalchyk, E.L. Lancaster and others was a delight.

But the biggest highlight for me was getting to meet Morty and Iris Manus, the founders of Alfred Publishing.

They are an inspiration. And having met them I understand how it is that Alfred consistently bring out so many fascinating collections that meet the needs of piano teachers: they have a perfect blend of drive, vision and humility – just the qualities each one of us as teachers need.

Now, of course, I can hardly wait to get to the next conference…! *Nancy Bachus is a guest presenter at this year’s Australasian Piano Pedagogy Conference being held in Toowoomba and is doing a workshop tour in Auckland, Sydney, Melbourne and Perth. Email piano@alfredaustralia.com for more information.

CODES FOR BOOKS REFERENCED ABOVE Exploring Piano Classics Level 5 Repertoire: 38842 Exploring Piano Classics Level 5 Technique: 38841 Belwin Contest Winners Book 1: 40160 Belwin Contest Winners Book 2: 40161 Belwin Contest Winners Book 3: 40162 Belwin Contest Winners Book 4: 40163 Classics for the Developing Pianist Book 3: 37286 Classics for the Developing Pianist Book 4: 37287 Classics for the Developing Pianist Book 5: 37288 Dancing on the Keys Book 3: 39360 Dan Coates: With You In Mind: AFM0301CD

PIANO PERSPECTIVES

03

innovations

RHYTHMIC AND HARMONIC

INNOVATIONS

Part 1: TEACHING/UNDERSTANDING LATE 19th And early 20th century music

by Nancy Bachus

I

t is difficult to generalise about music at the turn of the twentieth century because there was such a wide diversity of styles. Composers of the late nineteenth and early twentieth centuries were consciously trying to express their individuality and did not care if they were breaking compositional rules and traditions that had been accepted for the previous 300 years. Some composers were incorporating different (not major or minor)scales and other elements found in their native folk music. A new rhythmic and harmonic vitality was thus added to their music.

Because it may ‘look’ and ‘sound’ different than earlier styles, music from this time period can be intimidating to both students and teachers. Looking more carefully, the basic elements of music are still present, but are used in innovative ways.

Rhythm – Changing Meters

For several years Bela Bartok (1881-1945) travelled to remote villages of Hungary (and neighbouring countries) recording folk music sung and played by peasants. In Hungarian Song (No. 32 from For Children, Part 1), he added an accompaniment to the song, and in the opening of the piece, the meter changes from 3/4 to 2/4 every two bars. Changing meters are necessary for notation and re-creation of the exact melody he heard sung by the villagers. The crotchet should be steady and the first beat of each bar accented to help the listener hear these changing meters.

Rhythm – Without Meter or Barlines

Rhythm has traditionally been notated with time signatures (such as 2/4 or 6/8) that specify how many beats are in one bar of music and what note value is the unit of measure. One meter would typically remain throughout a section or even an entire composition. In The Vast Expanse of Space, the Russian composer Vladimir Rebikov (1866-1920) does not use a time signature or divide the piece into bars. It looks strange, but by keeping the crotchet steady and playing all the notes in relation to the crotchet pulse, it is not difficult to comprehend or play.

Hungarian Song by Bela Bartok, Beyond the Romantic Spirit, Book 1, page 38

Other Uses of Folk Rhythms

Throughout this period, composers in many countries (not just Hungary) were interested in folk elements of their nation and used folk music in their compositions. In Cuba, Ignacio Cervantes (1847-1905) used a habanera rhythm pattern of Afro-Cuban origin in his Los tres golpes (The Three Strikes).

The Vast Expanse of Space, by Vladimir Rebikov, Beyond the Romantic Spirit Book 1, page 20

04 PIANO PERSPECTIVES

Los tres golpes by Ignacio Cervantes, Beyond the Romantic Spirit, Book 1, page 50

Tangos, such as Remando by Ernesto Nazareth (18631934) also use similar rhythm patterns.

Remando (Tango) by Ernesto Nazareth, Beyond the Romantic Spirit, Book 2, page 53

American minstrel shows popularised the Cake-Walk dance that also incorporates a habanera pattern. These shows appeared in Europe and Claude Debussy (1862-1918) captures the spirit of the dance with its catchy rhythms in his piano pieces Golliwog’s Cake-Walk and Le Petit Negre.

Le Petit Negre by Claude Debussy, Beyond the Romantic Spirit, Book 1, page 61.

Debussy wrote piano music in many different styles throughout his life and much of his music does not have regularly recurring accents. He preferred a flow of sound that obscured bar divisions as he tried to free music from “the tyranny of the barline”1 as he put it. Bars 11 and 12 from his Album Leaf illustrate his way of writing fluid rhythms that blur the bar divisions.

Rhythmic Ostinatos

Another popular compositional device of early twentieth century composers was the rhythmic ostinato or a continuosly repeated figure most often found in the left-hand.

When this occurs, the right hand usually moves independently from the left hand with its own rhythmic and harmonic implications. When performing this music, the left hand should be “blended” so that a single colour is created, rather than hearing each note distinctly. Commonly found in music that is “impressionistic”2 in style, the ostinato creates atmosphere and serves as a background for the principle line(s). Isaac Albeniz (1860-1909) uses this device in Capricho catalan.

Capricho catalan by Isaac Albeniz, Beyond the Romantic Spirit, Book 1, page 42

As the nineteenth century came to a close, melody became less important as composers revitalised rhythm and brought it to the forefront of their works.

Twentieth century composer Igor Stravinsky (1882-1971) believed that “Rhythm and motion...are the foundations of musical art.”3 The second part of this article will look at some fresh approaches to harmony used by composers at the turn of the twentieth century.

In the fourth century B.C., Plato wrote in his Republic, “Musical training is a more potent instrument than any other because rhythm and harmony find their way into the secret places of the soul.”4

Album Leaf by Claude Debussy, Beyond the Romantic Spirit, Book 1, page 14.

Nancy Bachus is author of Beyond the Romantic Spirit, Books 1 and 2 and of the ‘Spirit’ series of books. An active teacher, recitalist, and Alfred clinician, she has had numerous articles published in Clavier, Keyboard Companion and Junior Keynotes.

1 Joseph Machlis, An Introduction to Contemporary Music (New York: Norton & Norton Co., Inc., 1961), 123.

2 Music that was influenced by the Impressionist art movement associated with Claude Monet (1840-1926).

3 Machlis, An Introduction to Contemporary Music, 40.

4 Nat Shapiro, editor, An Encyclopedia of Quotations About Music (New York: Da Capo Press, 1978), 251.

PIANO PERSPECTIVES

05

beyond the romantics

BEYOND THE Part 2: TEACHING/UNDERSTANDING LATE 19th And early 20th century music

by Nancy Bachus

In the previous article, 20th century innovations in rhythm were discussed with the last one being a rhythmic ostinato with a melodic line moving independently above it. This is a compositional device that is commonly used in music from this time period. Since the ostinato and the moving line(s) above it are frequently in different tonalities, this was one way of moving away from major/minor tonality that was the basis for harmony from 1600-1900.

Whole-Tone Scale

Introducing whole-tone scales was another way composers introduced new sounds and harmonies. In the late 19th century Claude Debussy, Vladimir Rebikov, and others used a scale that divided the octave into six equal (whole-step) parts with no half step divisions.

The Whole-Tone Scales

The lack of half-steps gives a sense of vagueness since there is no pull for resolution to any note.

The melody in Rebikov’s The Bear is built upon a whole tone scale played over an ostinato bass.

The Bear by Vladimir Rebikov, Beyond the Romantic Spirit, Book 1, 26

Bi-tonality

Using two different tonalities simultaneously, known as bi-tonality, is what Heitor Villa-Lobos does in O Polichinelo. Pentatonic (a scale consisting of the five black piano keys) figures sound against other patterns in C major. The clashing sounds help to portray the drama and energy of the popular clown puppet Punch (from Punch and Judy shows), who carried a stick and had a habit of knocking over anyone who disagreed with him.

Punch the clown

06 PIANO PERSPECTIVES

O Polichinelo by Heitor Villa-Lobos, Beyond the Romantic Spirit, Book 2, 56

Polychordal Harmony

At first glance Rebikov’s Vast Expanse of Space would appear to be another example of bi-tonality.

The right hand is firmly in C major while the left hand plays different triads. Since the left hand is not firmly in any key or tonality, this is known as polychordal harmony rather than bi-tonality.

Octave Displacement

Other composers, such as Carl Nielsen (18651931) use traditional triads, but they placed one note of the chord an octave higher than the other chord tones (known as octave displacement).

This obscures the sound of the triad and confuses the ear. After the pattern is repeated several times, the ear “adjusts,” hearing familiarity.

Nielsen’s Jumping Jack opens with C minor and F-sharp diminished triads, but one note in each chord is an octave higher than the others.

Vast Expanse of Space by Vladimir Rebekov, Beyond the Romantic Spirit, Book 1, 20

Atonality

As composers expressed a wider range of emotions, their music became more and more chromatic and dissonant with tonal centres less clear. The techniques mentioned above, the use of whole-tone and pentatonic scales, bi-tonality, and octave displacement all contributed to the break down of traditional tonality until some composers completely rejected the idea of a tonal centre. This became known as atonality. In his Prelude No. 2, Charles Griffes uses nine of the 12 tones of the octave within two measures giving an atonal feel. Without a tonal centre, composers must organise the music in a different way. Griffes does this through repetition of a motive.

Prelude No. 2 by Charles Griffes, Beyond the Romantic Spirit, Book 1, 34

Looking back on the 20th century, incredible advancements in science and technology can be observed that changed the everyday life of individuals. It is exciting to realize that composers were also innovative and developed new rhythmic and harmonic techniques to better express their thoughts and emotions. Claude Debussy spoke for many when he said, “A century of aeroplanes deserves its own music. As there are no precedents, I must create anew.”

Nancy Bachus is author of Beyond the Romantic Spirit, books 1 and 2, and of the Spirit series of books. An active teacher, recitalist and Alfred clinician, she has had numerous articles published in Clavier, Keyboard Companion and Junior Keynotes.

PIANO PERSPECTIVES

07

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9

IMPROVISATION STRATEGIES

Strategies for

to Beginners

By Tim Topham

Ever wondered how to approach teaching students basic non-jazz improvisation?

W

e know that as teachers, in order to provide our students with a holistic musical education, we should be incorporating aural, theory, sight-reading, general knowledge, composition and improvisation into our lessons on a regular basis. However for many teachers, it’s hard to know where to start… or where to find the time!

UK Teacher and Author Paul Harris really got me thinking about this recently through his concept of

10 PIANO PERSPECTIVES

Simultaneous Learning. Put simply, if you compartmentalise all the above aspects of your lesson, you’ll never have time to do it all. Instead, Harris recommends finding all the connections between these areas and integrating them regularly into everything you do in your lessons. His book Improve Your Teaching explains it in detail and is a highly recommended resource for teachers. I shall be blogging about my own experience with Simultaneous Learning in the near future.

IV – V – I. Of course music often goes to lots of other places, but fundamentally compositions have to start and end on the tonic (I) and go somewhere in the middle (normally V at some stage). n W ith just these three chords, students can start making up their own compositions. n T hey help students recognise harmonic movement in their pieces – great for improving their sight-reading.

Take a composition in the key of C. Centre yourself around C on the Circle of 5ths and you’ll find that one chord to the right is the V chord (G); one chord to the left is the IV chord (F). The secondary triads (relative minors) are inside the circle: A, Em and Dm. Together, these six chords can create quite substantial compositions.

I’m a huge believer in the importance of teaching improvising to students from as early as possible in their music education. It’s a fundamental musical skill that is fun and helps develop an innate understanding of: n Harmony n Chord progressions n Voice leading n Structure/Form n Rhythm n Listening/Aural skills Best of all, students don’t need to be able to read a note to do it, which makes it a fun and non-threatening warm-up for the start of a lesson.

Please note that for the purposes of this article, I’m talking about non-jazz improvising. Students can improvise reasonably easily using a blues scale over a blues or boogie pattern, but what about composing music more in-line with film music, ballads, pop and classical?

Many of you will be familiar with the image to the right, called the “Circle of 5ths”. Do you use it in your teaching? Do you get students to work around the circle when learning scales and/or chords? Perhaps you have it on the wall for quick reference to keys, related scales and key signatures.

I believe the most musical use of the circle is in teaching students about harmony and chord progressions. Most of you will teach students about the primary triads (I, IV, V) in some way.

Perhaps students learn about the 12bar blues progression, which uses only the primary triads, or maybe they study them as part of their theory instruction.

Whenever my students start a new piece, I drill them on the chords they are likely to find in the piece using their understanding of the Circle of 5ths.

Students quickly realise the importance of the relationship between the chords and are able to accurately guess the chord progressions they are likely to find in their pieces. This of course, makes reading the music much easier as they are already looking for structures and shapes they understand.

Head to my blog timtopham.com to see a video of how I introduce improvising to my students. If this is not the sort of thing you usually do with your students, then I hope you’ll give it a try.

Whatever the method, learning the primary triads in any given key is really useful because: n The primary triads make up the most fundamental chordal movement in just about any piece of music – classical or pop. At its simplest, tonal music moves I – V – I, often passing through IV chord on the way: I –

For more articles like this from Tim Topham visit timtopham.com

PIANO PERSPECTIVES

11

Easy Notes an easy way to teach the notes

for beginners to become

COMPETENT MUSIC READERS

right from the first lesson

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.

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’.

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STRALIA ALFR E D AU

P R E S E NTS

G N I H C A E PIANO T YB with NANC

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About

the WorkshopS Using her new series, Exploring Piano Classics, Nancy Bachus will discuss the performance practices of various style periods, and the necessary skills to play the piano with technical ease. In addition, she will explain how Alfred’s Premier Piano Course correlates with a variety of supplementary materials.

All participants will receive a free book, handouts and special discounts for materials purchased on the day.

AUCKLAND

Hosted by Piano Traders Monday 24 June 2013 WHERE: Valley Road International Church Corner of Valley Road and Mt. Eden Road in Mt. Eden.

WHEN: 10am – 1pm

SYDNEY

Hosted by Music on the Move Wednesday 26 June 2013 WHERE: Music on the Move 360 Forest Road, Hurstville WHEN: 10am – 12pm

MELBOURNE

Hosted by Pat’s Music Thursday 27 June 2013 WHERE: Pat’s Music 940 - 944 Centre Road, Oakleigh South WHEN: 9am registration (for 9.30am sharp) - 12.30pm

PERTH

Hosted by Zenith Music Friday 28 June 2013 WHERE: Zenith Music 309A Stirling Highway, Claremont WHEN: 9am - 12pm

How to Register

EMAIL piano@alfredaustralia.com CALL Alfred Australia on +61 2 8707 3612

COST: Free!

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

Reveille* Boogie

Phrase

Space Line 1 2

CD 39/40

c = 44

New Time Signature

Ĺ“

Tie

New Rhythm

ž

ž

E Â&#x;Â&#x; Â&#x; B Â&#x; Â&#x; Â&#x; Â&#x; Â&#x; 1 5

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Teaches rhythm in a way that promotes pattern identification.

Develop Premier Students Today!

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

“ After so many cantatas I only play for fun.

My original work is for the fans.”

But what is an urtext edition?

At Bärenreiter the label “urtext” describes a scholarly-

Bärenreiter Urtext: Your next performance is worth it.

Think of the time you spend practising and rehearsing

for lessons and concerts. Can you really be sure that the

music you play from reflects what the composer wanted?

Indeed, works have always been edited reflecting the

taste of the time, often leading to a gradual deviation from what the composer had in mind. Most copied

or downloaded music comes from old, heavily edited or even faulty editions. How disappointing to realise that

you have wasted your time and energy on a musical text you cannot trust.

With Bärenreiter Urtext editions you can have confidence in the validity of the musical text.

critical edition based on all known sources.

In the past, it has often been difficult for musicians

to really know if what they were playing was true to

the composer’s intentions. Publications were heavily elaborated with editors’ own – often questionable –

additions and interpretations. In order to adequately

judge the quality of an edition, musicians would need to examine manuscripts and sources themselves.

Bärenreiter takes on all this background work for you, our aim being to produce urtext editions reflecting

the latest musicological research. Our editors, experts in their field, strive to set down a work as closely as

possible to the composer’s intentions. This isn’t as easy as it sounds. Bärenreiter’s musicologists often have

to travel around the world to track down sources for

a composition. They work like detectives, deciphering manuscripts which are sometimes almost illegible and evaluating conflicting sources.

Debussy, Sonata for

Violoncello and Piano,

page from composer’s

autograph

Debussy, Sonata for

Violoncello and Piano,

m. 18, Bärenreiter

Urtext edition BA 9412

6 17

(

OB B B B OB B B B B Mouv t p

Mouvt

GGGGGGGGGGGGGGGG

Isn’t urtext just a copy of the autograph?

,IA ?

What else can I expect ( B O .OBB from a Bärenreiter Urtext

edition? sf

As a musician you certainly can appreciate how

,I A ?

B the label Bärenreiter Urtext. Integral parts of Bärenreiter

intended, especially when we have no recordings of

• Information on the genesis and history of the work

the performances. Simply looking at the autograph –

assuming it exists – is not enough. What if the composer made corrections in the first printed edition? Obviously in this case the autograph only provides part of the

story of a composition. As many sources as possible

need to be assessed in order to compile a Bärenreiter

Urtext edition including sketches, letters, autographs, manuscript copies, proofs, first editions, first editions with autograph corrections, contemporary reviews and comments by contemporaries.

No cost or effort is spared by Bärenreiter when it comes

Urtext editions are:

BB B O B B

Valuable notes on performance practice ( I B A critical commentary explaining all source

• A description of the sources • •

22

p

discrepancies and editorial decisions.

,

B your practical needs as a performer. Bärenreiter Urtext ( B I editions offer: • Page turns, fold-out pages, and cues where you

• For solo string works additional parts with fingering

is the critical commentary where all editorial decisions

• A well-presented layout and a user-friendly format

recorded. Only in this way can the true genius of the

• Superior paper and binding

composer and his work be revealed.

A

( ,I and bowing B In the case of solo concertos and vocal scores need them

•

and discrepancies between the sources are meticulously

A ?

But it’s not all about musicology. Bärenreiter also satisfies

to amassing and piecing together all the available

information. An indispensable part of every urtext edition

GGGGGGGGGGGGG

difficult it can be to grasp what the composer actually

(

A trustworthy musical text alone does not yet justify

straight-forward piano reductions

• Excellent print quality

• Solid, “Made in Germany” quality

25

Fuoco

B .B ( @ B B B arco

f

Fuoco

Bärenreiter

Debussy, Sonata for

Violoncello and Piano, composer’s sketch

Let’s take this as an example If we take Claude Debussy’s late masterpiece, his Sonata

for Violoncello and Piano from 1915, we have no less

11 sources and this does not than B B even include his

B B O B B B B

A

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B B B pp

BB B IA

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ouv t Cédez o // M pizz. *)

O B B

B B B B correspondence.

These sources comprise several copies B B work given by the composer to friends with Iof the

. B ( B but the primary sources are the sketches S , annotations, p

p

0

0

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(B B B B

sempre pp

B ( B B

B

B B B B O (B @ @

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, BB I A ? there has always been a misunderstood symbol in the

The first edition very closely follows the autograph but cello part (movement 2, measure 18). All other editions

I ,I I , I , I I , A . B B, I A , , B ( B B (B (B B B B pp

the autograph score A , and the first edition.

,I B

//

pp this symbol o as an open string. of this sonata present

But is this correct? , I A @ B O B B B B , IThe final lowest note on the cello, in theBbar is the is no reason B There B theBopen note

C string. whatsoever for

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Cédez

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pp urtext mean? I , . B has never been published and thus never , I , B B (

been performed.

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p

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shaped head ◊ in the same movement in mm. 8–9.

Looking at Debussy’s autograph, we find no answer

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B B .B O B B(B B B B B B t now is a label used for scholarly-critical In music urtext of all aspects Mouv of a work enriching our understanding of it

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with literary texts. It referred to the original texts of

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to the 19th century where it appeared in connection

“ I like the digital age, but nothing compares to the original.”

Think of your next performance With print-outs from downloads you miss out.

Your performances miss out.

Don’t waste time by messing with loose paper copies.

Build your personal music library with Bärenreiter Urtext

The Bärenreiter film …

Renowned conductor and musicologist Christopher

Hogwood takes you on a journey through Bärenreiter.

Come with us behind the scenes.

editions. Make our editions your own. Take advantage

You will be given an insight into the editorial and

markings and comments which you will be able to refer

The history of this family-owned company is also

of our expertise and complement it with your personal

production process of a Bärenreiter Urtext edition.

to all your life.

revealed.

Make a Bärenreiter Urtext edition a life-time investment.

Your next performance is worth it.

at www.baerenreiter.com

WINTER 2013 CATALOGUE

Technique 2A–2B

The 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.

Technique Tools: Dynamic Shading • Crossing Over the Thumb • SolidSounding Chords • Two-Note Slurs • Seamless Melodies • Balance Between Melody and Accompaniment • 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

Technique 1A–1B

• Finger 3 Over Finger 1

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

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

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

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

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

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

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

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

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

ALFRED PIANO LEVELING AND METHOD CORRELATION Skill Level

Early Elementary (EE) Elementary (E) Late Elementary (LE) Early Intermediate (EI) Intermediate (I) Late Intermediate (LI)

Pop Level

FF = 5 Finger (E) BN = Big Note (LE/EI) EP = Easy Piano (I/LI)

Alfred’s Basic Prep Course Levels A and B Levels C and D Levels E and F

Alfred’s Basic Piano Library Level 1A Level 1B Level 2 Level 3 Levels 4 and 5 Levels 5 and 6

Alfred’s Premier Piano Course

Level 1A Level 1B Level 2A and 2B Level 3 Levels 4 and 5 Level 6

PIANO PERSPECTIVES

19

WINTER 2013 CATALOGUE

Pop and Movie Hits Levels 1A-6 Favourite pop and movie hits have been arranged to correlate with the concepts presented in the Premier Lesson Books. Optional duet parts for teacher or parent add harmonic richness to the solo parts in the early levels.

Titles: Annie’s Song • Bye, Bye Blackbird • It’s a Small World • Mickey Mouse March • The Rose • Scooby Doo, Where Are You? • This Is It! • This Land Is Your Land • The Trolley Song • Up Where We Belong • Whistle While You Work.

Book 1A.......................................34015 Titles: (Meet) The Flintstones • Great Balls of Fire • Inspector Gadget • Over the Rainbow • Puff (The Magic Dragon) • Supercalifragilisticexpialidocious • Theme from Ice Castles • Theme from Superman • We’re Off to See the Wizard • What a Wonderful World • Yo Ho (A Pirate’s Life for Me).

Book 1B.......................................34016 Titles: Beauty and the Beast • Catch a Falling Star • The Chicken Dance • Chim Chim Cher-ee • Happy Birthday to You • Heigh-Ho • It’s My Party • James Bond Theme • The Lion Sleeps Tonight • (We’re Gonna) Rock Around the Clock • Star Wars (Main Theme) • Wipe Out.

Book 2A.......................................34415 Titles: The Entertainer • Hedwig’s Theme • Home • Hooray for Hollywood • Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini • Part of Your World • The Pink Panther • Pokémon Theme • Raiders March • When You Wish Upon a Star • A Whole New World........................................

Book 2B.......................................34416

20 PIANO PERSPECTIVES

Titles: Baby • Breakaway • Bridge Over Troubled Water • California, Here I Come • Colors of the Wind • Don’t Stop Believin’ • Looking Back (Love Theme from Glee) • Raindrops Keep Fallin’ on My Head • Someday My Prince Will Come • Somewhere My Love (Lara’s Theme) • Splish Splash • Wipe Out.

Book 3........................................ 36431 Titles: Batman Theme • Be Our Guest • Blue Moon • Cruella De Vil • Endless Love • Gonna Fly Now (Theme from Rocky) • Theme from Ice Castles (Through the Eyes of Love) • Inspector Gadget (Theme) • New Soul • The Pink Panther • The Sound of Silence.....................

Book 4........................................ 36432 Titles: And All That Jazz • Anything Goes • At Last • Can You Feel the Love Tonight • Dancing Queen • Don’t Stop Believin’ • How High the Moon • Maple Leaf Rag • Moondance • Rhapsody in Blue™ • Summertime • Take the “A” Train • Under the Sea • The Wind Beneath My Wings.

Book 5.........................................37615 Titles: Beauty and the Beast • Hero • I Got Rhythm • Love Story (Where Do I Begin?) • Theme from “New York, New York” • The Notebook (Main Title) • The Prayer • Sealed with a Kiss • Swinging on a Star • The Syncopated Clock • Take Five • Tiger Rag (Hold That Tiger) • What a Wonderful World • You Raise Me Up.

Book 6.........................................37616

WINTER 2013 CATALOGUE

Center Stage

12

Martha Mier

Melancholy Blues Slowly, with swing ( œ œ

4 & 4 œj œ P ?4 œ œ 4

3

4 1

j œ œ

4 1

2

1

œ

5

Martha Mier

j œ œ)

=

j œ b ˙˙

2

1

œ

œœœ œ 3

œ b œœ œ œ œ J 3

5 1

3

2

1 3 5

1 5

8

1

& #œ ? œœ

Center Stage was written to highlight the pianistic abilities of young pianists. Students will enjoy performing these solos at school talent shows, recitals, or sharing them with family and friends. The pieces in these collections feature a variety of styles that will encourage expressive and imaginative playing.

bœ 3

1

œ nœ œœ

1 5

11

5

4

1

4

5

2

1 5

œ ˙ ˙ 5 1

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3

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1

5

2

1

2

1

3

2

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4 2

Œ œœœ 3

2

5

2 1

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œ bœ nœ œ œ œ œ 3 bœ ˙ œ ˙ œ œ

2

Book 1 (LE)................................ 20779

2

5

1

2

4

5

5 3

Œ

œ

œ

œœ # œœ œœ œœ bœ F 3 œ œ œ œ œ bœ

4 2

5 3

4 2

5

3

œ J

œ ‰ J œ œ œ bœ œ F nœ œ Œ Ó

4 1

2

œœ œ # œœ œœ œœ

P œ œ œ

& œœ œ # œœ œœ œœ œ œ œ P ? œ œ œ œ 5 3

1

2

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5

j œ œ œ #œ œ bœ œ œ œ œ b˙ J & #œ œ œ œ œ Jœ Jœ J˙ π P 3b œ # œœ ˙ œ bœ œ œ œ œ #œ œ œ œ ? ˙ œ œ œ œ 4

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Copyright © 2012 by ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved. Printed in USA.

Book 2 (EI)................................. 20780

Book 3

NEW! Book 3 (I)........................40512

Book 1

Robert D. Vandall’s Favorite Solos Robert D. Vandall

Feelin’ Good!

Robert D. Vandall

& 44 Ó f ? 4 4 w w Fast

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3 1

w ww

1 5

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9

Many of Robert D. Vandall’s solos are among the most requested by piano teachers and students alike. Now you can enjoy the works that are the composer’s favourites!

Œ

œ œ œ

Lydian Nocturne

œœ Œ

˙˙

(from Modes and Moods)

Robert D. Vandall

5

?

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& Ó P ? ww

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w

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˙˙ Œ

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w w w

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ww

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cantabile

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∑

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˙ 1

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9

13

NEW! Book 1 (LE/EI).............. 40309 NEW! Book 2 (EI/I)..................40310

& œ bœ œ œ > f ? bw bw

NEW! Book 3 (I/LI)...................40311

Œ œ bœ œ œ ˙˙ bœ Œ

& w

Ó

˙. ? . œ œ œ ˙ ˙. œ ˙. bœ œ Œ

Copyright © 2008 by Alfred Music Publishing Co., Inc. 13 All rights reserved.

Printed in USA.

&

Book 1

wŒ

3

w

?

3

˙

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1

œ ˙ œ œ

2

œ œ œ ˙

˙ œ œ &œ œ

?

œ

˙

F˙

˙ œ œ &œ œ

?

5

˙

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˙ ?

& œ œ

˙

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˙ œ

˙ œ&œ œ ˙

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?

5

1

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?

Copyright © 1989 by Myklas Music Press Copyright © assigned 2004 to Alfred Music Publishing Co., Inc. All rights reserved.

Printed in USA.

Book 3

PIANO PERSPECTIVES

21

WINTER 2013 CATALOGUE

Belwin Contest Winners

4

The Viking Walter Noona

# ‰ œœœ œœ ‰ ‰ œ œœ ‰ ‰ œœ œ ‰ & 44 ‰ ‰ œœœ œœœ ‰ ‰ œœœ œœœ ‰ Ó œœ œ œ. œœ. . . . . . œ. . . f œ œ œ. œ œ œ œ . . œ. œ. œ. œ ?#4 œ œ œ œ 4 J J J J J J Fiercely

18

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3

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Ó

5

5

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1

Composers included are: Gilbert Allen Stephen Burch Hazel Cobb Olive Dungan Bernice Frost Louise Garrow Jon George

William L. Gillock David Carr Glover Roger Grove Martha Mier Mark Nevin Walter Noona Lynn Freeman Olson

Charles Donald Porter Betty Sutton Robert D. Vandall Mary Verne June Weybright

Over the years, Belwin-Mills and Summy-Birchard produced extensive libraries of quality elementary and intermediate supplementary piano music. The pieces included in this series represent the two companies’ most popular and effective solos drawn from festival and contest lists.

NEW! Book 1 (EE/E).....40160 NEW! Book 3 (EI/I)...40162 NEW! Book 2 (E/LE)....40161 NEW! Book 4 (I/LI)....40163

1

5

& Ó #œ œ P ? œ œ Ó 13

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1

1

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2

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‰ œœœ œœœ ‰ œ œ œ œ & ‰ œœ œœ ‰ ‰ œœ œœ ‰ Ó œ. œ. œ. œ. . . ƒ œ . . œ œ œ œ ?# œ œ. ‰ œ œ œ œ œ œ Jœ J # œ Ó #œ 2

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2 © 1968 (Renewed) BELWIN-MILLS PUBLISHING CORP., a Division of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

1

5 LH

RH 1

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damper pedal as marked soft pedal throughout

5

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# ‰ œœœJonœœGeorge ‰ ‰ œœœ œœ ‰ ‰ œœœ œœ ‰ Ó ‰ œœœ œœ ‰ & Ó . œ. . œ. . œ. . œ. œ œ œ. œ œ œ œ œ . . œ œ œ # œœ œœ .œ ˙ œ Œ ?œ # œ œ œ œ J J J J

Dreamily

1

2

5

distant Chimes

5 2 1

5 3 1

Book 3

5

© 1969 (Renewed) SUMMY-BIRCHARD MUSIC, a Division of SUMMY-BIRCHARD, INC. Exclusive Worldwide Print Rights Administered by ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

Book 1

Grand One-Hand Solos for Piano Melody Bober

8

Fanfare for Bells (for the right hand)

Melody Bober

Ringing (q = 120)

& 44 ˙˙ Ó ˙ f ? 44 Ó ˙˙ 5 2 1

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5 1

6

& œ œ ˙ ?

∑

œœœœœ 5

∑

œ œ œ œ F ∑

œ œ ˙

œ

∑

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(for the left hand)

Swing it! (q = 108) ( œ œ

Melody Bober

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=

#4 œ œ 4 #Œœ œ œ œ3 ˙œ œ œ & œ œ n œœ œœ œœ Œ œ

F # œ œ ∑? # 44 œ Œ ∑ Ó Ó Œ # œjœ œ

œœœœ˙

2

∑

1 3

3

2 4

Students with an injured arm or hand can continue their piano studies with this series. Each volume features pieces written especially for the right or left hand in a variety of styles, keys, time signatures, and tempos. The collection is perfect for isolating technical weaknesses associated with a particular hand while developing awareness that one hand is capable of voicing and artistic performance.

Book 1 (EE).................................39100 Book 2 (E)................................... 39101 Book 3 (LE).................................39196 NEW! Book 4 (EI)......................40157 NEW! Book 5 (I)........................40158 NEW! Book 6 (LI)......................40159 22 PIANO PERSPECTIVES

5 2 1

& ˙˙˙ Ó

f ? Ó ˙˙

5 1

16

& œ œ ˙ ?

∑

œœ œœ Ó œ œ ˙ Ó ˙ 5 4 1

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# œ &œ n˙œœ

? #∑ Ó 4

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˙

2

1

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3

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œ œ b œœ n œœ

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œœ

1

Œ

j #œ œ

Œ

# œ n œ œ œ 3

4

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∑

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3

2

1

Ó

1 3

Ó

7

5

3

Ó

2

Ó

# Ó 3 ∑ &˙˙˙ Œ nœ

# œ œ œ œ œ œ œ f ?Ó # ˙ Œ Ó œ w

10

Book 2

Œ

# œ œ œ œ

œ Œ

1

2

œ œœ œ œœœ œ œ Œ œ

j Œ ∑œœ

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3 5

1 5

11

13

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Book 4

WINTER 2013 CATALOGUE

Sheet Solos and Duets

Sheet Solos Lucky Penny! (Kim Williams) (EE)..............................................39430

Just Hangin’ Out (Rebecca Lewis) (EI).......................................39436

No School Today (Tom Gerou) (EE)............................................ 39431

Reflection on the Thames (Fran Toney Young) (EI)................39435

Bat that Ball! (Wynn-Anne Rossi) (E).........................................39432

Whirlwind (Melody Bober) (EI)...................................................39438

Circus Capers (Dennis Alexander) (LE)......................................39433

Big Sky (Catherine Rollin) (EI).....................................................39437

Little Ragtime Waltz (Carol Matz) (LE).....................................39434

Tarantella Furioso (Bernadine Johnson) (EI)............................39439

Duets Pianists will enjoy these duets for two students at one piano.

Beethoven’s Ghost (Bernadine Johnson) (EI).......................... 39447 Lost in the Wind (Wynn-Anne Rossi) (EI).................................39450 Dragon-Fire Fantasy (Carol Matz) (EI)...................................... 39451 Tuscon Toccata (Robert D. Vandall) (I).......................................39449 The Musician’s Life (Robert D. Vandall) (LE)............................39448

PIANO PERSPECTIVES

23

WINTER 2013 CATALOGUE

Remembering Dave Brubeck (1920-2012)

Alfred Music Publishing is pleased to be the exclusive publisher of the Dave Brubeck’s original piano works and arrangements of his jazz standards.

Dave Brubeck at the Piano

Time Out: The Dave Brubeck Quartet 50th Anniversary Edition

Dave Brubeck / ed. John Salmon

By Dave Brubeck, Iola Brubeck, and Paul Desmond

Dave Brubeck, working closely with his protegé John Salmon, has written a volume of newly composed works for the jazz piano world.

The Dave Brubeck Quartet’s 1959 album Time Out changed the sound of jazz and American music. Brubeck’s experimentation with time signature, harmony and even Turkish rhythms eventually earned him the cover of Time Magazine; the first jazz musician to achieve such a feat. Saxophonist Paul Desmond’s composition “Take Five” went on to become the first million-selling jazz instrumental single on the Billboard Hot 100. This folio celebrates the album’s 50th anniversary with full-colour artwork from the original record, and a 10 page write-up from jazz historian Ted Gioia. All seven compositions from the monumental recording-- just as Brubeck played them - are featured in this collectable folio.

(A)............................................... 31916

Simply Brubeck: The Music of Dave Brubeck: 26 of His Top Jazz Classics

By Dave Brubeck / arr. Bruce Nelson

Simply Brubeck is a collection of Dave Brubeck’s most engaging compositions.

Phrase markings, articulations, fingering and dynamics have been included to aid with interpretation, and a large print size makes the notation easy to read.

(EP) arr. Bruce Nelson.............33312 (A)...............................................33311

(EP)............................................ 27048

Dances for Two Catherine Rollin

22 for Joanne Smith Thank you for nurturing so many teachers who have carried on your love of and dedication to teaching piano.

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All of the pieces in the Dances for Two series are intended to capture the rhythmic essence of dance music. Youths, teens, and adults will all enjoy these charming pieces with interesting parts for both performers.

5 3 1

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Book 2 (I)....................................19679 NEW! Book 3 (LI)..................... 40579

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for Joanne Smith 5 Thank you for 3 nurturing so many teachers who have carried on your love of and dedication to teaching piano.

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24 PIANO PERSPECTIVES

Check out

alfred.com/E MT fo r a video tour

Music Theory, Now in the Cloud!

Introducing Essentials of Music Theory WEB

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

• 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

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

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

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

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.

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

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.

!

WINTER 2013 CATALOGUE

Grand Trios for Piano Melody Bober

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Book 1 (EE)................................ 37322

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The joy of ensemble playing with six hands at the piano is captured in this series of trios by Melody Bober. Written for pianists at the early-elementary to late-intermediate levels, the pieces in this collection expand the reading range and technical level. All three parts are equal in difficulty and feature a variety of keys, styles, time signatures, and tempos.

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Book 2 (E).................................. 37323

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Book 3 (LE)................................ 37324 Book 4 (EI)................................ 37325 NEW! Book 5 (I)....................... 37326

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Tarantella in D Minor

NEW! Book 6 (LI)..................... 37327 Middle

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Book 2

26 PIANO PERSPECTIVES

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WINTER 2013 CATALOGUE

Bumble Boogie

2

Arr. for Two Pianos / Eight Hands by Lucy Wilde Warren

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Arrangement for Two Pianos / Eight Hands

by Lucy Wilde Warren

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by Jack Fina

Pianist, composer, and bandleader Jack Fina’s popular 1946 hit, “Bumble Boogie,” is based on Nikolai Rimsky-Korsakov’s “Flight of the Bumble Bee.” Lucy Wilde Warren’s arrangement for two-pianos, eight-hands is written for late-intermediate pianists and set up as two duets (Piano 1 and Piano 2) with the primo and secondo parts on facing pages. A conductor’s score is included. This high-energy audience pleaser is fun to play while providing important listening skills, technique, rhythmic control, and musicianship.

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By Jack Fina

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© by Breitkopf & Haertel, Wiesbaden Used by Permission.

All Rights Reserved.

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Produced by Alfred Music Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com

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(Both hands 8va)

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Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions.

ISBN-10: 0-7390-9055-0 ISBN-13: 978-0-7390-9055-8

(LI).............................................. 39363 Conductor’s Score

Don’t Stop Believin’

Arr. for Two Pianos/Eight Hands by Melody Bober Intermediate Piano Ensemble—Two Pianos, Eight Hands Score

Don’t Stop Believin’

by Journey

Arrangement for 2 Two Pianos / Eight Hands (8va)

by Melody Bober 5

8va

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5 2 1

Primo 1

Secondo 1

Words and music by Jonathan Cain, Neal Schon, and Steve Perry [Journey] From the hit TV shows Glee and American Idol, Journey’s timeless tune will delight audiences. First debuted in 1981, this classic rock piece has been used in many movies as well.

Melody Bober’s arrangement for two pianos eight hands, is written for intermediate pianists and is set up as two duets (Piano 1 and Piano 2) with primo and secondo parts on facing pages. A conductor’s score is included. “Don’t Stop Believin’” is excellent for recitals, piano ensemble classes, and “monster” concerts.

NEW! (I)....................................40156

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Prmo 2 ISBN-10: 0-7390-9274-X ISBN-13: 978-0-7390-9274-3

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27 PIANO PERSPECTIVES

PIANO PERSPECTIVES

27

WINTER 2013 CATALOGUE

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

Each of these Alfred CD editions contains an outstanding recording from the Naxos label.

Abram Chasins

Franz Schubert

Three Chinese Pieces

Allegro in A Minor, Op. 144, D. 947 (“Lebensstürme”)

American composer Abram Chasins became well known for his solo piano suite Three Chinese Pieces (1926). Each movement sounds out the mood implied by its title: sorrow (“A Shanghai Tragedy”), romance (“Flirtation in a Chinese Garden”), and breathtaking frenzy (“Rush Hour in Hong Kong”). Tempos and technical demands fluctuate from Lento through Presto agitato.

NEW! Book (A)......................... 40822

Ed. Maurice Hinson and Allison Nelson

The Allegro in A Minor (“Lebensstürme”), Op. 144, demonstrates Schubert’s mastery at writing for one piano, four hands. This large and passionate work is written in sonata-allegro form and may have been intended as the first movement of a sonata.

NEW! Book & CD (A)............... 40322

Ludwig van Beethoven Sonata in D Major, Op. 6

Ed. Gayle Kowalchyk and E. L. Lancaster Beethoven’s lighthearted Sonata in D Major, Op. 6, is his only sonata for one piano, four hands. This duet has been carefully edited and fingered for performance ease. Measure numbers are included, and the primo and secondo parts are on facing pages. Essential ornamentation is realised in footnotes.

NEW! Book (LI)........................40088

Francis Poulenc

Fantasie in F Minor, Op. 103, D. 940 Ed. Maurice Hinson and Allison Nelson

The Fantasie in F minor, Op. 103, is considered one of the great masterpieces of ensemble piano repertoire. Its four connected movements demonstrate Schubert’s mature style and contain lovely melodies, dramatic gestures, a brilliant scherzo, and a virtuosic fugue.

NEW! Book & CD (A)............... 40326

Rondo in A Major, Op. 107, D. 951

Ed. Maurice Hinson and Allison Nelson

Sonata for Piano, Four Hands

The Rondo in A Major, Op. 107, demonstrates Schubert’s mastery at writing for one piano, four hands. The work’s lyrical themes are highly decorative, treated freely, and full of exciting rhythms.

Based on the 1919 edition, this work has been carefully edited and fingered for performance ease. Measures are numbered for convenient reference, and the primo and secondo parts are on facing pages. Editorial metronome suggestions are included. Poulenc’s French instructions appear along with English translations.

NEW! Book & CD (A)............... 40328

NEW! Book (EA)....................... 39581

The Two Characteristic Marches, Op. 121, were composed in 1826 and are the only marches that Schubert wrote for piano duet that are in 6/8.

Both marches are in C major and are scherzolike in mood, revealing Schubert’s fondness for sudden dynamic changes, his musical wit, and his fine melodic writing.

Ed. Maurice Hinson and Allison Nelson

Two Characteristic Marches, Op. 121, D. 886 Ed. Maurice Hinson and Allison Nelson

NEW! Book & CD (A)............... 40324 28 PIANO PERSPECTIVES

WINTER 2013 CATALOGUE

Sunday Morning Companion Arr. Victor Labenske

Sunday Morning Companion is designed as a practical resource for church pianists.

These arrangements are appropriate for preludes, offertories and postludes, and are written so that minimal preparation time is required. Additionally, pieces are arranged in a variety of styles that will fit many different worship settings.

Sunday Morning Styles Companion

Sunday Morning Christmas Companion

The fifth volume in the Sunday Morning series, this collection contains several arrangements in each of the following styles: Black Gospel, Celtic, Jazz, Pop, Southern Gospel, and Latin. There is a set of variations in which “Our Great Savior” is arranged in each of these styles. These arrangements of traditional sacred music are useful in creating a bridge between contemporary and traditional workship styles.

Titles: Angels We Have Heard on High • The Birthday of a King • Child in a Manger • Come Thou Long Expected Jesus • The First Noel • Gesu Bambino • Go Tell It on the Mountain • God Rest Ye Merry, Gentlemen • Good Christian Men Rejoice • How Great Our Joy • I Heard the Bells on Christmas Day • Infant Holy, Infant Lowly • Lo, How a Rose E’er Blooming • Let All Mortal Flesh Keep Silent • O Come, O Come Emmanuel • O Holy Night • O Thou Joyful, O Thou Wonderful • Once in Royal David’s City • While Shepherds Watched Their Flocks by Night • and more.

Titles: All Hail the Power • Brethren, We Have Met to Worship • Close to Thee • Come Thou Almighty King • Crown Him with Many Crowns • Have Thine Own Way, Lord • Higher Ground • I Am Thine, O Lord • I Have Decided to Follow Jesus • I Know Whom I Have Believed • I Will Praise Him • Immortal, Invisible, God Only Wise • Lead On, O King Eternal • and more.

NEW! Book (LI/EA)................. 39053

Sunday Morning Companion Titles: All Hail the Power of Jesus’ Name • AmazingGrace • Be Thou My Vision • Blessed Assurance • Come Thou Fount of Every Blessing • Doxology • Fairest Lord Jesus • For the Beauty of the Earth • Glorious Things of Thee Are Spoken • His Eye Is on the Sparrow • Holy, Holy, Holy • It Is Well with My Soul • Jesus Loves Me • Joyful, Joyful, We Adore Thee • A Mighty Fortress Is Our God • My Faith Has Found a Resting Place • My Jesus, I Love Thee • O Worship the King • Savior, Like a Shepherd Lead Us • Take My Life and Let It Be • We Gather Together • What a Friend We Have in Jesus • and more.

(I/LI)........................................... 33461

Sunday Morning Praise Companion Titles: Amazing Grace (My Chains Are Gone) • Beautiful One • Better Is One Day • Blessed Be Your Name • Breathe • Come, Now Is the Time to Worship • Draw Me Close • God of Wonders • Great Is Thy Faithfulness • The Heart of Worship • Here I Am to Worship • Holy Is the Lord • Hosanna (Praise Is Rising) • How Deep the Father’s Love for Us • How Great Is Our God • How Great Thou Art • In Christ Alone (My Hope Is Found) • Jesus, Messiah • Lord, I Lift Your Name on High • Mary, Did You Know? • You Are My All in All • You Are My King (Amazing Love) • and more.

(I/LI)........................................... 36556 93 52

(Approx. Performance Time – 2:30) (Approx. Performance Time – 2:30)

Sweet Hour of Prayer Love Divine, All Loves Excelling

Comb-bound Book (I/LI).........28315

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Titles: All Glory, Laud and Honor • America the Beautiful • At the Cross • Battle Hymn of the Republic • Breathe on Me, Breath of God • Christ Arose • Christ the Lord Is Risen Today • The Church’s One Foundation • Come, Ye Thankful People, Come • The Comforter Has Come • Count Your Blessings • God of our Fathers • Hosanna, Loud Hosanna • I Love They Kingdom, Lord • It Came Upon the Midnight Clear • Jesus Paid It All • Let All Things Now Living • My Country ‘Tis of Thee • Near the Cross • Now Thank We All Our God • The Solid Rock • The Way of the Cross Leads Home • and more.

Comb-bound Book (I/LI)........ 32760

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Sunday Morning Holiday Companion

Arr. Victor Labenske

Arr. Victor Labenske

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William B. Bradbury

John Zundel

Freely (q. = 63)

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© 2012 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

© 2012 ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

Sunday Morning Styles Companion

PIANO PERSPECTIVES

29

WINTER 2013 CATALOGUE

Contemporary Christian Christian Hits

20 Sheet Music Bestsellers: Christian Hits

40 Sheet Music Bestsellers: Christian Hits

Due to their popularity and playability, the songs in this easy piano collection rank among the top-selling Contemporary Christian sheet music titles.

Titles: 10,000 Reasons (Bless the Lord) • Amazing Grace (My Chains Are Gone) • Blessings • I Will Rise • In Christ Alone • plus 14 more.

Titles: Amazing Grace (My Chains Are Gone) (Chris Tomlin) • Beautiful (Bethany Dillon) • Blessings (Laura Story) • Glorious Day (Living He Loved Me) (Casting Crowns) • I Can Only Imagine (MercyMe) • I Will Be Here (Steven Curtis Chapman) • Only Hope (Mandy Moore) • When I Say I Do (Matthew West) • You Raise Me Up (Selah) • plus 31 more.

NEW! (EP)................................. 39441

Piano/Vocal/Guitar................... 37633

Arr. Carol Tornquist

TOP 50 These fun collections of 50 easy piano arrangements are perfect for the intermediate student.

Each book in the Top 50 series includes a wonderful collection of piano arrangements from Children’s songs to Jazz Standards to Movie & TV Classics!

Top 50 Praise & Worship Arr. Carol Tornquist

50 popular praise and worship songs that are sung in churches everywhere.

Arranged for easy piano by leading Christian music arranger Carol Tornquist, they sound great both as piano solos and for sing-alongs. Titles: Holy, Holy, Holy • Cry of My Heart • Blessings • Indescribable • Untitled Hymn (Come to Jesus) • plus 46 more.

NEW! (EP).................................39442

Top 50 Movie & TV Classics Arr. Dan Coates

A fun collection of 50 easy piano arrangements of famous themes and songs from blockbuster movies and television series. Titles: The Big Bang Theory • Concerning Hobbits • Falling Slowly • Harry’s Wondrous World • Secondhand White Baby Grand • Star Wars (Main Title) • plus 44 more.

NEW! (EP)..................................37173

30 PIANO PERSPECTIVES

Also Available: Top 50 Romantic Hits............... 32163 Top 50 Christmas Hits..............33264 Top 50 Country Hits..................33265 Top 50 Pop Hits.........................33267 Top 50 Jazz Standards..............33268 Top 50 Broadway Hits..............33266 Top 50 Wedding Classics...........33269 Top 50 Children’s Songs............37174 Top 50 Ballads............................37175 Top 50 Classic Rock Hits.............37176

WINTER 2013 CATALOGUE

Dan Coates Collections of Medleys 42

Moonlight Medley

24

Dan Coates Popular Piano Library The medleys in this series combine songs into one carefully arranged musical piece depicting a single idea from movies, Broadway, and a selection of timeless standards. These pieces are excellent crowd-pleasers that are perfect for recitals, encores, piano lessons—or just plain fun.

Gershwin Medley

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(I/LI)........................................... 39283

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Titles: Anything Goes Medley • Walt Disney’s Beauty and the Beast Medley • Funny Girl Medley • Little Shop of Horrors Medley • Mamma Mia! Medley • My Fair Lady Medley.

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© 1934 (Renewed) METRO-GOLDWYN-MAYER INC. All Rights Controlled by EMI ROBBINS CATALOG INC. (Publishing) and ALFRED MUSIC PUBLISHING CO., INC. (Print) All Rights Reserved

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© 1930 (Renewed) WB MUSIC CORP. All Rights Reserved

Medleys of Timeless Standards

Medleys from the Movies Titles: Chicago Medley (And All That Jazz/Nowadays/Razzle Dazzle) • Harry Potter Medley (Harry’s Wondrous World/Hedwig’s Theme/Hogwarts’ March/ Potter Waltz) • The Lord of the Rings Medley (Evenstar/In Dreams/The King of the Gold Hall (Rohan)) • and more.

(I/LI)........................................... 39282

Medleys of Timeless Standards Titles: Cole Porter Medley • Feelin’ Blue Medley • Gershwin Medley • In the Mood for Love Medley • Moonlight Medley • New York Medley.

NEW! (I/LI)............................... 39594

Dan Coates Advanced Collections Dan Coates Popular Piano Library The advanced levels of the Dan Coates Popular Piano Library are perfect for professionals and students who perform at this level. From Timeless Standards to Beautiful Ballads, any audience will be wowed with these pieces, carefully arranged by one of Alfred’s most prolific & best-selling authors.

Treasured Broadway Hits

Beautiful Ballads

Titles: Can You Feel the Love Tonight (from Walt Disney’s The Lion King) • Everything’s Coming Up Roses (from Gypsy) • Home (from The Wiz) • I Could Have Danced All Night (from My Fair Lady) • If Ever I Would Leave You (from Camelot) • Lily’s Eyes (from The Secret Garden) • Look to the Rainbow (from Finian’s Rainbow) • Part of Your World (from Walt Disney’s The Little Mermaid) • People (from Funny Girl) • Suddenly, Seymour (from Little Shop of Horrors) • Try to Remember (from The Fantasticks) • The Winner Takes It All (from Mamma Mia!).

Titles: Beautiful (Christina Aguilera) • Killing Me Softly (Roberta Flack, The Fugees) • Let Me Fall (Josh Groban/from Cirque du Soleil’s Quidam) • To Make You Feel My Love (Bob Dylan, Adele) • What a Wonderful World (Louis Armstrong) • and more.

(A)...............................................36525

Timeless Standards Titles: At Last • Bewitched, Bothered and Bewildered • Blue Moon • Fascinating Rhythm • How High the Moon • I’ll Be Seeing You • Mountain Greenery • My Foolish Heart • Night and Day • Till • Weekend in New England • Where Do You Start.

NEW! (A)...................................36522

Favorite Movie Solos Titles: The Colors of the Wind (from Pocahontas) • A Dream Is a Wish Your Heart Makes (from Cinderella) Hooray for Hollywood (from Hollywood Hotel) • The Notebook (Main Title) (from The Notebook) • The Windmills of Your Mind (from The Thomas Crown Affair) • and more.

(A)...............................................36521

(A)...............................................36523

PIANO PERSPECTIVES

31

WINTER 2013 CATALOGUE

Dan Coates Duet Collections

19

Camelot 18

(from Camelot)

Camelot

PRIMO Words by ALAN JAY LERNER Music by FREDERICK LOEWE

(from Camelot)

Arranged by Dan Coates

SECONDO Words

by ALAN JAY LERNER Moderately bright Music by FREDERICK LOEWE

Dan Coates Popular Piano Library

Moderately bright

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Titles: And All That Jazz • Anything Goes • Camelot • Don’t Rain on My Parade • I Have a Dream • Ragtime • Supercalifragilisticexpialidocious • Together Wherever We Go.

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Duets from Broadway

NEW! (I/LI).............................. 39595

Duets from the Movies

Duets of Timeless Standards

Titles: Cantina Band • Cruella de Vil • Hedwig’s Theme • The Imperial March • The Pink Panther • Raiders March • Superman Theme • That’s Entertainment.

Titles: All of Me • As Time Goes By • From This Moment On • I Got Rhythm • I’m in the Mood for Love • My Funny Valentine • They Can’t Take That Away from Me • What a Wonderful World.

NEW! (I/LI).............................. 39596

NEW! (I/LI).............................. 39462

Megahits of 2012

28

Payphone Words and Music by Wiz Khalifa, Adam Levine, Benjamin Levin, 2 Ammar Malik, Johan Schuster and Daniel Omelio Moderately fast

b œ œ & b 44 œ 2

P ? bb 44 Ó &

Gm

bb œ

NEW! Arr. Dan Coates (EP)....40318 NEW! Arr. Carol Matz (BN)....40319

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Eb

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1

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3

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at

a

pay

-

5

phone

3

try - in’

to

call

home.

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1

All

5

3

Words and Music by Mason Levy, Matthew Tyler Musto, Mike Posner and Justin Bieber

of my change

Moderately Verse: N.C. 5 1

1

1

5

3

1

4

5

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2

1

2

Verse: Eb

b œ œœœ œœœ œ & b .. ‰ œJ know it’s hard to re-mem - ber F 1.2. youI turned your back on to- mor - row ? bb .. ww 1

1 5

(no pedal)

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1

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want.

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1

5

‰ œœ œ œœ Œ œ œ œ œœ girl, let me talk to you.

If I was your boyœ œ œ œ œHeyœ œ ‰ œ œ œ J ? œ œ œ œ the peo - ple weœ used to be. œ œ œ œ œ ’cause you for- got yes- ter-day. % Chorus: ww 9 Am Dm G C j Œ & œ œ ‰ œ œ œ œ œœ œ œ œ œ œœ 1

Bb

1 5

© 2012 WARNER-TAMERLANE PUBLISHING CORP., WIZ KHALIFA PUBLISHING, UNIVERSAL MUSIC–CAREERS, SUDGEE MUSIC, - friend, WHERE DA KASZ AT?, MATZA BALL MUSIC, MARY CHA CHA, MARATONE AB, BMG RUBY SONGS and EAR ENTERTAINMENT I’d nev - er All Rights on behalf of itself and WIZ KHALIFA PUBLISHING Administered by WARNER-TAMERLANE PUBLISHING CORP. All Rights Reserved

?

Big Note

Arranged by Dan Coates

˙. Œ ˙.

˙. ˙.

5

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œ œ

let

œ œ œ

you go.

œ œ œ

Keep

œ

you

on

my arm

œ œ

© 2012 ARTIST PUBLISHING GROUP WEST, MASON LEVY PRODUCTIONS, SONY/ATV TUNES LLC, NORTH GREENWAY PRODUCTIONS and UNIVERSAL MUSIC CORPORATION All Rights on behalf of ARTIST PUBLISHING GROUP WEST and MASON LEVY PRODUCTIONS Administered by WB MUSIC CORP. All Rights Reserved

Easy Piano

Also available: Piano/Vocal/Guitar arrangements of extremely popular songs like “Home” (Phillip Phillips), “Good Time” (Owl City and Carly Rae Jepsen), and “Wide Awake” (Katy Perry) anchor this great collection. Additional titles include “The Big Bang Theory (Main Title),” “Blown Away” (Carrie Underwood), “Make You Feel My Love” (Adele), plus 14 more!

NEW! Piano/Vocal/Guitar...... 40320

32 PIANO PERSPECTIVES

Boyfriend

Arranged by Carol Matz

Bb

œ œ œ œ

5

Bb

b œ

9

Titles: Boyfriend (Justin Bieber) • Everybody Talks (Neon Trees) • Glad You Came (The Wanted) • Payphone (Maroon 5) • Secondhand White Baby Grand (SMASH) • Some Nights (fun.) • plus seven more.

Chorus:

1

? b ‰w b

For pianists who are fans of current pop music, these collections of piano arrangements make playing the piano more fun than ever!

5

5

5

&b

œ

2

‰ ? b w b 6

1

‰ j . w œ ˙ ˙. Œ with pedal & 44 Œ ˙ .

F œ Eœb œ œ1., 2.œSeeœadditional lyrics. œ œ œ P œ œ œ œ œ œ œ Œ œ ?4 Œ œ Œ œ Œ 4 I spent on you.

Where have the times gone? Ba - by, it’s all j j j ˙ . . ‰ ˙ œ ˙. w œ w‰ 5 œPre-Chorus: Am Dm œ œ &F Œ Gm œ œ œ œ œ œ œ œ œ œ œ œ ˙ F Œ I’dœ œ like œ ? œ œ Yeah, I, œ œ wrong. Where are the plans we made for two? j with pedal ‰ ˙ . j ˙˙˙ A m Ó w œ Dm œ ˙.

7 œ œ œ & Œ I’m

3

3

Music for Little Mozarts A Piano Course to Bring Out the Music in Every Young Child, Ages 4, 5, and 6

By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster

Level 1

Level 3

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

Music Lesson Book (17180) Music Workbook (17181) Music Recital (19726)

Level 2

Level 4

Music Lesson Book (14581) Music Workbook (14584) Music Recital (19725)

Music Lesson Book (17186) Music Workbook (17187) Music Recital (19727)

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

Gayle Kowalchyk

E. L. Lancaster

Christine H. Barden

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)

Visit musicforlittlemozarts.com today!

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