Piano Perspectives - Summer 2014 by Devirra Music

SU M M ER 2014

PIANO The Magazine for Piano Teachers

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

Check out

alfred.com/E for a video to

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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.

S T N E T N O C

Igor Stravinsky (1915) by Jacques-Émile Blanche (1861–1942)

CONTENTS Piano Teaching Tips

By Nancy Bachus and Tom Gerou

S yllabus Listings By Nancy Bachus

Stories make it easy to learn the notes By Rebecca Wilson

In the studio with Geri Rea By Geri Rea

Grand Trios By Melody Bober

Summer 2014 Catalogue Your Guide to the Latest Piano Releases

Blitz ‘n’ Pieces with Samantha Coates

PIANO PERSPECTIVES

PIANO TEACHING TIPS

PIANO TEACHING from Nancy Bachus and Tom Gerou

tening Guide CD Track 2:

from Viderunt and excited aboutomnes Great by Léonin (plainchant)

Music and Musicians,

Book melody 1, a newisaddition free-flowing sung hout accompaniment. to Premier Piano Course. This unique book is

CD Track 3:

“ fines terre salutare dei nostri

We both aredeo very proud jubilate omnis terra”

TIPS

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.

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.

“Notum fecit” from Viderunt omnes by

suitable for (four-part many ageorganum) Pérotin

Many students attending their first formal music appreciation or music groups and can be used history class are overwhelmed by the in different settings: his four-part organum, there is a droneunfamiliarity below of centuries of music history and styles. Although they had private lessons, group e moving voices. Imagine how the voices been introduced to Bach, Beethoven, lessons, general music and Mozart, they often lack a clear uld sound in a large cathedral. understanding of the overall historical classes, or home-schooling. 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

an organ from

PIANO PERSPECTIVES

the Middle Ages

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.

s Jazz Influence 44

lar in the field of popu ms of jazz. He n-influenced rhyth heard the Africa be successful first musicians to was one of the g his serious music. Amon and lar in both popu musicals, piano way Broad works are many Concerto in F), sody in Blue and concertos (Rhap in Paris, and an ican Amer the orchestral piece Bess). opera (Porgy and to Paris to study In 1927, Gershwin went r Nadia the famous teache composition with him she could –1979). She told (1887 nger Boula him to g and encouraged nothin him teach fluenced style. jazz-in e uniqu his continue

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.

work –1937) began to

George Gershwin (1898 when he music at age 15

Bloch-Bauer I Portrait of Adele Klimt (1862–1918) (1907) by Gustav n Phase,” this From Klimt’s “Golde leaf (real gold painting uses gold . very thin sheets) hammered into

CD Track 18:

Expressionism

of ological studies Influenced by new psychArnold Schoenberg s mind, the subconsciou style called oped a46musical ted (1874 –1951) devel no longer accep nberg Schoe Expressionism. used harsh ary. Instead, he beauty as necess rful, to express powe musical dissonances nberg’s Schoe ons. emoti yet personal, inner as n tivism Primi a technique know Pierrot Lunaire uses h using a type of sung speec Through his use of energetic sprechstimme, rhythms and s and wide leaps. complex harmonies, approximate pitche Igor Stravinsky from de Chopin”(1882– 1971) became identifi CD Track 17: “Valse (1912) ed with a Pierrot Lunaire musica berg l style called Primit by Arnold Schoen ivism. He revolutionized music with his early works ng The for the Ballets Russes In the Expressionist painti (The Russian Ballets) –1944), . d Munch (1863The music of Petrushka Scream by Edvar uses the technique use of through the called parallel harmonies fear is conveyed (chords locked g colors, strikin s, stroke into an unchanging heavy brush shape that move up face. ted and the distor or down). by Edvard Munch The Scream (1893)

Primitivism in art idealized folk and non-Western cultures. The brillian t colors and rough, flat decorations of Alexander Benois’ Petrushka set design and Picasso’s selfportrait reflect this style.

Self-Portrait (1907) by Pablo Picasso (1881–1973) CD Track 19:

mpo ser A Pre mier Co osers used forms

Some 20th-century composers, like sonatas and

al comp favored by Classic assicism. is known as neocl symphonies. This d and (1891–1953) studie Sergei Prokofiev n as a Hayd of s honie conducted the symp his first ed to compose student. He decid he used yet n, style of Hayd symphony in the ic intervals, nies, wide melod unexpected harmo third dual features. The and other indivi popular a te, which was movement is a gavot nly . However, it certai Baroque court dance style of Haydn. departs from the

(1924) Rhapsody in Blue in by George Gershw

in (1936) by George Gershw (1888–1971) Arthur Kaufman

(1934) Sergei Prokofiev y by Pyotr Konchalovsk (1876–1956)

Taking place in St. Petersburg, Russia, the exotic and brightly colored stage set reflects elements of primitiv ism. Petrushka (1911) by Alexander Benois (1870–1 960)

Igor Stravinsky (1915) by Jacques-Émile Blanch e (1861–1942)

“Russian Dance” from Petrushka (1911) by Igor Stravinsky

Unit 7 The 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.

Faun by Léon Bakst (1866–1924)

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

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:

Impression, Sunrise (1872) by Claude Monet

Prelude to the Afternoon of a Faun (1894) by Claude Debussy Claude Debussy

Page 43 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.

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. 48

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

Listening Guide CD Track 16:

A flute playing a dreamy solo opens, followed by the harp and horns—unique colors for a concert hall in 1894. CD Track 17:

and music from different cultures.

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.

• 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.

Prelude to the Afternoon of a Faun by Claude Debussy (Impressionism)

“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. modern grand piano

Word Scramble Unscramble each composer’s name to match his musical style: 1.

S U B S Y D E (Impressionism)

2. G O C R E N S H E B

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

(Expressionism)

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.

3. G E W N S H I R

(Jazz Influence) 4. V E K P R O F O I

(Neoclassicism) 5. K R I S T V A S N Y

(Primitivism)

Page 48 from Great Music & Musicians

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

PIANO PERSPECTIVES

SyllABuS lISTINGS

AuSTrAlIA lOvES NANCy BACHuS A comprehensive syllabus listing AuSTrAlIAN 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 Grade 1 / List A Grade 1 / List A Grade 1 / List B Grade 1 / List B Grade 1 / List B Grade 2 / List A Grade 2 / List A Grade 3 / List A Grade 3 / List A Grade 3 / List A Grade 3 / List A Grade 3 / List A Grade 4 / Studies & Pieces Grade 4 / List B Grade 5 / List A Grade 5 / List D Grade 5 / List C Grade 6 / List B Grade 6 / List C Grade 7 / List C Grade 7 / List D Grade 8 / List D Cert. of Perf / List C Piano Leisure / G4 Piano Leisure / G5 Piano Leisure / Cert Perf

Composer Duncombe, W Handel, G.F Pleyel, Ignaz Duncombe, W Kuhlau, F Graupner, J Anon. att Bach Zipoli, Domenico Arne, Thomas Seixas, Carlos de Anon. att Bach Purcell, Henry Fischer, J Gade, Niels Bach, J.S Ibert, Jacques Granados, Enrique Bach, C.P.E MacDowell, E Schubert, Franz Ravel, Maurice Debussy, Claude Villa-Lobos, Heitor Mozart, W.A Debussy, Claude Villa-Lobos, Heitor

Title Trumpet Tune/Fanfare Minuet Gavotte in G Major Minuet in C Major Sonatina in C Major (all 3 mvts.) Theme and Variations Intrada Musette in D MajorAnh. 126 Verso (Fughetta) in E Minor; Little Verse (same) Gigue (Sonata No. 6) Toccata in C Minor Polonaise in G Minor, Anh 123 Hornpipe in E Minor Chaconne Boy’s Round Dance Invention No. 8 in F Major A Giddy Girl Vals poetico, #5 & 6 Allegro di molto The Brook, Op. 32/2 Moment Musical, Op. 94/3 Valses Nobles & Sent. 2 Des pas sur la neige O Polichinelo, Vol 1/7 Andante The Little Nigar O Polichinelo, Vol 1/7

“Spirit” Book Reference Classical Spirit 1, p37/BP p39 Baroque Spirit 2, p18/BP p20 Romantic Spirit 1, p12/RP p14 Classical Spirit 1, p36/BP p38 Classical Spirit 2, p25/CP p89 Baroque Spirit 2, p30/BP p94 Baroque Spirit 1, p55/BP p57 Baroque Spirit 1, p26/BP p28 Baroque Spirit 2, p57/BP p121 Baroque Spirit 2, p50/CP p114 Baroque Spirit 2, p24/BP p88 Baroque Spirit 1, p58/BP p60 Baroque Spirit 1, p60/BP p62 Romantic Spirit 2, p. 25/RP p89 Baroque Spirit 1, p52/BP p54 Beyond R. Spirit 2, p42/MP p100 Beyond R. Spirit 1, p46/MP p48 Classical Spirit 2, p. p29/CP p93 Romantic Spirit 2, p. 53/RP p117 Romantic Spirit 2, p. 18/RP p82 Beyond R. Spirit 2, p28/MP p92 Beyond R. Spirit 2, p32/MP p96 Beyond R. Spirit 2, p56/MP p120 Classical Spirit 2. P. 47/CP 111 Beyond R. Spirit 1, p61/MP p63 Beyond R. Spirit 2, p56/MP p120

AuSTrAlIAN MuSIC ExAMINATIONS BOArd rEPErTOIrE frOM ExPlOrING PIANO ClASSIC SErIES (rEPErTOIrE BOOk) Grade & List Preliminary/List B Preliminary/List B Preliminary/List B Preliminary/List B Grade 1 / List A Grade 1 / List A Grade 1 / List A Grade 2 / List A Grade 2 / List A Grade 2 / List A Grade 2 / List B Grade 3 / List B Grade 3 / List B Grade 3 / List B Grade 3 / List B Grade 4 / List B Grade 4 / Studies & Pieces Piano Leisure / G2 Piano Leisure / G3 Piano Leisure / G3 04

PIANO PERSPECTIVES

Composer Haydn, F. J Mozart, W.A Reeinecke, Carl Haydn, F. J Böhm, Georg Clarke, Jeremiah Graupner, Cristoph Bach, C.P.E Anon. att Bach Anon. att Bach Clementi, Muzio Clementi, Muzio Diabelli, Anton Lichner, Heinrich Schumann, Robert Schumann, Robert Maykapar, Samuel Tchaikovsky, Peter Chován, Kálmán Mozart, W.A

Title Quadrille Menuet in F Major, K. 2 Elegy German Dance in E Major Minuet in G Major King William’s March Bourrée in D Minor March in D Major Minuet in G Major, Anh. 116 Minuet in D Minor, Anh. 132 Sonatina in C, Op. 36/1 (3rd) Sonatina in C, Op. 36/1 (1st/2nd) Sonatina in F, Op. 168/11 (1st) Sonatina in F, Op. 4/2 (1st) Wilde Reiter, Op. 68/8 Kleine Romance, Op. 68/19 At the Blacksmith Melodie antique francaise, Op. 39/16 Gypsy Legend Polonaise in F Major

Book Reference Level 2, page 18 Level 1, page 24 Level 2, page 32 Level 1, p17 OR 32 Level 3, page 28 Level 2, page 20 Level 1, page 15 Level 4, page 42 Level 4, page 40 Level 4, page 18 Level 3, page 26 Level 3, page 22-25 Level 4, page 46 Level 5, page 33 Level 4, page 36 Level 5, page 32 Level 4, page 24 Level 4, page 22 Level 2, page 30 Level 4, page 16

ASSOCIATEd BOArd ExAMINATIONS (ABrSM) 2013-2014 SyllABuS Grade 2/List A Grade 2/List A Grade 2/List B Grade 3/List A Grade 4/List A Grade 5/List A Grade 5/List B Grade 5/List B Grade 5/List B Grade 6/List A Grade 6/List B Grade 6/List B

Attwood, Thomas Duncombe, William Glinka, Mikhail Bach, C.P.E. Diabelli, Anton Beethoven, Ludwig Tárrega, Francisco Palmgren, Selim Tchaikovsky, Peter Scarlatti, Domenico Brahms, Johannes Chaminade

Allegro: Sonatina No. 2 in C Major (1st mvt.) Giga Polka (Russian Dance) Allegro in G Major, H. 328 Sonatina in F Major, Op. 168, No. 1 (1st mvt.) Minuet in D Major, WoO7, No. 7 Adelita (Ed. N. Bachus in ABRSM Exam Pieces) West-Finnish Dance, Op. 31, No. 5 Daydream, Op. 39, No. 21(Album for Young) Sonata in C Minor, K.11, L.352 Waltz in Ab, Op 39, No. 15 Élegie, Op. 126, No. 7

TrINITy ExAMS 2012-2014 Initial Grade 1 Grade 3 Grade 5/GroupB

Saluntrinskaya Duncombe Zipoli Debussy Tchaikovsky Grade 6/GroupA CPE Bach Grade 7/GroupB Ravel

The Shepherd Pipes Fanfare Versi (Fugetten)—Fugetta Page d’album Sweet Reverie (Dreams) Allegro di molto Assez lent No. 2 (Valses nobles)

Classical Spirit, Book 2, p11/CP p73 Classical Spirit, Book 1, p38/CP p40 Exploring Piano Classics, Level 3, p18 Classical Spirit, Book 1, p21/CP p23 Exploring Piano Classics, Level 4, p46 Romantic Spirit, Book 1 p16/RP 18 Romantic Spirit, Book 1 p60/RP 62 Romantic Spirit, Book 1 p58/RP 60 Exploring Piano Classics, Level 5, p46 Baroque Spirit, Book 2, p46/BP p110 Romantic Spirit, Book 2, p50/RP p114 Romantic Spirit 2, p34/RP p98

Exploring Piano Classics, Prep Level, p18 The Classical Spirit, Book 1, p. 37, CP, p39 The Baroque Spirit, Book 1, p. 26, BP, p28 Beyond the Romantic Spirit, Book 1, p14, MP, p16 Exploring Piano Classics, Level 5, p46 The Classical Spirit, Book 2, p. 29, CP, p93 Beyond the Romantic Spirit, Book 2, p. 28, MP, p92

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

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ANZCA 2013-2014 Preparatory Preparatory Preparatory Preparatory Preliminary Preliminary Preliminary Preliminary Preliminary Preliminary Grade 1 Grade 1 Grade 1 Grade 1 Grade 1 Grade 1 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2

Praetorius Reinagle Geoffroy Bartók Arnold Anon Gurlitt Anon Bartók Gurlitt Anon Corelli Le Couppey Beethoven Tcherepnin Stravinsky Graupner Beethoven Böhm Glinka Rebikov Bartók

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German Dance Allegretto Little Minuet Moderato Gigue in C major Tambourin The Chase Rococo Dance Come Home, Lidi A Deserted Garden Old English Air Sarabande Melody in C Russian Folk Song Chimes Lento Air en Gavotte German Dance Minuet in G Major Russian Dance The Clown Under the Tree

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Exploring Piano Classics, Prep Level Exploring Piano Classics, Prep Level Exploring Piano Classics, Prep Level Exploring Piano Classics, Prep Level Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 1 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 2 Exploring Piano Classics, Level 3 Exploring Piano Classics, Level 3 Exploring Piano Classics, Level 3 Exploring Piano Classics, Level 3 Exploring Piano Classics, Level 3 Exploring Piano Classics, Level 3

PIANO PERSPECTIVES

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’.

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

STOrIES MAkE IT EASy

STOrIES MAkE IT EASy TO

lEArN THE NOTES By Rebecca Wilson

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:

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

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

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’.

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.

PIANO PERSPECTIVES

STOrIES MAkE IT EASy

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.

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.

PIANO PERSPECTIVES

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

Piano Playbook 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.

AM1006665

AM1006676

AM1006687

AM1006698

AM1006709

AM1006720

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Your students will love you for it! 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

www.blitzbooks.com.au PIANO PERSPECTIVES

BLITZ ‘N’ PIECES

Blitz ‘n’ Pieces

Samantha 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,

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What exactly is the difference between Theory and Musicianship, and which do you think is better? Confused, Tasmania Dear Confused,

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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,

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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,

This would have to be the Yes ScaleBlitzer is free to install for Yes the Blitz workbooks can be question I am asked most often! the month of November, to help used to learn all the content for the For Grades 1, 2 & 3, the answer students really prepare for their online exams, and then students is: almost nothing. I find that by just need to complete the online exams! The Stage 1 pack (Grades the time students finish Grade 3 tutorials prior to taking the exam, to P-1) is artist also free, for any instrument. re mine, they were drawn for me by a graphic Hey Mark, artistjust in so Nov you 2000, know and - the thetop grad 4 critters hat is trademarked. are mine, they were drawn for me by a graphic Hey Mark, just in so Nov you 2000, know and - the thetop grad 4 critters hat is trademarked. are mine, they were drawn for me by a graphic artist in Nov 2000, and the grad hat is trademarked. in either Theory or Musicianship, get used to the format. imply a font called Bach, and the grad Of hatthe is clip bottom art which 4 critters, can be thepurchased music symbols anywhere. are simply The hat a font called Bach, and the grad Of the is clip bottom art which 4 critters, can be thepurchased music symbols anywhere. simply The hat a font called Bach, and the grad hat is clip art which can be purchased anywhere. The hat Thehat- woo higher levels vary in are price from ed on the cover of Master Your Theoryalso - woo happens hoo! So to no be copyright almost identical issues to here. the one used on the cover of Master Your Theoryalso happens hoo! So to no be copyright almost identical issues to here. the one used on the cover of Master Your Theory - woo hoo! So no copyright issues here. they pretty much know the same 99c to $4.99. I think online exams are an excellent things. There are minor differences option when convenience is of We have had incredible feedback such as: the utmost importance. However from students and teachers who n T1 contains only 3 major keys, I do think there is an invaluable say that their scales ended up being Hey Mark,whereas just soM1 youcontains know -minor the top 4 critters are mine, they were drawn for me by experience a graphic artist in Novfrom 2000, and the grad h to be gained doing the best part of their exam after keys too Of the bottom 4 critters, the music symbols are simply a font called Bach, and the grad is clip art which be purchased any thehat‘face-to-face’ writtencanexams, Very exciting! also happens to be almost to the one using used ScaleBlitzer. on the cover of Master Your Theory hoo!like Sotonosee copyright and-I woo wouldn’t students’issues here. n Binary/Ternary formidentical is music writing skills diminish as a introduced in Theory in Grade result of doing everything online. 2 but in Musicianship it’s Dear Miss Blitz, 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

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?

The real differences come in from Hopeful, NSW Grade 4 onwards; the Musicianship syllabus has the aural component. Dear Hopeful, I feel that aural development is essential for any student and I Unfortunately I have no plans much prefer the Musicianship to write any texts for the Music 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. syllabus for this reason; however, Craft syllabus. The workbooks and 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. Theory is much more popular teacher guides that the AMEB around Australia! This amazes me, have produced are extremely as the written papers for Theory comprehensive and contain are so much harder; students will valuable information on the set opt for this over having to do an works. It’s definitely best to work aural exam, yet the aural exams from those if pursuing the Music are not very hard at all! Craft syllabus.

PIANO PERSPECTIVES

GERI REA

In the Studio with

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

12 PIANO PERSPECTIVES

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.

The_Playground_New_a.pdf

20/06/11

1:14 AM

SuMMEr FAvOurITES 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 G e r i R e a of the keyboard – extending the 9780992344610 9780992344627 range of notation to an octave, 9780992344603 in the setting of a traditional play park, complete with swings, the sale of this book is committed to skateboards and a hint of Geri’s English this purpose. Join with us in a musical village background. The play park offers journey that will bring a little harmony to a range of styles from swinging blues the lives of children in the South Pacific. (Skate Park) to ragtime (Raggy Tracky Dacks), a variety of tempos and keys Go to www.timtopham.com to watch and encourages creative interpretation a review of Surfing Sailing and Sprinting, with clearly marked performance The Playground and World in Harmony directions, articulation and dynamics. in ‘Top 10 books for boys’. C

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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

AlSO AvAIlABlE

Musical 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.

PIANO PERSPECTIVES

GrANd TrIOS

GrANd

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 fastpaced, 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.

PIANO PERSPECTIVES

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

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.

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!

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.

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 Bober Author, Arranger, Composer

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

ing m n ra in -w prog d ar an w A rali st Au

Creating Smart Musicians 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!

JUNIOR PIANO SERIES for 4–7 yr beginners

ACCENT ON KEYS for 13 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.

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.

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.

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.

Play, create, perform, achieve! For more information Call 1800 553 223 or visit www.encoremusiceducation.com.au

www.encoremusiceducation.com.au

www.accentpublishing.com.au

BärENrEITEr

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

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 2 No. 6

Grade 6 No. 4

Easy does it

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.

Fred Kern

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. 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.

s in 1946. Composer er. He was born in Illinoi ican pianist and teach ado, • Fred Kern is an Amer rsity of Northern Color musical arts at the Unive s. of rate docto a of North Texa • Kern completed music at the University Hal Leonard and is a professor of is a co-author of the and nts, stude pieces for piano • He has written many Student Piano Library.

23-37

Title relaxed and unforced. expression meaning easy swing. • “Easy does it” is an which should have an relates to the rhythm, • The title of this piece le quadruple time). Time and rhythm beats in a bar (simp means four crotchet beats in each bar. • The time signature tes that there are four the time signature indica each beat is a crotchet, or quarter note. • The top number of of shows that the value er numb m ely [ep ]r ). botto ximat The played unevenly, appro are to be swung (i.e. • The paired quavers sharp. Key signature contains one is G major. The key no real modulation. • The key of this piece (indicated by Gs), but of A minor in bars 16-17 hint brief a is • There plus an Analysis ins two main sections y (AB) form, and conta • Easy does it is in binar Introduction (bars 1-4)

Section A (bars 5-12)

introduction.

) Section B (bars 13-21

n) per minute. Signs and terms (Italia is 144 crotchet beats the suggested tempo oth and connected). • q = 144 means that d be played legato (smo ) show notes that shoul or • Slurs ( hed. detac and . short s bar 4). • Staccato ( ) mean or below the stave (e.g. lines for notes above • Leger lines are small moderately loud. for the repeat. (mezzo forte) means soft • and time, first s moderately soft the ( seconda volta) mean one longer note. • of the same pitch into hand) join two notes the second time. n • Ties (e.g. bar 5, right writte octave higher than volta means play an va • 8 (ottava) seconda pitch the second time. s play at the written mean volta da secon pation (off-beat • loco asise the note; synco t, which means to emph • > indicates an accen a common feature of jazz music. is second time bars. accents, e.g. bar 12) and first ns are called gs to the repeated sectio • The alternate endin

F Pp

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 ( ) 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).

R. A. Hamilton

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Lesson Book 3

GM 20

mu -

Tap and count aloud 3 times each day .

Moderate, with energy

Symphony Hall

C Â&#x;I Â&#x; Â&#x;I Â&#x; Â&#x; ÂŠ ÂŠ ÂŠ

Count:

CD 11/12 GM 6

A B

& 43

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&#x201C;

Tie

New Rhythm

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(

)

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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

SuMMEr 2014 CATAlOGuE

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

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

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. PIANO PERSPECTIVES

SUMMER 2014 CATAlOGuE SuMMEr CATALOGUE

16 LH

B A S S

Night Jazz

E F G 2 4 3 24

3 &4 . p ˙ ? 43 3

Jazz, Rags & Blues

A Little Ragtime

step down

?˙. w w

∑

˙.

Space 3

the we

œ œ ? 3 ‰ œœ ‰ œœ b 4 œ. œ œ J π

Martha Mier

5 3 1

Premier 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.

œ œ ‰ œœ ‰ œœ œ. œ œ J

œ Œ œœ ˙.

Book 1A

the the

o at

& œ #˙ w œœœ? œœœ ‰ ‰ œœœ 4

‰ œœœ ‰ œœœ œ. œ œ J 5 3 1

œœ J

Ó ˙

4 2 1

œ.

night gui

Ó ˙

band gaze

Music by Martha Mier Words by Gayle KowalchykLesson Book: page 38

∑

With a steady beat4

Duet: Student plays two octaves higher.

Gently

fill on

4 & 4 œ ˙ œ ∑ F ? 4 ∑ 4

∑

˙.

∑

tunes step down strummed

from while

C 3

∑

Gently

1. Jazz 2. Chords

Lesson Book: page 43

M I D D L E

ver the 1

∑

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air, tars,

Martha Mier

œ ˙ #œ

˙.

there. stars. 2

‰ Óœœœ ‰ œœœ œ. œ œ J 2

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b œœœ œ

Œ w

4 2 1

#.œ œ œ

œ ˙˙œ˙ ... Œ J œ Jœ œ 5 .. . 3 2 1

œ œ

Duet: Student plays one octave higher.

With a steady beat . . ? # 44 Œ œ Œ œ œ Œ œ Œ P. . RH

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

. 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 œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ œ Œ . . . . . 1

. . œ Œ œ Œ œ Œ . . . Œ œ œ Œ œ Œ .

Book 1B

Unit 5 Music in Late 18th-Century Society

The 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, 32

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

Great Music & Musicians

for orchestra

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 Italy in the 1740s revived interest in Grecocenter for music in Europe. About 8,000 Roman cultures. The rediscovered art and aristocrats lived or spent time there each year. The Symphony architecture of Greece and Rome were 36 seenIn asthe the18th greatest of allmore time than and became century, 12,000 works Summary: The Classical Period Listening Guide models for symphony 18th-centuryappeared artists. The named in a variety of styles. classical ideals of logical thinking, perfect Franz Known as “the father of the symphony,” CD Track 9: Symphony No. 94 The rediscovery of the ruins of Pompeii in form, balance, simple expression, and (“Surprise Symphony”) Joseph Haydn (1732–1809) brought this theform 1740storevived interest in the “classical” by Franz Joseph Haydn emotional control influenced all the arts, new heights, composing more than 100. civilizations of Greece and Rome. (Classical symphony) including music. Haydn was Director of Court Music to• theGreek ideals of balance, logic, and The phrases are balanced with a short theme royal Hungarian Esterházy family for moreemotional than restraint became the models answered by another short one. Listen for the 40 years. His contract required him to wear fora composers. loud surprise. servant’s uniform, compose and rehearse any • Music music the Party Prince wanted, and to supervise all thewas written primarily for The Music (1774) CD Track 10: Eine kleine Nachtmusik entertainment or for amateur performers. by Wolfgang Amadeus Mozart by Louis Rolland household musicians.

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

• Concerto—a composition for soloist and orchestra

(serenade)

Trinquesse (c.1745–1800)

The piano surpassed the harpsichord In his Symphony No. 94, at the end of• a soft

in popularity and public concerts of section in the second movement, a very loud instrumental music increased. chord “surprises” the audience. At a rehearsal, Haydn pointed to the score and said, “There the end of the era, classical forms • By the ladies will jump.” (symphony, sonata, and concerto) were Armide (1761) by Gabriel de Saint-Aubin (1724–1780) transformed by Beethoven in length and CD Track 9 : Symphony No. 94 (“Surprise Symphony”) (1791) by Franz Joseph Haydn emotional power. Greco-Roman themes were

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.

favorite subjects for operas.

Nancy Bachus & Tom Gerou

Great 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

PIANO PERSPECTIVES

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

Fill in the Blank home as souvenirs.

a fortepiano

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

1. an early type of piano

F O ___ T ___ ___ I A ___ O

2. a piece an orchestra plays

___ y ___ P H ___ N y

3. a short sonata

S ___ N A T ___ N ___

4. composer of the “Surprise Sympony”

H ___ y D ___

5. He became famous around age six.

M ___ z ___ R T

Franz Joseph Haydn

Wolfgang Amadeus Mozart

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

6. a piece for piano and orchestra

C O ___ ___ E ___ T O

7. He invented the piano.

C ___ I ___ T O F ___ R ___

Book 1

SuMMEr 2014 CATAlOGuE

16 Lesson Book: page 27

The Setting Sun CD 23/24

œœœœœ

& 43

Andante

p ? 43 œ

œ œœ œœ 1

œ œ œ œ œ

F ? œ

œ œœ œœ 2

(First Movement)

œ œ œ œ œ

Lesson Book: page 31

CD 25/26

# œ œ œ œAllegro œ œ Œ Œ # œp œ œ œ œ & c œ ‰ œ œœ œœ œœ ‰œ F œ

Sonatina in G Major

Johann Christian Bach (1735–1782)

#œ œœ œœ

?# c Œ

Masterworks

Ed. Gayle Kowalchyk and E. L. Lancaster

? œ

Premier 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.

œ œœ œœ

œ2

Ó œ? # ˙ œ œ œ œ œ# œ œ œ œ

œ œ œ œ œ

œ #

‰ œ œ œ œ ‰ ..

1 3

1 5

œ œ œ œ œ œ œ œ ?# œ Œ œ Œ &

Book 3

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ ˙ œ œ œ œ

Premier Performer

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

œ œ œ œ œ œ œ œ œ œ Œ Œ

3 5

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

œ œ œ œ

œ œ # - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p ˙ œ œ œ ? # œ # œ œœœ œ Œœ œ˙ Œ Œ œ .. œ œ Œ 2

œ œ œ œ œ œ & œ œ œ œ P ? œ œ

œœ œœ

œœœœœ

œ œ f œ œ œ œ œ œ œ œ œ

œœ œ

˙.

.. œœœœœœœ œœ œœœœœœœœ œ œ

9 œ # œ # œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ & .. œ œœ œœ œœœ œ œ f dim. œ œ? .. œ- * œ # r œ œ œ & œ œ œ œ œ œ œ -œ œ 1

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

Thomas Attwood (1765–1838)

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

Book 5 & CD NEW! ..............................................40515 Book 6 & CD NEW! ..............................................40516

Book 5

Lesson Book: pages 44–45

Artistic Etude 4 Finding the Heart Note 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 . Lesson Book: pages 16–17

• Play A Note from the Heart and choose where you would like to play your

Technique Tool 2

heart note in each phrase . Draw the heart with a red pencil .

Playing Grace Notes

• Add and to indicate how the other notes in the phrase lead to On the closed keyboard cover, “play” the exercises handsand separately, go away from the heart notes . 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 Tip: Play the RH chords lightly in measures 1–22 to allow the LH melody to “sing out .”

A Note from the Heart

& b 44 # œ œ Œ œ œ Œ P ? 4 2. b 4 # œœ Œ œœ Œ P 3 2

Technique 5

By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha Mier Technique 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

2 3

# œ œ Œ œ œ Œ Œ

# œ œ

Œ # œejcantabile Œ œjœ Moderato œ Œ œjœ Œ b & b 43 œœœ œœœ œœœ œœœ œœœ œœœ Œ jœ Œp jœ Œ jœ Œ j # œ œ œ #œ œ ? bb 43 j # œ œ 2

Œ œ œ

œœœ œœœ œœœ œ.

Masterwork Etude 2

Graceful Waltz j œ œ

Allegro

& b 43

Œ Œ p scherzando œ œ ? b 43 œ œ œ 4

j œ œ2

Œ Œ

œ œ ?b œ œ œ 11

4j œœ

1 2

œ œ

? b œ œœ œœ

œ œ œ œ œ

œ œ œ œ œ 5

1 3

Carl Czerny (1791–1857) 3 1

œœ

j œ œ œ œ œ œ.

5 4 2

œ œ œ

˙˙

œœœ œœœ

b œ œ œ œ Op .œ 777,œœ No . 22œœ œœ œœ œœœ œœœ œœœ & b œœ œœ œœ œœ œœ (adapted) œ œ œ œ j j ˙ j œœ œ œ œ œœ œ œ Œ Œ Œ Œ œ œ œ œ œ ˙. ? bb # ˙ . œ. œ œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

œœœ

j œ œ

b j & b œ œœœœ œœœ Œ f˙ ? b œ œ œ œ œ b œ œœ 11

˙.

4 3 1

Œ Œ

œ œ œ œ œ

j œ œ

Œ Œ

œ œ œ œ œ 5

1 2

1 3

œœœ Œ œœœ 3

j œœœœœ

œœœ œœœ Œ Œ

œ œ œœœ œœœ œ

œœœ œœœ œœœ 5 4 1

œ ˙. J

œœ œœ œœ #œ œ œ ˙.

œœ œœ œœ œ œ œ ˙ œ 3

œœ œ

œœ œœ œ œ

œ œ œ.

5 3 1

b œœœ œœœ œœœ

œ J ˙. 4

œœœœœœ œ Œ Œ .. f œ œ œ œ œ œ œ Œ Œ .. 2

1 3

1 2

Book 5 NEW! ...........................35261 Book 5 PIANO PERSPECTIVES

SUMMER 2014 CATALOGUE

Technique 1A–4

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 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 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 • 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

PIANO PERSPECTIVES

SuMMEr 2014 CATAlOGuE

Alfred’s Basic Piano Library Praise Hits 1A & 1B

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. 20 Use after page 42.

Beautiful One 18

(Light of the World)

& 44 ˙ p ? 44 ww

Light

Titles: 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.

# & Œ ˙˙ œ œ ? # ˙.

˙ ww

the

1 5

You

1 2

pened

eyes,

let

has spo - ken

eye

mer

Your

un - fail - ing

ear

Œ ˙. ˙. œ œœœ œ

has heard, no

heart

could ful - ly

˙. Œ ˙˙ .. Œ ˙˙ ? # 44 Œ ˙ . ˙ ˙ œ œ w œ œ P

œœ 4‰ jœ œ ˙ ˙ œ ˙ .œ

Œ ˙˙ .. Œ ˙˙ .. ˙ ˙ œ œ œ œ

5 1

simile

‰ œj œ œ ‰ œj œ œ Œ ˙˙ .. ˙ ˙ œ ˙

Œ ˙˙ .. œ ˙

me.

1 3

Œ ˙˙ w 4 2

ness,

Œ ˙. ˙. œ œœœ œ w

has seen, no

see

? # ‰ j œ œ ˙˙ ˙. œ œ

cy o - ver

DUET PART (Student plays 1 octave higher.)

Book 1A

dark

Arr. Tom Gerou

der - ful

Arr . by Kowalchyk and Lancaster

2 5

Moderately

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

Praise Hits 1B

Words and Music by Tim Hughes

cross

down

˙ ww

won

Œ & ˙˙ .. œ œ œœœ œ ? œ# ˙ . œ Œ wŒ ˙˙

& ˙ ? ww

Your

stepped

Œ ˙. ˙. œ œ œ œ œ

Œ ˙. œ œœœ ˙. œ œ œ œ ˙ ˙ œ œ œœœ œ ˙ w wŒw Œ œ˙

love.

world,

der - ful,

2 5

Use after pages 60–61. 4

3 1

M I D D L E

Won

Moderately

Arr. Gayle Kowalchyk and E. L. Lancaster

Arr. by Tom Gerou

# & 44 œ œ œ œ Œ CDF E F G ˙˙C1 D2 E3 F4 œG5 5? 4 #3 4 2 1 4 Œ C POSITION

Here I Am to Worship

Praise Hits 1A

Words and Music by Tim Hughes

Moderately

Œ ˙˙

Titles: 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.

Now available:

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

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

œœ

Book 1B

A Perfect 10 Melody Bober

Trampoline Tricks Showstopper 6 Melody Bober

Winter Memories

Spirited (q = 144)

4 &4 Ó œœœ Œ œ œ œ œ œ œœœ # œ œœœ œ œœœ. œ. . . F . Gracefully (q = 84) . ?4 œ œ Ó Ó 8va œœ Œ ∑ # Both hands 4 . œ œ 4 œ. 1

LH 2

3 1

& ww ? Œ œ œ œ. œ.

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

& œ #œ œ œ œ œœ œœ œœ . ? ∑ LH 2

LH 2

œ. Œ

œ.

Œ Œ

?# ˙ ˙ Ó

P œ. # œ. œ œ 1 5

& œ

œ œ

1 5

œ œ

œ œ œ œ Ó 5

LH 2

# ˙ œœ œ ˙˙ F ?# œ ˙ œ 3 1

LH 2

# ˙˙

œ #œ œ Ó œ œ 3

3 1

œ #œ œ 3

LH over 2

œ œ

œ œ œ œ œ œ œ œ

˙ œ œ

4 2

œœ œ

˙˙˙ P

5 1

5 3 1

œ œ œœ œ œ ˙ œ ˙ 3 1

œ œ. œ J J F œ œ œ œ œ œ œ œ

LH 2

?# œ œ œ œ Ó ˙ œ œ œŒ ˙ œ œ œ œ œœœ # œ œœ œ œœ.œ F . œ œ. Ó ∑

Book 1

1 2

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.

œ œ œ œ œœ # œ œœ œ œœ. œ. œ. Ó ∑ œ. # œ. & œ œ œ œ œ œ

& œ œ œ Œ . œœ. ? Ó

Melody Bober

œ œ œ œ œ œ œ J œ J œ. Pœ œ œ œ ? # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ & 4

Ballad

LH 2

œœ œ

˙˙ P

˙ œ œ 2

œœœ 3

œœ œ œ œ Ó 3

3 1

˙˙ 4 2

4 2

n ˙˙ n œœ œ 1 5

nœ œ œ 3 œ œ Ó 3

LH over 2

LH 2

Book 3 PIANO PERSPECTIVES

SuMMEr 2014 CATAlOGuE

Not Just Another Jazz Book Mike Springer

Jibberjive

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

Fast

4 j˙ &4 Ó #œ ˙ > F ?4 4 œ. œ. Ó 2

5 2

& Ó ? 9

œ.

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

& Ó ?

> Ó

œ.

& Ó F ? œ œ. >.

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.

j˙ #œ ˙ 5 2 3

œ.

j˙ #œ ˙ 2

> Ó

œ.

> Ó

& Ó P ? œ œ œ. œ.

Ó5

œ œ œ b œœ œœ Ó

∑

4 2 1

2 2

5 3 2 1

1 3

1 2

œ.

∑

œ œ œ œ

œ œ #œ œ œ nœ œ œ 3

∑

3 1

‰œœ œ œ J

1 3

j j œœ œœ œœ œ. ‰ œœœ œœœ .. œœ Œ œ . # œ. œ. œ. œ > > œœ. œœ. Ó œ. œ. œ œ # œ >œ. 4 2 1

œ. œ. # œ

œ # œ œ œ # œ œ n œ. > f œœ œœ >œœ. œ. œ œ # œœ .. J

œœ.

4 2 1

œœ # œ œ n # œœœ œ œ œœœ . > F >> >œ œ œœ. œ œ # œ .. œJ œ

œ œ œ > nœ #œ œ œ œ œ œ 2

5 2 1

œ œœ. œœ œj œ. œœ œ ‰ œ œ œ œœœ œœœ œœœ œ . Œ Œ> œ. œ œ œ œ Ó ˙˙ ˙ j œœ œ œœœœ ... œn œœœ œœ œœœ œ. n œ- . œ- œ œ. . œ. œ. # œœ œ. œ œ. œ Ó ˙˙

Book 1

1 3

1 2

j œœ œœ œœj œ. œœ œ. œ. œ œ.

j œœ .. œœ œœ ∑ œœ ... n œœœ œœœ œœœ œ- œ- œ œ. œ- . # œ. œ. ‰ j œ bœ œ œœ # #œœœ œ # œ œ œ œ

œ œ œ œ # œœœ œœœ > 9 f # ˙ & ‰ œœœœ .... #œœœ -œ . f . œœ ?# œ. œ. ww j . j œ. # œ œ œ13 œ# œ & œ œ œ b œœ œœ œ œ > P cresc. . . ? # œ œœœ # œ b œœœ . .

Mike Springer

j œ œ) 3

5 3 1

Œ # œœ œœ œ. œ. œ. œ œ

j˙ ˙ # œ >œ- . & ‰ œœ .. œ. œ. f Ó ?# œ œ

Happily! ( œ œ

b œœ œ œ œœ œ .

œ.

ŒCruisin’ œ œœ œœ œ œ. Down the Coast

j˙ œ˙ 2

œ# 4 œ œ œ & 4# œœ. œ‰ F œ œ ? œ# 44 œ. œ

b œœ œ œ œœ œ . Œ

Mike Springer

13 Performance Model œ14 œ. ÓTempo (q = 120) Œ Ó . Practice 15 Performance Tempo œ(q . = 152)

Œ b œœ œ œ œ œ œ.

j˙ #œ ˙

œ.

Œ œ b œ œ œ œœ œ .

5 3

∑

‰ œ œ nœ #œ J

1 2

Book 3

Famous & Fun Rock Arr. Carol Matz

Cheeseburger in Paradise Words and Music by Jimmy Buffett Arranged by Carol Matz

Moderately fast

& 44 Ó ?4 4

(1–2)

F ∑

Cheese

burg

? b 44 Ó

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

9 w ? b ww˙

˙˙ ˙˙

ww ww

5 3 1

www ˙

5 2 1

˙˙ .. ˙˙ .

œœ œ œ œ

˙˙˙ w

∑

˙ in

œ œ w Rock and Roll ∑

par

# & 44 Ó

∑ n œ œ œj ‰ www ˙˙ .. œœ ˙˙˙ ˙˙˙ f www œ œ œ œ œ˙ ˙ Œ ˙˙‰. b œJ œ œœ œ ˙w. œ ?œ # 44˙

˙ ˙˙˙

˙˙ ˙

œ œ

www ˙

# Ó

n œ œ œj ‰ œ ? # œ œ œ Œ ‰ b Jœ &

n œ œ œj ‰ www œ œœ œ œn œ ˙ Œ ‰ b Jœ

? # œ œ ˙. 7

∑

ww Ó #w ˙ ∑ w &œ œ 4

dise.

Words and Music by Jimmy Page, Robert Plant, John Paul Jones and John Bonham Arranged by Carol Matz

Book 1

Fast rock

DUET PART (Student plays one octave higher) Moderately fast, in two

w ? # 44 n ww œ œ œ œ F Fast rock 5 3 1

∑

œ œ

œ œ ˙.

w ? # ww œ œ œ œ

j ˙˙ œœ œ ˙ n œœ œœ ‰ œœ œ œ œ œ

j ˙˙˙ b œœœ œœœ ‰ n n œœœ œ œ œ œ

œ ˙. ‰ J

#œ œ œ œ œ nœ 1

ww w œ œ œ œ

DUET PART (Student plays one octave higher)

U w

ww juw‰ Œ

ww w˙

˙ œ œ b œ œ œ b ˙œ 4

˙˙ œœ j ˙ n œœ œœ ‰ b œœœ œ œ œ œ 4 3 1

˙˙ œœ œœ ‰ œœj ˙ nœ œ #œ œ œ œ œ 4 2 1

www œ œ œ œ

© 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

Book 3 24

PIANO PERSPECTIVES

SuMMEr 2014 CATAlOGuE

Current Hits for Teens Arr. Dan Coates

JAR OF HEARTS Words and Music by DREW LAWRENCE, CHRISTINA PERRI and BARRETT YERETSIAN

Arranged by Dan Coates

Slowly

bb 4 ‰ œj œ œ œ œ œ œ FIREWORK& b 4 I can’t take one more P I know œ œ œ œ œ ? bybb KATY 4 Words and Music b 4 œPERRY, MIKKEL ERIKSEN,

œ.

step

Moderately, with a steady beat

# & 44 Œ

œ œ œ œ œ

F ?#4 ˙ 4 ˙

you

1 5

?# ˙ ˙ 6

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.

?# ˙ ˙

˙˙

œ œ œ œ œ

feel so

pa - per thin,

˙˙

œ œ œ œ œ 2

Do you ev - er feel

˙˙

1 5

˙ ˙

7 ‰ j œ œ œ &œ bœbb ‰ œjœ œœ œœ œ œœ œœ œ œ œ one blow from cav - ing in? You lost the love I loved the œ œ˙ œ œ ˙? b ˙ b b œ ˙˙ œ ˙

like a house of cards,

‰ j œ œ œ œ œ œ

n ˙˙

˙˙

al - read - y

bur - ied deep?

˙˙

œ œ œ œ œ

gret.

5 ‰ j Œ œ bœbb œ‰ œj œ œ œœ œœ œ œœ œ œ œ œ œ & want - ing to start a - gain? Do you ev - er feel, And don’t you know I’m not your œ œ ˙œ œ ˙ œ ? ˙ ˙ bbb œ ˙ ˙ ˙ ˙

œ. 2

ghost

œ ˙

œ œ ˙

an - y - more?

œ œ œ

œ œ œ œ œ

most.

œ œ œ 3

œ 4

œ œ œ œ œ œ

Six feet un - der screams, but

˙˙

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.

Music – Our Passion.

G. Henle Verlag

Katalog · Catalogue

drift-ing through the wind,

˙˙

feel

you,

œ œ œ

© 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

Klavier · Piano

KKat_RZ.indd 1

11.03.10 12:31

Each volume provides two gradesworth 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.

G. Henle Verlag

Music – Our Passion. Katalog · Catalogue

& Œ

Klavier · Piano

Kat_RZ.indd 1

?# ˙ n˙

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

Music – Our Passion.

œ œ œ œ œ

ev - er

Arranged by 5Dan Coates 2

3 Œb & b b ‰ œ œj œ œ œ œ œ œ œ œ œ œ like a plas - tic bag ’cause all that’s wait - ing is re œ œ ? ˙b œ œ œ ˙ œ n ˙b b ˙

towards

TOR ERIK HERMANSEN, SANDY WILHELM and ESTER DEAN 5

œœ˙

11.03.10 12:31

PIANO PERSPECTIVES

SUMMER 2014 CATAlOGuE SuMMEr CATALOGUE

Classics for the Developing Pianist

Selected & Edited by Ingrid Jacobson Clarfield & Phyllis Alpert Lehrer Le petit rien (The Little Trifle)

# & # 43 œ p # & # 43 œ π

œ œ œ œ

# œ & # F # & # œ p

œ œœœ œ œ p

# & # œ π ? ## œ

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

œ œ

# œ & # f # & # œ P

a tempo 4

4 3 1

Enrique Granados (1867–1916)

œ œ œ œ œ œ 8

Book 1

&œb 2

? œ œbb 5

œ œ œ œœ bb œ

œ˙ œ

ƒ ? bb œ œ

œ œ

Œ œœ œ œ

œ œ

4 1

œ œ œ œ œ ˙ œ 3

˙˙

œœ œ ˙ œ ˙ œœ œ ˙

œ œ œœ œ ˙ œ œ

4 1

j œœ

œ œ

3 1

œœ œ ˙ œ ˙

œ œ œ œ nœ ˙ œ

œœ

4 1

5 3

3 1

œœ œ ˙ œ ˙ œœ œ ˙

j1 œœ

j œœ

œœ œ Œ œ œ

œœ œ

& œœ

˙ œ

œœœ œ œ œ

poco rit.

gg ˙˙˙ ... g F

œ œ

5 1

œ œ

5 2 1

œ œ œ n œœ œ

j œœ

4 1

œ œ

œ œ œ œ

œ œœ

3 1

œ œ œ œ œ œ f Œ œœœ œ œ œ

œ œ œ œ

5 1

œ œ

2 1

œ œ

3 1

1 5

? bb œ œ

4 1

œ œ œ

˙.

œ œœœ œ

3 1

œ 1

œ œ( ) œ œ p& bb œœ œ œ œ œ œ ƒœ œ

œ œ œ œ

## œ

P ? ## œ 17

poético no. 4 ˙ Valse Œ

Valse humoristico (h. = 50–56)

œ œ

François Couperin (1668–1733)

, œ n&œ bbœ 43 œ œ œœ œœ œ œ œ œ œ œ œœ œœ , œ f ritmico œ œ œ ? b3 b 4 œ Œ œœ œœ Œ ( œ œ ) œ

œ œ œ œ œ

œ œ P

Allegretto (q = 112–138)

œœ œ ˙ œ ˙ ˙

Fine

poco rit.

LH over

Book 3 Sonata in D Major I Franz Josef Haydn (1732–1809) Hob: XVI:37; L. 50

Allegro con brio (q = 100–116)

r œ œ 4

f œœ œœ P

? ## c

m m œ œ œ œ œ œ œ a

# & # œ œ œ œ œ

Titles: 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

PIANO PERSPECTIVES

r œ œ

œ π 5

2 1

œ œ m m F œ œ œ œ œ œ œ œœ œœ œ œœ œ œ œœ J J 4 1

3 1

5 1

2 1

j ‰ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ p 1

2 4

r œ œ

r r œ œ œ œ œ œ œ œ œ

œœœœœœœœœœœœœœœ

œ œ # œ œ œ œ œ œ œ œ & # œJ œ œ œ Jœ ‰ œJ œ œœ œœ œ # & # œ œ œ œ œ œ œ œ œ ? ‰ J œ

r r œ œ œ œ œ œ œ œ œ

œœœœœœœœœœœœ œ œ œ œConsolation No. 3 in D-flat Major

Franz Liszt (1811–1886) S. 172

P bb œ œ œ ∑ Œ œ Ó &œb œb bœ cœ œ œ œ œ œ œ∑ œ œ œ P cantando sempre legatissimo 12 Œ œ œ œ œ 12œ œ œ π œ œœ œ œœ œœ œ œœ œœ œ œœ œ œ œ π ‰œ œ œœ œ ‰œ œ œœ œ ? bb b c ‰ œ œ œ œ œ bb w w w p 10 af œ œ œ œ œ œ œ u.c.œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4œ œ œ œ œ œ œ ˙ œ œ œ œ ˙. f bb ˙ cresc. œœœ œ œ œ &bbb ? œ ? ## œ œ œ œ œ œ œ œ & œ & œ œ œ œ œ œ œ œ œ œ œ œ œ Fœ œ pœ œ œ œ œ œ œ œ œœ œ ‰ bœ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ? bb b ‰ n œ œ babove a According to many scholars, trills in Haydn’s music should begin on the note b the main note and should be played on w w the beat. The editors find in this opening passage, however, that beginning the trills w on the main note enhances the melodic line 7

5 2

4 1

Lento placido (q = 63–76) 1 3

5 3 2

1 3

4 5

2–1

Book 4

and continues a long held tradition.

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

Classics for the Developing Pianist, Book 5

œœ œ

2 4

Titles: 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.

r œ œ

j ‰ & œœ œœ œœ œœ œœ

4 # œ œ œ œ œ œ œ œ j ‰ œ & #

Classics for the Developing Pianist, Book 4

232

bb œ &bbb 7

Fœ 4

œ œ œ œ

˙ 3

œ nœ œ nœ 1

œ œ œ œ œ œ œ œ ‰ nœ œ œ œ œ œ œ œ œ œ œ ‰ nœ œ œ œ œ ‰ œ œ œ nœ œ œ ? bb b ‰ œ œ bb w w ˙ ˙ b ˙. & b bb b

œœœ

œ œ

Fœ 4

˙ 5

œ nœ œ œ

œ œ œ œœœ œœ œ œ œ œœ œ œœ œ ‰ œ nœ bœ œ œ œ œ œ œ ‰œ œ œœ œ ? bb ‰œ œ bbb w w w a The D-flats may be sustained with the sostenuto pedal, in which case the una corda pedal is not used.

t.c.

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

Book 5

SuMMEr 2014 CATAlOGuE

Masterwork Classics Duets Gayle Kowalchyk, E. L. Lancaster, & Jane Magrath 14

SECONDO Teacher

Good Humor No. 9 from Teacher and Pupil, Book 1

Joseph Löw (1834–1886)

& 44 Œ

5 3 1

Allegro moderato

? 44 Œ 4

5 3 1

& b œœ f # œ ? œ

œ b b œœ f b b œœ 1 5

5 3 1

Œ &œ œ Œ œ œœ f ˙? œ ˙ œ

Œ œ Œ œ œœ b # œœ p ˙ ˙

5 3 1

œœ Ó œ œœ Ó

4 2 1

& ˙ ? ˙

œ œ

Levels 1 and 2 feature Teacher-Student Duets.

œ œ

œ œ œœ œ œ œ

œ Œœ œ Œ œ œœœ p œ œ œ ˙ œ˙

œœ œ

Joseph Löw (1834–1886)

œ œ

œœb ˙ Ó œ œ œ b ˙ œ Ó œ œ œ

Ó œœœ Œ œ bœœœ p n œ fœ œœ ÓŒ œ bœœ œ # œ

b& œœ œ b? œ œ

œ Œ œ œ œœœ œ œ œ œ Œ

Œ œ œ # œœ œ Œ œ

4 œ œœ œœ &Œ 4 œœ œ F œ ? 44 Œ Œ œ œ

4 2 1

Allegro moderato 5 Both hands one25 octave higher than written throughout 2

& Œ œœ Œ œœ œ œ ? ˙ ˙

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

Œ œ Œ œ œ œ p œ œ Œ œ #œ

& œ œ Ó œœ œœ f ? œ œ Ó œ œ

œœ Œ œœ œ œ Good Humor No. 9 from Teacher and Pupil, Book 1 œ Œ œ Œ

PRIMO Student

5 3 1

n œœ Ó œ œ Ó

Œ œœ œœ œ œ œ Œ œ Œ

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.

œœ Œ œœ œ F œ œ Œ Œ œ

œ œ

˙ ˙

œ œ œ œ

˙ f ˙

œ œ

˙ ˙

œ œ œ œ œ œ œ œ

œ œ

Level 1 2

German Dance

Mysterious Story

SECONDO

Allegretto

? # 43 Œ ? # 43 Œ

Franz Anton Hoffmeister (1754–1812)

SECONDO

œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p ß p Œ Œ Œ Œ Œ Œ œ œ ˙. œ œ œ ˙. œ 5 3

5 3

4 2

? # 42

5 3

4 2

5 3

?# Œ

œ 2

? # œ

œ œ œœ

œ œ

∑

# & œ œ œ œ ?# œ œ œ œ œ œ œ œ # f& ?# œ Œ Œ œ 15 œ # &

5 3

& 20

∑

œœ

5 3

œ œ œ

Œ ˙˙

œœ

œœ œœ œœ œ Œ Œ .. .. œ œ Œ œœ œœ œœ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ f Œ œœ Œ Œ œœ Œ Œ œœ œœ œœ Œ .. .. Œ p Œ Œ Œ Œ œ Œ Œ œ œ œ œ œ # œ œ œ œ œ œ œœ œ œ œ œ J ‰ œ œ œœ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ Œ .. j œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ œ œ œ . œ8va œ œ œ Œ . j œ # œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ Œ *œ œ J ‰ Œ p j œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ œ Œ Œ œ Œ

# œœ

∑ # &

œœ

3 1

5 3

4 2

2 4

5 3

# & Œ

œœ 1 3

œœ 3 1

f œœ

5 1

4 1

# œ

˙˙ ..

˙˙ 3 5

1 3

œœ

* Play the grace note quickly before the beat.

Level 3

œ Œ

4 j œ œ

œœ

œ œ œ œ œ œ

œ Œ

œ œ œ œ

œ œ œ œ œ 1

œ œ Œ

j œ

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.. ..

4 2 1

1 2 5

# œ &˙ .. J ˙˙ ˙ F ˙ # & .. ‰ Œ œœ œ œœ œ œ œœ œœ œ 25 œ œ j ‰ œ & # œœ # œ œ ‰ J œ œ œ # & œ # œ 17

˙˙ ˙

˙œ Œ œ

# œŒ # œ #∑œœ ?# œœ Œ p œ Œ# œ # œœ Œ# œœ œœ nœ œ n œ # œ # œœ # œœ œœ 8va 33 œ œ # œ Œ Œ œœœ & Œ œ f # œ Œ Œ œœœ & Œ œ 5 2 1

1 5

F ? # Œ ‰ œj ˙ ˙ # & œ ?# œ œ

Œ Œ

4 1

‰ ..Theodor Kirchner (1823–1903) Op. 57, No. 2 œ œ œœœ œ œ Œ‰ .. œœ Œ # œœ Œ # œ ‰ J œ p F œœ Œ œ Œ œœ Œ œ ‰ œ œœ # œ J œ # œ œ Œ Œ Œœœ Œ # œ Œ œ ‰ .. œ ‰ .. Œ #œ Œ œ Œ œ # œ &œ f œ œ# œ œ n œ œ œ Œ Œ # œ Œ œ # œ œ ‰ J # œ n œ œ p F œœ œ œœ œ œ Œ n œ Œ œ œ # œ ‰ Jœ ‰ J . œ Œ Œ ‰ . œœ œœ œœ œ # œœ # œœ # œ Œ Œ Œ ‰n œ.. Œ œ Œ œ œ œ œ # œ œœ œœ œœ Œ n # œœ Œ œœ # œ œ Œ 1

5 2

œ œ

PRIMO

œ œ

œ œ œ œ

Œ #œ Œ œ Œ œ Œ œ p Œ Œ Œ Œ œ œ # œ Story Mysterious œ 1

p Œ

? # Œ ‰ Jœ œ Œ Œ # œ œ Œ œ Œ # œ Œ œ Œ Vivace p F œ # 2 œŒ Œ ?# ∑ Œ ‰ œj œ Œ œ # œ Œ œ œ & œ 4 œ œ J œ # œ œ œ # œ F #2 ‰ ∑ Œ 17 Œ œ œ & 4 œ œ œ œ œ œ œ ˙ ? # .. ‰ Œ ‰ Jœ œ Œ ∑ Œ œ œ 9 F œ œ p œ œ œœ œ # œ œ œ œ ? # .. ‰ Œ nœ Œ ∑ Œ ‰ #&œj #n œœ œœ œ œ œ # œ nœ # œ pn œ œ œ œ # 25 & œ œ œ œœ œœ # œ œ œ Œ œ ?# œ ˙ Œ ‰ # œJ n œ œ œ œ # œ ∑ 9

Franz Anton Hoffmeister (1754–1812)

? # 42

1 5

œ œ œ œœ œœ ? # œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ German Œ .. .. Œ Dance œ œ PRIMO f ?# Œ .. .. Œ Œ Œ Allegretto ˙. œ œ ˙. ˙˙ .. ˙ œœœ œ œ œ #3 œ Œ Œ & 4 10 ß œœ œ œ ? # œ # œ œ œ œ œ œ Œ Œ# p ∑ œ #œ œ œ œ œ œ Œ œ Œ œ Œ Œ œ Œ & 43 Œ 5

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

œ ‰ Œ ‰ J œ Œ Œ b œ F ‰ ∑ Œ ‰ œj œ b œ

Vivace

2 4

3 1

4 2

2 4

5 2 1

1 2 4

1 2

5 2

5 1

3 2

1 4

œœ œ œ 5

œœ œ Œ

1 5

2 3

n œ Œ p œ Œ 1

œœ Œ

# œœ Œ

œœ

œ Œ

# œ Œ

4 2

‰ .. ‰ ..

Level 4 PIANO PERSPECTIVES

SuMMEr 2014 CATAlOGuE

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 Eurydice

St. Matthew Passion Suite for Two Pianos

Piano Duets (1 Piano, 4 Hands) (A) NEW! ............... 40164

Piano Duo (2 Pianos, 4 Hands) (A) NEW!................ 40166 2 copies required for performance.

Tambourin Chinois

Three Waltzes for Two Pianos A Medley of Waltzes Made Famous in Disney Films

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

Piano Duo (2 Pianos, 4 Hands) (A) NEW!................ 40085 2 copies required for performance. 2

for Kim Craig

Tambourin Chinois (Chinese Drum)

2 Fritz Kreisler (1875–1962) Op. 3 Arr. Greg Anderson

b 2 b œœ & b 4 b œJ F œ ? bb 42 J 5 2 1

Secondo

∑

œ n œ b œœ # œœ œœœ œ n œ b œ œ œ œ 5 2 1

4 2 1

5 3 1

pedal ad lib.

? bb

2 4

5 3

œœ œœ

4 2

b œœ

1 2

∑

with energy

˙˙

œœ . .

5 2

4 1

3 1

1 2 3

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

2 1

4 2

3 1

bœ n n œœ œ œ œ

œ œ J 5 2

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Tambourin Chinois

˙˙

1 2

1 4

2 5

œ œ œ œ œ œ œ œ

1 4

œœ œ J ‰ 1

œ œ œœ œœ œ œ

œ œ œ

œ œ b 3 &bb4 Œ œ Œ f ? bb 43 Œ œ Œ &œ b

2 4

n œœ b œ n œ Œ b œœ

Tempo di valse, in one (h. = 66) 5 2 1

5 2

œ œ œ

pedal ad lib.

non legato

? bb 43 b

œ p œ œ œ œ œœœœœœœ œœœœœœœœ ‰ ≈ ≈ F 3 œ œ œœ œ œ ‰ &J œ œ œœ œ œœ œ bring out LH mel. œ

? bb 43 b

2 3

? b bb

p œ

œ œ

œ œ œ 2

œ œ œ

PIANO PERSPECTIVES

5 3 1

œ œ œ œ p œœ F œœ œ œ œ n œ œ J ‰ œ œ dry, articulate œ ? œœ œ œœ Œ & œ œ œ 5 P F œ # œ Œ Œ œ œ n œ n œ œ 1

1 2

5 3

œ œœ œ œ n œ n œ

œ œ

œ n œœ

∑ p œ œ œ n œ œ ‰ J

Œ Œ P

œ œ

œ œ œœ 2

œ œ nœ œ

#œ 5

œ œ

5 3

œœ œœ œ œ f œ nœ nœ œ n œ n œ

RH 3

œ œ

œ œ œ

1 2 5

∑

b ˙œ bœ Œ? œ

n œ Œ n œœ Œ

œœ Œ œœ Œ œœ n œ n œ

pedal ad lib.

7 œœ œœ b œ &bb Œ F ? b œ Œ Œ bb œ œ b &bb Œ Œ

œ œ œ

Three Waltzes for Two Pianos

œ œ Œ &œ œ œ

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

n œ œ b œœ œœ

# n œœ # œœ n# œœ # œœ

5 3 2

1 4

∑

˙ ? bb ˙ f ? bb œ œ œ œ œ œ œ œ

3 1

œœ œœ b œœ n # œœ œ n œ n œ # œ

∑

5 2

n œœ œ ? b bœœ

Arr. Greg Anderson “Chim Chim Cher-ee” (from Mary Poppins)

~~~~~gl~~iss. ~~~~~

? bb 42 ‰

∑

~~~~~~gl~iss. ~~~~~~

b2 &b 4 ‰

Primo

Three Waltzes for Two Pianos

A Medley of Waltzes Made Famous in Disney Films

Allegro molto, quasi presto (q = 132)

j œ

5 2 1

œœœ .

2 5

bœ œ œ

œ#œ œ

SuMMEr 2014 CATAlOGuE

Masterworks

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

Ferruccio Busoni Duettino concertante

Ed. Greg Anderson and Elizabeth Joy Roe Ferruccio 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!...... 39364 2 copies required for performance.

Wolfgang Amadeus Mozart Sonatas K. 381; K. 358; K. 497; K. 521 Ed. Charles Timbrell

Mozart’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 Albéniz Suite Española, Op. 47 Ed. Olga Llano Kuehl-White

Suite 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

PIANO PERSPECTIVES

SUMMER 2014 CATAlOGuE SuMMEr CATALOGUE

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

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.

January & February Services Arr. Carol Tornquist

Titles: 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.

May & June Services Arr. Carol Tornquist

Titles: 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

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

March & April Services Arr. Carol Tornquist

Titles: 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

July & August Services Arr. Carol Tornquist

Titles: 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

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

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.

January & February Services Arr. Robert D. Vandall

Titles: 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

Arr. Robert D. Vandall

Titles: 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

March & April Services

July & August Services

Titles: Christ the Lord Is Risen Today • Draw Me Nearer • Hosanna, Loud Hosanna • Jesus Paid It All • To God Be the Glory • Were You There?

Titles: 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.

Arr. Robert D. Vandall

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

May & June Services

PIANO PERSPECTIVES

Arr. Robert D. Vandall

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

SuMMEr 2014 CATAlOGuE

Sacred Performer Series 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.

A Jazz-Inspired Wedding 8 Sophisticated Solo Piano Arrangements Arr. Craig Curry

Titles: 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.

Inspirational Hymn Medleys 8 Solo Piano Arrangements of Timeless Hymns

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

Arr. Mary K. Sallee

Titles: 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).

A Call to Praise 10 Arrangements of Contemporary Christian Favorites

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

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

Arr. Melody Bober

Titles: 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.

Sunday Morning Organist 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.

Volume 10: Organ & Piano Wedding Duos Titles: 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 8: Organ & Piano Hymn Duos Titles: 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 Duos Titles: 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. (LI/A) NEW!............................. 40544

2 copies required for performance.

(LI/A) NEW!............................. 40545

2 copies required for performance.

Volume 11: Organ & Piano Christmas Duos Titles: 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. (LI/A) NEW!............................. 40546

2 copies required for performance.

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

PIANO PERSPECTIVES

SuMMEr 2014 CATAlOGuE

Pop 2013 Greatest Pop & Movie Hits This 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

ALFRED PIANO LEVELING AND METHOD CORRELATION Skill Level

Pop Level

Early Elementary (EE)

Alfred’s Basic Prep Course

Alfred’s Basic Piano Library

Alfred’s Premier Piano Course

Levels A and B

Level 1A

Elementary (E)

FF = 5 Finger (E/LE)

Levels C and D

Level 1B

Late Elementary (LE)

BN = Big Note (LE/EI)

Levels E and F

Level 2

Level 2A and 2B

Level 3

Levels 4 and 5

Levels 5 and 6

Level 6

Early Intermediate (EI) Intermediate (I)

EP = Easy Piano (I/LI)

Late Intermediate (LI)

2013 Greatest Christian Hits Titles: 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 Suite

Composed by John Lunn / arr. Dan Coates This 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 & Screen The Hobbit: An Unexpected Journey

New Super Mario Bros.™ Wii

For 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.

The 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!

Composed by Howard Shore

Composed by Koji Kondo, Shiho Fujii, Ryo Nagamatsu, and Kenta Nagata

Arr. Dan Coates

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

(EP) NEW! ......................................................40315

Arr. 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! .......................................................40835

Arr. Dan Coates

(EP) NEW! .....................................................40850 32

PIANO PERSPECTIVES

Super Mario™ Jazz Piano Arrangements

Composed 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

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! Questions? Email piano@alfredpub.com.au • Call 02 8707 3612 (Aust)

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Your destination fo r exclusive product sneak-peeks, video piano artist intervie s, ws, teaching tips, gi veaways and much more! Alfred Australia | PO BOX CP67, CONDELL PARK NSW P 02 8707 3600 | F 02 9793 1301 | piano@alf redaustralia.com NOT FOR SALE. ÂŠAlfred Australia All of the publications featured in this magazin e are readily available distribution centre based from our large in Sydney. Please help our continu ed support of Australian Music Education by pu music and other music rchasing your print resources from Australi an retailers and local on lin e stores. If you are experiencing any difficulties obtainin g our material, please our dedicated email for feel free to email us on piano teachers: piano@ alfredpub.com.au or ph one 02 8707 3612. Designed by Sarah Christ en sen Design. Printed in

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