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Ted Cooper, Around the World on 88 Keys, Book 2: Barabar Caves
Setting up a steady, rhythmically accurate accompaniment pattern is perhaps the most crucial element of “Barabar Caves.” With this firm foundation, students can focus more on the melody. The right hand needs to be comfortable -
Elvina Pearce, First Impressions: Foggy Morning
The "Foggy Morning" is depicted through pedal, pianissimo dynamics, and alternating whole steps E and D in the right hand. The left hand alternates Bb and Ab beneath the right hand to further create the -
Elvina Pearce, First Impressions: Indian Portrait
"Indian Portrait" uses an repeated open fifth accompaniment to evoke the typical Native American drums. The right hand needs to be able to play a variety of blocked intervals in succesion: thirds, fourths, and -
Elvina Pearce, First Impressions: Moon March
This piece is written in ABA' form. The outer sections depict the march, with steady alternating open fifths in the left hand. The right plays non-legato double thirds, always with a 2-4 fingering -
Elvina Pearce, First Impressions: Heavy Load
As the title of this piece implies, the young pianist should imagine the strain of an ox pulling a "Heavy Load". Notes should be played on the back side of the beat and this piece -
Elvina Pearce, First Impression: Bouncin'
This energetic piece features staccato blocked intervals, which "Bounce" around in various rhythms. The quick changes of the rhythm can cause some initial difficulties, but really help rhythmic coordination. Notationally, this piece lacks rests, even -
Elvina Pearce, First Impressions: Jazzin' Blues
This Blues provides a great introduction to the 12-bar blues pattern. The composer also cleverly uses the 6/4 time signature to create a way to notate the swing rhythm. This piece is a -
Elvina Pearce, First Impressions: The Hammock
The swaying of "The HammocK" is depicted by the alternating hands in triple meter. Furthermore the juxtoposition of C and Bb in the left hand to a steady melody in the right hand enhances the -
Elvina Pearce, First Impressions: Piggy-back
The title of this piece, Piggy-back, is reflected by the right hand having to play "on top" of the left hand. This technique can be a bit awkward at the beginning. However this piece -
Elvina Pearce, First Impressions: Mystic Flute
This atmospheric piece would be an excellent choice with which to introduce the beginning pianist to pedaling. Both hands are in C position, but must also jump to other C positions. The open fifth accompaniment -
Elvina Pearce, First Impressions: Black Swans
This is the first piece of this set, which has a key signature (D). Arpeggiated motion between the hands, combined with pedal throughout, help depict the characters of swans and water. The left hand needs -
Elvina Pearce, First Impressions: Ceremonial Dance
This piece features a wide range of dynamics, from piano to forte and everything in between. A crescendo, staccato markings, pedal, and a ritardando further require the student to pay attention to all details. Quick -
Elvina Pearce, First Impressions: Scotch Plaid
"Scotch Plaid" evokes a raucous Scottish dance, with an open fifth drone conjuring up the image of a bagpipe. Students will enjoy being able to play with vigor and loudness: forte and fortissimo with -
Elvina Pearce, First Impressions: Summer Evening
"Summer Evening" is a beautiful composition, which employs a variety of interesting details for the student: extensive pedaling (with many changes), non-harmonic tones throughout, blocked and broken intervals, and much room for rubato -
Elvina Pearce, First Impressions: Drifting Sands
"Drifting Sands" employs whole tone scales and chords throughout. This, combined with pedal and soft dynamic markings, helps to create the arid atmosphere necessary to depict the image of shifting sands in the desert -
Elvina Pearce, First Impressions: The Giant
"The Giant" is a wonderful piece where students can explore the loudest and deepest sound on the instrument. It is fortissimo throughout, plus many notes have accents. The composer adds "Heavy handed" as a -
UIPianoped Wiki
The University of Iowa Piano Pedagogy Video Recording Project (UIPianoPed) started in 2011 and has since amassed almost 3000 videos of beginner to intermediate piano pieces and over one million views on YouTube. It is -
Joyce Grill, Country Dances: A Little Blue
In this beautiful piece, the composer explores the different sonorites of the various chord qualities: major, minor, diminished. The melody is tossed back and forth between the hands, and the student must pay attention to -
Joyce Grill, Country Scenes: Stately Dance
"Stately Dance" is in essence a classic Minuet, complete with Baroque articulation. The composer allows the performer, by not adding slurs, to chose to do a non-legato accompaniment, which would be in line -
Joyce Grill, Country Scenes: Going Nowhere
"Going Nowhere" uses the same descending 4-bar bass pattern over and over throughout the piece: D-C-Bb-A. Above that the RH "improvises" on another descending line: F-E-D-C#. This -
Dennis Alexander, Arioso in D Major
Both the title and a cantabile marking suggest that this piece is written in a singing style. A dreamy melody complemented by alternatively tender and surprising harmonies distinguishes this arioso from other similar pieces. Students -
Joyce Grill, Country Scenes: Strolling
It is easy to imagine a Broadway musical scene when listening to this piece, so that it would be a great choice for a student with interest in that style of music. Young performers must -
Joyce Grill, Country Scenes: In The Garden
This delightful and happy piece allows the young pianist to explore the balance between the melody and accompaniment, add their own sense of rubato, and focus on a good pedal technique. All in all it -
Joyce Grill, Country Scenes: Hopscotch
This tricky little piece requires a solid sense of rhythm. It is written in 5/4, and alternates 2+3 and 3+2 throughout. The left hand needs to move quickly back and forth over -
Joyce Grill, Country Scenes: Short and Snappy
The "Short and Snappy" refers to the staccato blocked intervals, which need to be played with a good wrist technique. The composer features a variety of fingering combinations for these intervals, so that this piece
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