Piano Perspectives | Spring 2017

SP R I NG 2017

PIANO THE MAGAZINE FOR PIANO TEACHERS

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CONTENTS 10

arnessing the Power of H Storytelling when Teaching Beginners to Read Music

By Rebecca Wilson

hoosing Piano Repertoire for C Your Students

By Jane Magrath

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ow to Teach Improvisation on H the Piano

By Loren Gold

Composer Q&A: Getting to know Martha Mier At the Piano with G. Henle Verlag

ew Alfred Music Piano N Catalogue PIANO PERSPECTIVES

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Competition Winner Ria Murray (left) with Devirra Music’s Naomi Guo (Right) at the 2017 Australasian Piano Pedagogy Conference

HARNESSING THE POWER OF STORYTELLING

HARNESSING THE POWER OF

STORYTELLING WHEN TEACHING BEGINNERS TO READ MUSIC

By Rebecca Wilson

Storytelling is a powerful pedagogical tool. (Caldwell, 2012) A well-told story is engaging and captivating, and can be a vehicle for imparting knowledge. “Stories help us to organize and remember information, and tie content together.” (Caine and Caine, 1994; Egan, 1992) “Young children find it easier to assimilate new ideas when they are presented in the form of a story and even older students look to anecdotes to help them understand new concepts.” (Wells, 1986)

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CHILDREN LOVE STORIES

iano teachers can teach beginners to read music by turning the piano keyboard and the grand stave into a big story board, and the notes into characters. Teaching children this way is incredibly powerful.

It helps students to read music easily and progress in learning the piano without the barrier of not knowing the notes.

to action, storytelling has an irresistible power - much more than just presenting the facts, no matter how compelling they are.

Learning to read the notes can be so difficult for beginner pianists, but when you teach the notes with stories, you can turn it into the most fun and easy thing to learn! By the teacher taking a few minutes to tell stories each lesson, their beginner students can be enabled to learn the notes and read their music easily.

“Story has the power to capture our imagination and engage our thinking and emotions.”

“Stories are a natural mode of thinking; before our formal education begins, we are already learning from Aesop’s fables, fairy tales, or family history.”

(Green & Brock, 2000)

(Green, 2004)

“Evolution has wired our brains for storytelling.”

So, why does teaching with stories work so well?

“In business, storytelling is all the rage.”

“If you want your children to be smart, tell them stories. If you want them to be really smart, tell them more stories.

If you want them to be brilliant, tell them even more stories.” – attributed to Albert Einstein.

IRRESISTIBLE

Stories are a powerful tool to engage your audience – this is becoming more and more recognised, in education, in business, in marketing, in science, in public health; whenever you want to convey a message and influence people

“Storytelling is one of the most powerful techniques we have as humans to communicate and motivate.”

(Widrich, 2012)

(Widrich, 2012)

(Gottschall, 2012) “Science is the process of solving mysteries; in fact, writers of journal articles are often advised to make their findings into “a good story.””

(Green, 2004)

Children love stories. Right from when they are little we’re always telling them stories. To them it’s a natural way of learning, of thinking about things, of seeing the world. They love stories! Start telling a child a story, and straight away you’ll have a captive audience.

(A-Z Quotes)

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HARNESSING THE POWER OF STORYTELLING

CAPTIVATING

It’s called “the hush” - when you tell stories to children, and stillness descends upon them. (Hamilton and Weiss, 2007) Stories have a captivating power. When I start telling a child a story during a piano lesson, the child sits quietly still and I know they’re “all ears”.

“Telling a story engages the audience in a unique way. The magic of storytelling changes the atmosphere in the classroom and in so doing enhances the learning environment. Stories serve to open the mind so that the hearer is ready to take things in. In short, stories appeal to the heart, and, once the heart is won, the mind is open to hear!”

(Caldwell, 2012) “Sixth grade teacher Sharon Gibson says: Many teachers think that storytelling will take away from class time, but it doesn’t. Storytelling is part of your lesson, and makes the actual lesson much more powerful. By about the third time that I start my sixth grade class by saying “I’m going to tell you a story,” they’ll settle down and listen – and I’ve got their attention for the whole period, long after the story ends.

Even not particularly dedicated students will remember the stories and at the end of the year they are still referring to them.”

(Hamilton and Weiss, 2007) Stories are like Trojan horses. (Gottschall, 2012) Children think a story is a gift, something fun and interesting, so they open up their hearts and minds, like the citizens of Troy opening up their gates to the Trojan horse. But inside the story you can load up the information you want to teach, and without your listeners even realising it, you’re causing them to assimilate that information right into their minds. It’s a sneaky trick that you can use to very good effect!

“A story is a trick for sneaking a message into the fortified citadel of the human mind.”

(Gottschall, 2012) “Stories captivate our imagination and engage our emotions. Stories appeal to the heart and open the mind so that the hearer is ready to take things in.”

(Hamilton and Weiss, 2007)

POWERFUL PEDAGOGICAL TOOL

Storytelling is a powerful pedagogical tool. (Caldwell, 2012) When new information is presented in the form of a story it’s easier to assimilate and remember than facts alone. Stories help the learner to organise information and tie it together in their minds.

Remembering the flow of a story is much easier than remembering a list of facts. (Green, 2004) “Our brains become more active when we hear stories…. A story can put your whole brain to work.”

(Widrich, 2012) “Stories promote lively imagination on the part of students. When students listen to a story, they create mind pictures, make inferences and predictions, and fill in the gaps.

They in a sense become involved in creating the story, thus forming a relationship with the narrative.”

(Caldwell, 2012) “The features of a story help us remember much more than just facts alone. Our brains seem wired for story structure.”

(Callahan, 2015) “Stories are the way we store information in the brain. A list of facts will be forgotten, but stories are remembered. Stories help us to organize information, and tie content together.”

(Hamilton and Weiss, 2007)

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When listeners hear a story, they create images in their minds. That imagery is very powerful in imprinting things on the mind and enabling them to be recalled later on.

“Stories engage our thinking, our emotions, and lead to the creation of mental imagery.”

(Green & Brock, 2000).

“Imagery activity may be a key to the building blocks of intelligence and education. When the brain images the brain releases endorphins and recent research has demonstrated that imagery also expands the size of the brain through the growth of new dendrites … Imagery therefore speeds communication within the cells and between the cells in the brain.”

(Marsh, 2012)

TEACHER-STUDENT RELATIONSHIP

A teacher who tells stories to their students “reveals an approachable, likeable, and human side to his or her personality. This helps to close the distance between the teacher and the student.” (Caldwell, 2012) “Storytelling brings a sense of intimacy and community.” (Hamilton and Weiss, 2007) Children really warm to you when you tell them stories, and with the stories you and the student both share something, a “sense of community”, of having something shared together. In this way, storytelling helps to develop a positive relationship in that first year of teaching beginner students.

STORIES ARE AN EXCELLENT TEACHING TOOL

Teaching with stories is wonderful!

Children really like it, and they learn so well through stories.

PIANO AND STAVE STORIES

Every story needs characters and a setting. You can to turn the piano and the stave into the setting for the stories, and all the notes become the characters in the stories. And from the first lesson, you begin to take the student on a journey – the journey is the story, that develops week by week.

The stories I tell my students come from the Wilbecks Easy Notes theory books.

these pictures on the piano turns the piano into a kind of “land” or a map, which helps the student to know exactly how each note on the stave and the piano connect. They don’t need the pictures there all the time because once they know the story, that piano road map becomes internalised, an image in their minds, in the same way that you can find your way around your neighbourhood because you have the map internalised in your mind.

In these stories, the treble stave is Treble Stave Street, and the notes above the stave are on the Treble Mountains.

The stories not only link to the notes’ positions on the piano, but also to their positions on the stave.

The bass stave is Bass Stave Farm, and below the farm is the Icy Sea of the South.

This sets the scene on the stave.

On Treble Stave Street, Dog D waits below the bottom line, hoping someone will let him into the house.

The student knows that on the piano Dog D is in the middle kennel, so now the note on the stave and the note on the piano are linked through the story.

Frog F hides in the first space of Treble Stave street because a boy, Boy B, wants to catch him an put him in a jar in his room.

To set the scene on the piano, there is a page of pictures in the middle of the first Easy Notes book; the pictures can be cut out and placed on the piano. This sets the scene on the piano and connects the piano to Treble Stave Street and Bass Stave Farm. For example, there is a kennel which goes on the middle two black notes of the piano, and inside the kennel is one of the characters in the stories, a dog called “Dog D”. Above the kennel is a lily pad which matches the three black notes. Hiding under that lily pad is a frog, Frog F, and sitting on top of the lily pad enjoying the sunshine is Bug B. Above the lily pad is a ladder, and climbing up that ladder is Dad D. He climbs up the ladder to spray the bugs.

There are also gate, treasure chest, mountain, and rainbow pictures. Placing

And on the piano he hides under the lily pad. So again, the stave and piano are linked through the story.

Bug B is as snug as a bug in a rug on the middle line of Treble Stave Street, where it’s warm and cosy.

And when the sun comes out, Bug B flies down to the piano and sits on top of the lily pad, enjoying the sunshine.

Frog F hides under the lily pad, hoping to catch a tasty treat. “Watch out, Bug B!”

Dad D climbs up the ladder, 1 2 3 4, to spray the bugs with bug spray.

And where is he on the piano? Up the ladder – still spraying those bugs!

These stories show the principle of how you can teach beginners to read music and recognise the notes with stories. I just can’t tell you how wonderful it is!

Not only is it effective, but it’s also fun, and children really connect with it.

• Teaching with stories is so powerful.

With stories you can easily engage your beginner students.

• Children love stories. To them, it’s a natural way to learn - it suits them to learn this way.

• T ell a child a story, and you’ll have their full attention. The “hush” will descend, and they’ll just listen to you.

• Stories are like Trojan horses – we can deliver so much into our students’ minds through stories, and they are able to easily assimilate it. Even the little kids.

• A teacher who tells stories is a very cool teacher! It’s good for the teacherstudent relationship, and it puts a bit of fun into piano lessons – which is good for the “student-piano lesson” relationship!

STORYTELLING RESOURCES

The Wilbecks Easy Notes books teach four octaves of notes with stories, and have written exercises and flashcards for further note practice. This learning can be enhanced by using the Wilbecks Magnetic Stave and Character Magnets.

This enables hands-on activity, which is a great way to have the student actively practise and engage with what they have learned. To find out more, you can go to www.easy-notes.com.

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REFERENCES

A-Z Quotes. http://www.azquotes.com/ quote/876064 Caine, Renate Nummela and Geoffrey Caine. 1994.

Making Connections: Teaching and the Human Brain, Menlo Park, CA: Addison-Wesley

ABOUT THE AUTHOR:

Rebecca Wilson is the creator of Wilbecks Easy Notes, a fun and interactive way to teach beginners to read the music notes. She has been teaching piano for over twenty years, and is passionate about helping beginners to love music.

Keith Caldwell. 2012. Storytelling as a Pedagogical Tool. http://teachingthroughthearts.blogspot. co.nz/2012/07/storytelling-as-pedagogical-tool.html Callahan, Shawn. 2015. The Link Between Memory and Stories. http://www.anecdote.com/2015/01/ link-between-memory-and-stories Egan, Kieran. 1992. Imagination in Teaching and Learning: The Middle School Years. Chicago: University of Chicago Press.

Gottschall, Jonathan. 2012. Why Storytelling is the Ultimate Weapon. https://www.fastcompany. com/1680581/why-storytelling-is-the-ultimateweapon Green, Melanie. 2004. Storytelling in Teaching. http://tlc.utk.edu/wp-content/uploads/ sites/39/2013/08/Story_in_Teaching.pdf Green, M.C., & Brock, T.C. (2000) Narrative impact: Social and cognitive foundations Mahwah, NJ: Erlbaum http://teachingthroughthearts.blogspot. co.nz/2012/07/storytelling-as-pedagogical-tool.html Hamilton, Martha & Weiss, Mitch. 2007. Children Tell Stories: Teaching and Using Storytelling in the Classroom. Katonah, New York: Owen Marsh, Richard. 2012. Storytelling in Education. https:// mazgeenlegendary.wordpress.com/storytelling-ineducation Wells, Gordon. 1986. The Meaning Makers: Children Learning Language and Using Language to Learn.

Portsmouth, NG: Heinemann.

Widrich, Leo. 2012. The Science of Storytelling: What Listening to a Story Does to Our Brains. https://blog.bufferapp.com/science-of-storytellingwhy-telling-a-story-is-the-most-powerful-way-toactivate-our-brains

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PIANO PERSPECTIVES

CHOOSING PIANO REPERTOIRE

Choosing

PIANO REPERTOIRE for Your Students

By Jane Magrath

I am often asked, “How do you go about selecting repertoire for your students?”

M

ost pieces that a student plays have a clear place in the progression and sequence of music that person is studying, and should fit in well with his other works, balancing difficulty levels, genres, and techniques, etc. Does he need a relatively long, major work, or a quick-study piece, or maybe a show stopping etude? Perhaps a contemporary piece is needed to balance the current repertoire. Yet, probably the most important consideration for the student, even more than for the teacher, is that the piece “feels right” for him at this time in his study.

Sometimes new repertoire pieces are chosen to supplement a core curriculum, a classical literature leveled series, or volumes of a beginning piano method.

The core repertoire for the student to

play is chosen, although flexibility always exist within the framework of that core repertoire anthology or method. The advantage of such systems is that the base literature plan is set at a skill and musicianship level that the student works through gradually, ensuring smooth progress. Masterwork Classics and Classics Alive! are two series that have served this purpose for teachers and students alike.

Some teachers build the student’s repertoire piece by piece, especially at the advanced levels. In those cases, works chosen are generally larger and longer than intermediate or even early advanced works.

Different systems can work effectively for different students, depending on their level of ability, their personality,

PIANO PERSPECTIVES

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EDITORIAL

and personal preferences. However, the principles in this article can guide a teacher through the process of choosing a new piece, highlighting some of the considerations to be aware of. These are the primary deliberations for me when choosing pieces for students.

1

ALANCE THE NEW PIECE B WITH THE STUDENT’S CURRENT REPERTOIRE.

These are the first questions I ask myself in choosing a new piece: • Does the student need a longer or major work next?

• Does the student need a shorter work?

• Does the student need something entirely different from what they just played?

I sometimes use the term “quick-study pieces” for elementary through upper intermediate students to refer to pieces that I hope can be mastered relatively well in two to three weeks. These are pieces that we will work through in a limited time, and then put aside, perhaps returning to them for further refinement at a later date. They serve as excellent “filler pieces.”

2

ATCH THE PIECE TO M WHAT THE STUDENT SEEMS TO ENJOY.

Some students have a clear idea of what they would like to play next, or even of what they need next. Others trust the teacher implicitly to make choices for them. And some students are a combination of these two types, wanting to take a small part in the choices but also willing to follow the teacher’s plan. Research has shown that students who have a choice in what they study thrive more than those with no choices. It is important, however, for teachers to provide boundaries for the student. If given too much freedom or too many choices, the student can feel overwhelmed, and may not easily be able to make a wise choice from a group of pieces that is too large. Generally, providing a choice between two or three selections is adequate. Otherwise, the student gets lost in a sea of choices and the teacher spends inordinate amounts

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PIANO PERSPECTIVES

of time trying to “please the student.”

Repertoire in Masterpieces with Flair! and Modern Masterworks provides a framework for choices that may be especially motivating for a student. The two-volume anthology series Modern Masterworks was created in part with the intent of providing attentiongrabbing 20th century pieces that students at level 6 and above would be motivated to play.

3

ATCH THE PIECE TO M WHAT I AS THE TEACHER SENSE THE STUDENT NEEDS NEXT.

Using intuition to perceive how the student is feeling at the specific time in the academic year, how the student feels at this point about his playing, and what might motivate him or her at this time in the year is essential. It can be considered a gut-feeling or instinct on the part of the teacher. Is the last month of lessons for the year the time to begin a major new concert piece? Perhaps yes, perhaps no. Is it the time for a quickstudy etude or dazzling piece? Perhaps having the student play a shorter work akin to his or her favourite piece from the year’s repertoire might fit the bill.

Remember, a simple choice is best, and sometimes, one suggestion might be all that is needed.

4

ETERMINE THE D LITERATURE LEVEL OF THE NEW PIECE.

For a pre-college student as well as a college piano major, the teacher will determine whether and how much the student needs to be challenged in terms of moving to the next level or stage of repertoire, as opposed to continuing to reinforce and secure the playing at their current level. This consideration bears more weight than one might initially think. When given repertoire that is too large of a jump in level of challenge, a good many students will become overstimulated and possibly frustrated. On the other hand, if the literature choice is below the level of appropriate challenge, the student will gain too little stimulus from the new pieces and become bored—unless the teacher suggests to

the student the purpose for the next piece, such as to serve as a “quick-study piece” or is an “on your own piece.”

5

ATCH THE LEVEL OR M GRADE OF DIFFICULTY WITH THE STUDENT’S PERFORMANCE LEVEL.

Even though I touched on this previously, it is important to reiterate that the piece’s difficulty level be considered along with the reading and performance level of the student. As a student progresses, for most who are studying classical pieces it becomes imperative to develop reading skills. If the new piece is too far above the reading level of the student, then the student spends too long taking the piece off the page of music and begins to lose interest. This piece is too much of a challenge to keep his interest. Students become strong readers by reading through music that is slightly below their performance level.

Most successful teachers see to it that their students have sight reading pieces or quick-study pieces in the weekly assignment. Sight reading pieces may be read by the student once, or even several times, during the week and then replaced the next week. Quick-study pieces may be mastered, as a goal, in one week or in two weeks. The goal is to move through a good bit of literature chosen carefully to match or be slightly above the reading level of the student, and to be part of a regular part of the student’s practicing.

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CONSIDER ASSIGNING PIECES THAT WILL STIMULATE AND ENLIVEN THE TEACHER’S INSTRUCTION.

Much of the music that I teach needs to also feed my interest aesthetically and musically, stimulating me to continue to discover new aspects of learning and teaching. As a young teacher, I recall early on teaching so many of the Bach Inventions that I thought, “Wow, I need some more Bach options to keep me interested.” I had grown weary of bringing the Inventions in A minor, C Major, B-flat Major, F Major, D Minor, and so on to life in my students’ work.

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Of course, some of the additional Inventions could have been eventually be mastered by various students as well, but I needed something different.

That is when some of the Bach Short Preludes, Handel Suite movements, and even Purcell Suite Preludes were helpful in filling this void.

The same can be true in teaching the easier pieces from the Schumann Album for the Young, Op. 68. Masterful pieces though they are, the 10 or so most accessible ones are short, relatively speaking. I am especially aware of the need to assure depth and length in the level of literature performed. For the intermediate student, works from the Burgmüller 25 Etudes, Op. 100 can fit the bill; a typical intermediate student plays around 6 or more of them. In truth, these pieces are “character pieces” more than etudes.

Various pieces by Heller also can be effective. Are these sub-par selections for the student, in terms of quality? Not at all, as long as the teacher chooses those that are musically substantial, and there are many. One can look in some of the best anthologies on the market, or can make their own choices from the major collections of Heller such as his Opp. 45, 46, 47, 138, and 125. In addition, pieces from the three-volume

series Classics for Students: Burgmüller, Heller, and Schumann are useful for such choices.

The concept of finding literature that will stimulate the teacher as well as student applies both to the college-level teacher and to the teacher of junior high and high school students.

Ultimately what is right in terms of repertoire selection depends on a careful balance and combination of these considerations: • What the student wants next • What he needs next • The season or time in the year of his study • The balance of the new repertoire within the student’s full repertoire plan • What will be stimulating for both student and teacher

It is especially important that the repertoire fit into the overall curriculum devised for the student and match the student’s performance level in conjunction with his sight reading level.

Jane Magrath is well known as an author, clinician, and pianist.

Her book The Pianist’s Guide to Standard Teaching and Performance Literature has become a classic reference work for pianists. Dr. Magrath’s work in the area of the standard classical teaching literature has been central to the revival of interest in this music throughout the country. She currently has more than 30 volumes published with Alfred Music, and her music editions are used widely throughout the U.S. and abroad.

Methods

Methods 26 25

Unit 5 The 19th-century keyboard composers greatly expanded the works for piano.

Piano repertoire refers to all of the pieces written for the piano. Standard repertoire (also known as concert repertoire) includes works that have proven to have lasting musical value and are performed regularly.

New works are often added to the standard repertoire, including “rediscovered” works from the past.

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

The Notespeller & Sight-Play Books reinforce note-reading skills based on the concepts introduced in the Music Lesson Books. Each page of the Notespeller & Sight-Play Book has two activities—a written activity and a playing example.

Book 1 (EE) ........................$7.99 $6.00 Book 2 (EE) ........................$8.99 $6.75 Book 3 (EE) ........................$8.99 $6.75 Book 4 (EE) ........................$8.99 $6.75

Carl Czerny

At age 10, Carl Czerny (Austrian, 1791–1857) became a pupil of Beethoven.

Czerny composed thousands of études that were used to train pianists to play Beethoven’s sonatas and other difficult repertoire. They continue to be widely used today. His most famous studies include The School of Velocity, Op. 299, and The Art of Finger Dexterity, Op. 740.

Early Romantic Piano Composers

Notespeller & Sight-Play Books Written Activities and Playing Examples to Reinforce Note-Reading

During the 19th century, as piano music became more complex, exercises became part of daily routines for aspiring pianists.

Leading piano teachers of the time began to compose exercises, études (studies), and other pieces written with students or amateur players in mind. Although not usually heard in concerts, many of these studies have artistic value beyond their educational purposes and are heard today in student recitals.

45268 45125 45126 45127

Frédéric Chopin

Chopin’s Keyboard Works

Born in Poland, Frédéric Chopin (1810–1849) was a child prodigy who began performing in aristocratic homes at age eight. While on tour in 1830, political upheaval in Warsaw made it impossible for him to return home, so he settled permanently in Paris, France.

After a successful debut concert there, Chopin soon earned a good living by teaching upper-class ladies and by publishing his compositions. Presenting only a few public concerts in his life, he preferred playing in salons (elegant drawing rooms of the French elite). He died of tuberculosis at the age of 39 after years of illness.

Most of Chopin’s more than 200 piano pieces are still performed today. Chopin created a new keyboard style with unusual harmonies that support vocally inspired melodies. His use of pedal created sounds not previously heard on the piano. Each of Chopin’s études explores a technical problem. At the same time, their artistic quality has made them part of the standard repertoire. Many of the études have nicknames, such as the “Revolutionary” étude (which has a turbulent left-hand accompaniment, a dramatic melody, and powerful chords inspired by the capture of Warsaw) and the “Butterfly” étude (which contains a right-hard part that seems to flutter across the keyboard).

Heller

Page from Chopin’s Polonaise, Op. 53

Background: Early 19th-century Paris The library at the Paris Conservatory of Music (1895)

Chopin

Burgmüller Gurlitt

Composer and pianist John Field (Irish, 1782–1837)

Charles-Louis Hanon (French, 1819–1900) wrote

influenced Chopin and other Romantic composers.

A student of Clementi, Field composed works called nocturnes (night pieces), which were short, expressive, and song-like. Chopin, the “poet of the piano,” was inspired by Field and composed his own nocturnes, which revealed feelings of sorrow and nostalgia.

a set of 60 exercises, The Virtuoso Pianist (1874), that is widely taught and may have been instrumental in developing “the Russian school” of piano playing.

Other 19th-century composers who wrote études include Johann Friedrich Burgmüller (German, 1806–1874), Stephen Heller (Hungarian, 1813–1888), and Cornelius Gurlitt (German, 1820–1901).

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Left: The auditorium at the Paris Conservatory of Music

Hanon

13 Use with page 34.

C, D, and E

20 Use with page 37.

Skips in Treble Clef

 Color each C on the keyboard with a green crayon.

2 Color each D on the keyboard with a yellow crayon.

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Help J. S. Bunny and Mozart Mouse name the skips on lines and the skips in spaces.

Draw a line connecting the dots to match the notes to their letter names.

3 Color each E on the keyboard with a red crayon.

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D

C

1

rest

rest

Like Bach, Chopin wrote 24 preludes in all major and minor keys. However, each of Chopin’s preludes is an independent work, not introductory music to a fugue or companion piece. His other works include ballades, scherzos, sonatas, a barcarolle, a berceuse, a Polonaise-Fantasie, and two piano concertos.

D–F

& 44 œ F 2

All prices are in US$ and subject to change without notice.

1

œ 1

œ

œ

1

1

œ 1

œ 1

˙ 1

..

–

Book 2

alfred.com/summerpiano 3

“Wild Rider” from Album for the Young, Op. 68

by Robert Schumann (Romantic piano miniature)

This piece imitates the sound of a hobby-horse rider, galloping about a room and knocking over tables and chairs.

are among the first lyrical, song-like piano pieces. cycle, and his wife, Clara, was one of the greatest pianists of the 19th century.

Additional Listening: Prelude in A Major, Op. 28, No. 7,

by Frédéric Chopin • “Spinner’s Song,” Op. 67, No. 4 from Songs without Words by Felix Mendelssohn • “Venetian Boat Song,” Op. 30, No. 6, from Songs without Words by Felix Mendelssohn

Multiple Choice Circle the letter for the correct definition of each term.

1. POLONAISE

4. ÉTUDE

A. a school for musicians Chopin Performing in the Guest Hall of Anton Radizwill (1887) by Henryk Siemiradzki (1843–1902)

A. a story from the Romantic period

B. a piece about nature

B. a study

C. a majestic Polish character piece

C. the house where Chopin lived

5. REPERTOIRE

A. a dance piece in triple meter

Background: Early 19th-century Paris

A. an introduction

B. a Baroque dance

The Modern Piano

alfred.com/summerpiano 1

2

Étude, Op. 10, No. 12 (“Revolutionary”)

by Frédéric Chopin (Romantic piano study)

• Robert Schumann developed the piano

2. WALTZ

Play and count.

Track 10:

• Songs without Words by Felix Mendelssohn

Sight-Play

Count:

Book 1

invented a new keyboard style. His unique harmonies support expressive melodies, blended with the damper pedal.

and are based on Polish folk rhythms. The “Military” and “Heroic” polonaises express Chopin’s feelings about Poland’s greatness and its political struggles. Chopin’s more than 50 mazurkas are based on Polish folk dances and contain shifting rhythmic accents. They express a wide range of emotions, from joy to melancholy.

C–E

˙

Track 9:

This dramatic work, which Chopin composed in response to the 1831 Russian attack on Warsaw, has extremely fast and persistent left-hand passagework, as well as a passionate right-hand melody played in octaves.

• During his short life, Frédéric Chopin

The polonaises are majestic in character

Play again using RH fingers 4, 3, and 2.

Listening Guide

the preferred keyboard instrument of 19th-century composers. It could be played at home, in small salons, or on a concert stage, and its dynamic range could convey a wide spectrum of emotions.

in dance forms. These were not intended to accompany actual dancing, but rather to capture the spirit of each dance. Some of Chopin’s waltzes (a dance in triple meter) portray the elegance of grand ballrooms, while others are more intimate. Some are fleeting, like the popular “Minute” Waltz, while vonothers Weber are more dramatic. Chopin called his waltzes “souvenirs of a ball.”

E–C

Summary: Early Romantic Piano Composers

• The piano replaced the harpsichord as

Chopin composed many piano pieces

& ˙

B. the library where Gurlitt studied

C. a piece in march style

Early 19th-century pianists frequently broke strings or hammers during concerts and would keep spare pianos offstage.

Technically demanding music and large concert halls required pianos with greater strength and volume. Newly developed iron frames replaced wooden ones and allowed piano makers to add length to the keyboard and increase the tension and strength of the piano’s strings. These newer pianos produced a richer tone than older pianos, and the keys moved faster and more reliably.

C. a body of musical works regularly played

3. PRELUDE

6. MAZURKA

A. a type of sonata

A. a Polish dance with unique rhythms

B. an introductory work or independent piece

B. the name for a music school

C. a sacred piece

C. a Polish wedding dress

Great Music and Musicians, Book 2 All prices are in US$ and subject to change without notice.

alfred.com/summerpiano 7

PIANO PERSPECTIVES

9

HOW TO TEACH IMPROVISATION EDITORIAL

HOW TO TEACH

IMPROVISATION ON THE

PIANO

By Loren Gold

I’ve been playing keyboards on the road with The Who since 2012. It is the greatest job I’ve ever had, but it was a long road to gather all the techniques needed to get this dream gig.

My journey started with classical piano lessons when I was seven. My first piano teacher may not know it, but they nurtured my love of piano, and got me on the path to “stardom” by giving me a solid foundation in technique. Having a solid background in classical music has allowed me the freedom to become creative with my composing and while playing other styles like ragtime, blues, rock, gospel, and R&B. Here’s how you can start incorporating improvisation in your piano lessons with your students: Establish a strong foundation in technique, ear-training, and theory: During lessons, you’re likely already focusing on fingering, hand position, scales, and other techniques that help create a strong and healthy musical foundation for students.

Having a strong ear and theoretical understanding of compositions will allow students to be more creative improvisers.

1

Choose repertoire that makes sense: The goal is to provide your students with all the tools needed to learn to improvise in lots of different styles, but to make the best impact on

2

10 PIANO PERSPECTIVES

your lessons, introduce improvisation along with pieces that compliment what you are working on, or songs the student is already familiar with.

Seek Inspiration: Before diving into soloing themselves, students should study and listen to example solos by other artists to help inspire ideas.

Students can transcribe these solos and learn to play them lick-by-lick, including dynamics and articulations.

3

Connect the dots: Like any other piece of music you’d teach in your lessons, point out how the chord progression is utilized in the construction of the example solos.

Connect the dots between how scales, modes, and popular licks relate to chords, and how they can be used in crafting original solos.

4

Leave the page: Once your student has mastered an example solo, encourage them to slowly branch out and incorporate their own ideas. It is essential that they are encouraged to eventually stop thinking about what they’ve learned verbatim, and begin to “go off the page” and play from the

5

6

SITTING IN: ROCK PIANO

Whiskey Lights

Track 1 (Full Mix) Track 1A (Rhythm Section Only)

Classic Rock, Bluesy q Emin

#4 & 4 œœ œ ? #4 4 œ

= 122

A j A7 j j # Emin j j j & œœ œœ ‰ ‰ œœ ‰ # œœœ œœœ # œœœ ‰ ‰ œœœ ‰ œœ œ œ œ œ œ œœ œ ?# œ œ œ œ œ œ œ œ

#

j & œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ ?# œ œ œœœ œœœœ œœœ œ œ #

9

Next, play through the entire written music of “Whiskey Lights” including the notated comping in the solo section. Point out how the chord symbols above the right hand show the chord progression, and how the same progression is used in the solo section. Show the theory behind the chord construction and related scales including the E Dorian mode which will be useful in soloing.

C

G

D

Pocket

A A7 j machine, j j j Get jin ‰your‰ time and head back to the 1960s peace and love. Think The Doors, Ray j Continental ‰ œVox œ œœ the œœ œœ ‰ ‰ œœ ‰ # œœœ œœœManzarek, organ. The right-hand part in “Whiskey Lights” emphasizes n œœ while # œœ andand œpushes, œ œ œ accents the left hand is the bass line, literally. The initial theme produces two distinct parts, while the B section is more uniform, played primarily on the downbeat. œ œœ œ œ œœ œ œ œChords in the Tune œ Emin

5

9

SITTING IN: ROCK PIANO

A j A7 j j Emin j j A Chord j j j j j Riff œover ‰ jœ œ œ œœ ‰ ‰ œœ ‰ # œœœ œœœ # œœœ ‰ ‰ œœœ ‰ œœ œœ œœ ‰ ‰ œœ ‰ # œœœ œœœRight #œ nœ # œœ Hand œ œ œ œ œ œ E, G, E, D (use 2 on Eb grace note): 3, 5, 3, 2 œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œœ œ œ œ œLeft Hand œ E, G, E, D: 2, 1, 2, 3 A

Em, A, A7, C, G, D, G/D, B

j j j œœ œœ œœ œœ œœ œœœ œ œ œ œ œ

G /D D

C

œœ

G

œ œœœ œ œœœ

Soloing

D

G /D C

œœ œœandœœ matching ˙˙explore mixing various rhythms, ideas, and patterns to create something unique œœ ˙each time around. œ œ œ Lick œ 4 features some rhythms not used in the recording, but they could be The left-hand bass part is constant throughout this tune, which leaves the right hand free to

used in a solo for this song. The key is to blend all of these ideas together when soloing.

œ œLick œ œ1 œ œ œ œ

This lick is an example of how you might start a solo, but it’s nothing wild or too far removed from the feel of the song. I’ve broken out a bit from the Dorian mode by adding a bluesy, flat-5 note (Bb) for a very brief moment. We return to the original mode, with B-natural, in the next bar.

j Emin A A7 Emin A A7 & œœ œœ œ œ œœ œœ œœ œœ œœj œœ œœ œj œ # œj w œ ##œ4 œ œ œ œ œ œœ j ‰ œ œ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ ww &œœ œœ4 œœ œJœ œœœ œœ. œœ œ œ œ œ œ œ . œ œ b œ œ œ œ ˙ œ œ w œ œ ?# œ œ œ œ œœ œ œœœ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ ?œ #œ44# œœ œœ œ œœ œœœœœ œ œ œœ œ œ œ œ œ œ œ œ œ œ

13

G

D

G /D D

C

G

B

A j A7 j j Emin j # Emin j j j & œœ œœ ‰ ‰ œœ ‰ # œœœ œœœ # œœœ ‰ ‰ œœœ ‰ œœ œœ œœ ‰ œ œ œ œ œ œ œ œœ œ ?# œ œ œ œ œ œ œ œ œ œ œ

18

42819 Sitting In Rock Piano INT 02-80.indd 6

‰ œj ‰ œj œœ # œœ

œ

œ œ

j œœ œœ ‰ œ œ œ œ œ #œ œ œ Emin œ œ œ œ # 4 œ œ œœ œ œ œ & 4

There are also four sample licks on pages 9-10 that provide notated ideas and suggestions. Note that “Lick 1” adds a flat-5 to give the solo a more bluesy sound.

A

Lick 2

This has a similar feel to Lick 1, but it’s a little trickier. Keep the left-hand pattern solid, and play around with the right hand by accenting different parts of the beat.

? #4 4 œ œœ œ

œœ œ

6/20/16 12:37 PM

42819 Sitting In Rock Piano INT 02-80.indd 9

heart. You can try comping the chords, so the student can focus solely on their soloing, or use a backing track if one is available. Remember, there are no wrong notes when experimenting with improvisation! It’s time to explore and find a voice. Encourage mistakes while also helping them remember what works.

A great example of a familiar tune that can be used as a starting point in introducing improvisation is “Whiskey Lights” from Sitting In: Rock Piano. “Whiskey Lights” is in the style of The Doors’ “Light My Fire” and includes a repeated eight-bar section for improvising (mm. 26-33).

The first thing you’ll notice in the piece is that there is a solid repeated bass line throughout the entire song. Once this bass line is mastered, the right hand is free to explore mixing and matching various rhythms, ideas, and patterns to create something unique through improvisation.

œœœ œœ œ ˙ J J A

A7

Emin

œ œ # œj œ n œ

œœœ œ œ œ œ œ œ

œ œ

w A

œ

A7

œœœ œ

6/20/16 12:37 PM

If your student isn’t familiar with “Light My Fire,” encourage them to listen to a recording of it, and particularly pay attention to what keyboardist Ray Manzarek and guitarist Robbie Krieger play during their solos.

A great way to correlate “Whiskey Lights” to their standard repertoire is to show how those pieces present similar challenges. For example, look at the first four bars of Mozart’s “Sonata K. 545.”

If the simple Alberti bass pattern is played evenly, the top melody can sing above it just as an improvised solo should be free to soar above the accompaniment in “Whiskey Lights.” It is a simple correlation, but critical to being a good soloist. You can also talk about the makeup of The Doors: they didn’t have a bass player so Ray played all the bass lines on the organ. Rock trivia and history can be a huge inspiration to some students!

Now it’s time to start improvising! While it’s great if you and your student play a duet on the piano—you comp on the chords while your student solos—the tracks that accompany the book include live bass, drums, and guitar players (and sax on some tracks) who are playing in the appropriate style. Encourage students to use the “Rhythm Section Only” tracks at home when practicing on their own. Click here to access the rhythm track for “Whiskey Lights.”

During lessons, continue to focus on fingering, hand position, and other techniques while your student is learning improvisation. The idea of soloing in a lesson shouldn’t be a foreign concept.

Mix it in with standard pieces so you can focus on the similarities of techniques needed to play well, no matter what style the student is playing. Having correct technique lets you be a more creative improviser, and maybe you’ll even have a dream gig with The Who someday!

Loren Gold is an in-demand keyboardist, vocalist, and songwriter who has played extensively with international pop and rock acts such as Roger Daltrey, The Who, Kenny Loggins, and more. He has served as musical director for artists such as Taylor Hicks, Selena Gomez, and Demi Lovato. In addition to touring and session work, Loren composes original music for films and TV. Learn more at www.lorengold.com

PIANO PERSPECTIVES

11

EDITORIAL Q&A COMPOSER

composer Q&A:

GETTING TO KNOW MARTHA MIER Martha Mier is an internationally recognised composer and clinician whose educational piano music for students of all levels has made her one of today’s most popular composers. Students worldwide enjoy playing her music, including the popular Jazz, Rags & Blues series and the Romantic Impressions series.

We had a chance to catch up with Martha and learn more about her start in music and teaching, her favourite compositions, and her biggest inspirations.

How did you get your start in music?

I grew up with 5 older brothers, each of whom took piano lessons, so I could hardly wait until it was “my turn!”

My oldest brother was playing Liszt Hungarian Rhapsodies and Chopin Waltzes when I was only 3 or 4 years old, and I was so inspired by his playing, and was greatly influenced by him.

Do you remember your very first piano lesson?

I can’t say I remember my very first

12 PIANO PERSPECTIVES

piano lesson, but I remember several of my early pieces which thrilled me! One was a little waltz where I got to cross over with left hand to high C! Fun, fun!

When did you know you wanted to teach?

After teaching music in a Jr. High School for 1 year, I decided I would prefer a one-on-one relationship with students, thus began my piano teaching career. It was a wise choice.

Do you have any advice for a new teacher, or what is something you wish you knew when you started teaching?

Treat students as individuals, and tailor a curriculum to fit that particular student.

Attend workshops and join local music groups to continue your education.

Always be enthusiastic about the music, and your student will pick up on that enthusiasm.

Tell us about a memorable teaching moment?

Memorable teaching moments come when a student understands a concept and can then apply it to his or her playing. Those “AHA!” moments are satisfying and memorable.

How do you motivate students?

Students learn to love music by playing music that they love. I try to select repertoire that will appeal to the student, then I will know he will practice it. Studio contests and rewards are helpful, but true motivation comes from within each student.

What is one of the biggest challenges you overcame as a teacher?

Learning to be totally organised in order to stay within time limits. Planning each lesson is helpful and essential.

What inspired you to start composing?

I began composing in high school just for the fun of it! In my teaching, I would write little pieces for my students when I could not find a piece that presented what that student liked or needed.

Do you have a favourite composition of yours?

A couple of my favourite compositions of mine are 1) “Lady Brittany’s Ballad” for its romantic, modal sound, 2) “Celebration Scherzo” for its rhythmic vitality and fun octaves, and 3) “The Purple Hills of Heather” for the romantic sounds.

What do you love about jazz? What drew you to it?

When in high school, I discovered “Blues in the Night” and “Basin Street Blues,” and I was hooked for life! It speaks to my heart.

Who are your jazz inspirations?

I am inspired by the older jazz pianists, such as Count Basie.

Do you have a favourite piece or type of music to play for fun?

I love all styles of music, and play from Classical to Jazz.

If you could have dinner with any musician, past or present, who would it be, and why?

I would like to have dinner with Chopin.

I would love to learn his personality to know where his beautiful romantic style came from.

Do you have any advice for young composers?

My advice for young composers is to keep writing. Continue to explore and create.

Flexibility for you and your students For over 25 years, Finale has remained the world standard for music notation software, in part because of its extensive flexibility to create anything you can imagine. Music educators save time with Finale’s customisable Music Education Worksheets, the Exercise Wizard, and education-specific fonts that help produce personalised curriculum quickly.

WHY PIANO TEACHERS LOVE FINALE

Finale academic includes a wide range of music education tools for all your piano students. Resources include more than 1,000 ready-made worksheets, flash cards, jazz improvisation tools, ear-training aids, and pieces of repertoire, from pre-readers to advanced levels.

Need to create new content? Finale Academic makes it simple. Click or type the notes in, or play your music in directly via any MIDI keyboard. Regardless of its origin, all worksheets and music are easily edited in Finale Academic, whether you’re applying fingerings and pedal markings, transposing or re-harmonising.

Already using Finale? Why not upgrade. The latest release (version 25) now includes: 64-bit support, transposed note entry, improved human playback, large time signatures, and more!

PIANO PERSPECTIVES

13

EDITORIAL

At the Piano

– The Perfect Music Series for Playing the Piano G. Henle Verlag, founded in 1948 by Günter Henle, is from the very beginning focused on Urtext Editions for classical music for piano, for string instruments, wind instruments and chamber music.

Our focus on the highest quality of Urtext dates back to Günter Henle, a highly skilled amateur pianist, who considered the available editions at the time to be pure interpretation, because most markings for tempo, dynamic, articulation, slurs, pedals had been too readily and largely added to the music. Musicians did not have the opportunity to see the original intention of the composer. Therefore, he invented G. Henle Urtext, with the music text reflecting the pure intention of the composer, including prefaces on history of the music, footnotes with information on the variants and critical report on the sources and their understanding.

Günter Henle traveled, and had relations to musicians all over the world; he decided that the word contributions should be in German, English and, in the case of French composers, in French.

At the same time, he wanted the musicians to be supplied with the best practical editions.

For engraving he invented a special layout that reflects structure and character of the music, based on notes in slight italics for immediate and better legibility and a clear visibility of connected systems. He decided on a special format, creamy paper, easy to read and to write on, for perfect printing and special binding, that allows flat opening. For practical use, he decided to provide fingerings.

Today the G. Henle Catalogue comprises more than 1100 practical editions for classical music. The piano catalogue includes nearly all works by Bach, Beethoven, Brahms, Chopin, Debussy, Grieg, Haydn, Liszt, Mendelssohn, Mozart, Schubert and Schumann. We carry important music of Albéniz, Ravel, Scarlatti, Scriabin, and we started with Rachmaninoff and Bartók. We continuously expand the catalogue and are even revising existing editions to reflect new musicological findings or newly discovered manuscripts.

AT THE PIANO was created for those who are returning to the Piano, for adults, students, teachers. 12 volumes, each dedicated to a different composer – Bach, Beethoven, Brahms, Chopin, Debussy, Grieg, Haydn, Liszt, Mendelssohn, Mozart, Schubert and Schumann are available, each music book including up to 17 well-known original pieces arranged in progressive order of difficulty, with comments on the historical background, practical technique and interpretation. A short and comprehensive introduction reflects the music of the composer and his time. Music is newly engraved and provided with more fingerings than in our regular editions.

AT THE PIANO was edited by Sylvia Hewig-Tröscher, a piano professor at the Hochschule für Musik und Theater in Munich. She has decades of experience teaching young people and adults, gives concerts and masterclasses around the world and is a much sought-after educator.

At the Piano is a wonderful series to study the music by oneself.

At the Piano trains skills for epochs.

At the Piano serves as an introduction to the musical word of a specific composer.

Thus: At the Piano is an ideal introduction to the world of classical piano music! Enjoy.

Dr. Sigrun Jantzen

HEAD OF SALES, G. HENLE VERLAG 14 PIANO PERSPECTIVES

NEW FROM FABER MUSIC

NEW from Faber Music MINDFULNESS: THE PIANO COLLECTION (0571539548) Music-themed illustrations for colouring in are interspersed between pieces to offer another avenue of mindfulness to explore.

Mindfulness: The Piano Collection is a unique compilation of well-known piano favourites and beautiful discoveries that brings a fresh approach to playing. Through carefully selected repertoire, supporting notes and bespoke artwork, established players are encouraged to take a mindful approach to playing and, through this, to achieve a truly rewarding musical experience.

Mindfulness is the simple practice of ‘present moment’ awareness. It can be applied to many situations at any moment of the day – whether that’s first thing in the morning, on the commute to work, when preparing for an interview or performance, or before going to bed. It is proven to help break the cycle of unhappiness, alleviate stress and anxiety, and help people find their way in an increasingly frantic and pressurised world. Mindfulness has helped countless people to flourish in many different aspects of life, and now these benefits are being applied to music-making.

Mindfulness: The Piano Collection offers a way to bring mindfulness and playing the piano

THE MINDFUL PIANIST Mark Tanner (0571539637)

EPTA’s The Mindful Pianist presents amateurs and professionals with a fresh perspective on playing and performing. Applying the concept of mindfulness to the piano, this invaluable text explores the crucial connection between mind and body: how an alert, focussed mind fosters playing that is more compelling, more refined and ultimately more rewarding. It tackles the issues encountered by pianists when practising,

IMPROVE YOUR SIGHT-READING! TEACHER’S BOOK (GRADES 1 – 5) Paul Harris (057153953X)

Improve your sight-reading! Teacher’s Book (Piano Grades 1-5) provides teachers with a range of meticulously graded, progressive sight-reading tests to use in lessons. Specifically written to work alongside the best-selling

together by sharpening musical focus and establishing the pianist’s attention in the present moment. The carefully selected repertoire, which is aimed at intermediate level players, is presented with guidance on how to bring mindfulness into piano playing. For example: Gnossienne No.1 by Erik Satie “Be aware of the sensation of playing music.

The touch of your fingers on the piano keys, the way the music makes you feel and your breathing as you play. If your mind drifts, bring the focus back again to making music in the present moment.”

CONTENTS: Ambre (Nils Frahm); Arioso (BMV 156) (J.S. Bach); Earnestly Yours (Keaton Henson); Fantasia On A Theme

By Thomas Tallis (Ralph Vaughan Williams); Gnossienne No. 1 (Erik Satie); I Giorni (Ludovico Einaudi); Lento (5 Preludes #4 in Eb) (Alexander Scriabin); Moonlight Sonata (no.14 in C#m) (Ludwig van Beethoven); Morning Prayer (Pyotr IlyichTchaikovsky); Pavane op.50 (piano version) (Gabriel Fauré); Pavane pour une Infante Defunte (Maurice Ravel); Romanze (from Piano Concerto No. 21) (W.A. Mozart); Der Dichter Spricht (Op.15 XIII) (Robert Schumann); Prelude In E minor (Op.28 No.4) (Frédéric Chopin); Rêverie (Claude Debussy); Shackleton’s Cross (Howard Goodall); Snowflakes (Dame Evelyn Glennie); Une Larme (Modest Mussorgsky); To A Wild Rose (Edward MacDowell); Winter (slow movement) (Antonio Vivaldi) performing, improvising and preparing for an exam: how to choose repertoire and memorise it; how to set about making an initial survey of a new piece; and how to take a more levelheaded view of our aspirations. Drawing on the expert advice of 25 leading pianists and educationalists, this unique book offers a wealth of exercises and musical examples to help every player succeed in becoming a Mindful Pianist.

The Mindful Pianist has been shortlisted for ‘Best Print Resource’ at the 2017 Music Teacher Awards for Excellence.

Improve your sight-reading! graded series for pupils, it mirrors the introduction of key concepts and technical issues in the pupils’ books. By renowned educationalist Paul Harris, the book also contains useful notes, hints and tips for teachers

PIANO PERSPECTIVES

15

Your next next performance performance is is worth worth it it Your

Spec i offer al now

Piano Music

$10

only

An appetiser for our Urtext editions - give it a try!

Bärenreiter PIANO KALEIDOSCOPE BA 10900 | $10.00 This album is a special edition not only due to its very affordable price but also because it features a cross section of Bärenreiter’s extensive piano catalogue.

The pieces and movements range from the 18th century through to the first decades of the 20th century. During these approximately 200 years keyboard playing developed considerably and together with the unstoppable rise of the pianoforte since the end of the 18th century, it became hugely popular.

The fifteen composers who are represented in this edition have each, in their inimitable way, shaped the possibilities of sound and playing techniques of this instrument in their works. In our piano collection you will find compositions from the Baroque, Classical, Romantic and Early Modern eras. The pieces also vary in national style and range from low through to high technical difficulty.

Contents: Prelude C major BWV 846 No.1 from: The Well-Tempered Clavier I [Bach, Johann Sebastian]; 1ère Gymnopédie No.1 [Satie, Erik]; Allegretto C minor D 915 [Schubert, Franz]; Waltz B minor No. 11 from: Waltzes op. 39. Easy Edition [Brahms, Johannes]; In the Mists No. 1 [Janáček, Leos]; The little Shepherd No. 5 from: Children’s Corner [Debussy, Claude]; Sicilienne from: Album for the Young op. 68 [Schumann, Robert ]; In Addition from: 3 Morceaux en forme de Poire [Satie, Erik]; Venetian Gondola Song op. 30/6 [Mendelssohn Bartholdy, Felix]; Allegro 1st movement from: Sonata C major (“facile”) K. 545 [Mozart, Wolfgang Amadeus]; Prelude D minor BWV 851 [Bach, Johann Sebastian]; Adagio sostenuto 1st movement from: Sonata quasi una Fantasia op. 27 No. 2 “Moonlight Sonata” [Beethoven, Ludwig van]; Tuilleries No. 3 from: Pictures at an Exhibition [Mussorgsky, Modest]; Album Leaf [Brahms, Johannes]; Sonatina D minor HWV 581 [Händel, Georg Friedrich]; Hungarian Melody D 817 [Schubert, Franz ]; Footsteps in the snow No. VI aus: Préludes pour piano. 1er Livre [Debussy, Claude]; Sonata E-flat major op. 53/3 1st movement [Kozeluch, Leopold]; Blues from Esquisses de jazz, No. IV [Schulhoff, Erwin]; Allegro non troppo op. 72/1 [Mendelssohn Bartholdy, Felix]; Polka E-flat major op. 8/1 [Smetana, Bedrich]; Farewell No. 9 from: Forest Scenes op. 82 [Schumann, Robert]

PLAY IT AGAIN

Play it again: Piano – The perfect way to rediscover the piano Aimed at ‘returning’ players who have spent some time away from the keyboard, Play it again: Piano gives you the confidence to revisit this fulfilling pastime and go beyond what you previously thought you could achieve.

Each of the 49 pieces in this two-book course is accompanied by at least two full pages of easy-to-understand practice tips, all designed to get your fingers speeding comfortably across the keys once again! There are more comprehensive Piano Technique and Theory sections at the front and back of each book, so you can also delve deeper to regain a fuller understanding of music and technique.

A refresher course for all abilities Each book is arranged in 4 progressive sections, with Book 1 moving from ‘Elementary’ to ‘Intermediate’, and Book 2 taking you from ‘Late Intermediate’ to ‘Late Advanced’. Dip in and out wherever your level of playing suits: this two-book course starts with simple and elegant miniatures and concludes with the famously showy Prelude in C-sharp minor by Rachmaninoff! Confident pianists could start with Book 2, but there is a wealth of delightful repertoire and valuable practice tips in Book 1 – it’s always useful to go ‘back to basics’.

From Schumann to shuffles Baroque, Classical and Romantic works sit alongside Jazz, Ragtime, contemporary or traditional pieces at every level, so each lesson brings something different and you’ll learn to play in a range of styles, some of which may be new to your fingers.

If you often find yourself saying “I used to play the piano…” but wish you still did, then Play it again: Piano is the resource for you!

Tutorial Videos

In the videos below, Melanie takes you through some techniques used in the books. Use the playlist symbol in the top left corner to select different tutorials.

WATCH NOW

PIANO PERSPECTIVES

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EDITORIAL JAZZ SERIES

NIKKI ILES JAZZ SERIES E Unique arrangements and compositions at intermediate level, in authentic jazz styles E Fully notated jazz solos, accessible yet idiomatic

E Wide range of jazz, from swing standards to contemporary

E CDs of full performances by Nikki Iles, to help with interpretation

E The author’s credentials, as a celebrated jazz pianist and educator, guarantee the perfect introduction to jazz

Grooves for Two + CD

Jazz on a Winter’s Night 2 + CD

Seven pieces for piano fourhands 9780193400511

10 Christmas classics for jazz piano 9780193517691

Jazz in Autumn + CD

Jazz on a Winter’s Night + CD

Nine pieces for jazz piano 9780193394650

11 Christmas classics for jazz piano 9780193365902

Jazz in Springtime + CD 9 pieces for jazz piano 9780193391550

Jazz on a Summer’s Day + CD 9 pieces for jazz piano 9780193379794

ABOUT NIKKI ILES…

Pianist and composer Nikki Iles was a founder member of the Creative Jazz Orchestra - working with Anthony Braxton, Mike Gibbs, Vince Mendoza, and Mark-Anthony Turnage. Her busy freelance career has found her playing with Peter Erskine (CJO), Kenny Wheeler, Art Farmer, Julian Argüelles, Stan Sulzmann, Norma Winstone, Tony Coe, Tina May, and Rufus Reid. Her music has been commissioned and performed also by the London Sinfonietta and Tim Garland’s Underground Orchestra.

18 PIANO PERSPECTIVES

Violin Jazz in Autumn + CD 9 pieces for violin and piano 9780193407671

Violin Jazz on a Winter’s Night + CD 11 Christmas classics 9780193393448

A committed educator, Nikki is senior lecturer at Middlesex University, visiting professor at the Guildhall School of Music, Royal Academy, and Trinity College of Music, London, and an adviser to ABRSM. She holds a British Jazz Award (1996), an award from the International Association for Jazz Education (2002), and was twice nominated for a Parliamentary Jazz Award.

JOINING THE DOTS Alan Bullard

The eight books cover the requirements for ABRSM’s sight-reading tests at each of Grades 1 to 8, and include: • many short, characterful pieces to sight-read, in a range of approachable musical styles • warm-up and technical exercises, to establish basic hand shapes and finger patterns within each key • simple musicianship exercises in which students can explore ideas and familiarize themselves further with the ‘feel’ of each key • longer solo pieces and a duet, for additional sight-reading practice or to learn quickly and play through for fun

Joining the Dots Piano Book 1 | 9781860969768 | $17.00 Joining the Dots Piano Book 2 | 9781860969775 | $19.00 Joining the Dots Piano Book 3 | 9781860969782 | $20.00 Joining the Dots Piano Book 4 | 9781860969799 | $20.00

Joining the Dots Piano Book 5 | 9781860969805 | $22.00 Joining the Dots Piano Book 6 | 9781848495746 | $23.00 Joining the Dots Piano Book 7 | 9781848495753 | $23.00 Joining the Dots Piano Book 8 | 9781848495760 | $25.00

ABRSM PIANO SPECIMEN SIGHT-READING TESTS Valuable practice material for candidates preparing for the ABRSM Piano exams

ABRSM Piano Specimen Sight Reading Tests, Grade 1 | 9781860969058 | $15.00 ABRSM Piano Specimen Sight Reading Tests, Grade 2 | 9781860969065 | $15.00 ABRSM Piano Specimen Sight Reading Tests, Grade 3 | 9781860969072 | $15.00 ABRSM Piano Specimen Sight Reading Tests, Grade 4 | 9781860969089 | $15.00 ABRSM Piano Specimen Sight Reading Tests, Grade 5 | 9781860969096 | $18.00 ABRSM Piano Specimen Sight Reading Tests, Grade 6 | 9781860969102 | $18.00 ABRSM Piano Specimen Sight Reading Tests, Grade 7 | 9781860969119 | $18.00

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CONTEMPORARY PIANO

Contemporary Essential contemporary piano works from Ludovico Einaudi, Terry Riley, Philip Glass , Max Richter, and more!

Ludovico Einaudi

Terry Riley – The Piano Works

EINAUDI ELEMENTS

Elements is the long-awaited new album from world-renowned contemporary classical composer Ludovico Einaudi. The exclusive Piano folio was produced in close collaboration with Einaudi himself, and features all 12 tracks from the album, plus two exclusive backing tracks, a new solo arrangement of the title song, and unique illustrations.

CH84205 | $38.99

EXTRA ELEMENTS PIANO SOLO

Suitable for intermediate pianists, this collection comprises pieces from the deluxe album — ‘Drop Solo’ and ‘Twice Solo’ — plus two versions of ‘Elegy For The Arctic’, specially written for Greenpeace. Also included are photos from Einaudi’s incredible floating performance on the Arctic Ocean, and unique text and illustrations.

Terry Riley, most commonly associated with the minimalist and experimental schools of music, draws influence from a vast number of sources, including jazz and Indian classical music. In turn, his influence on contemporary composers and music in general is enormous, and with this collection of his Piano Works, you can learn a selection of his fascinating, hypnotic and simply stunning compositions for solo Piano.

CH83237 | $43.99

Dustin O’Halloran - Piano Solos

CH85525 | $19.99

FILM MUSIC FOR PIANO

Ludovico Einaudi’s beautifully evocative music lends itself so perfectly to use in films that for many years directors have been using it to complement their images. 17 of the best examples of his music for film over the past two decades are included here in this Film Music collection, arranged for solo Piano.

CH83677 | $38.99

This Piano songbook includes all the pieces from Volumes 1 & 2 of Dustin O’Halloran’s Piano Solos, printed together for the first time in authentic arrangements.

CH79189 | $43.99

20 PIANO PERSPECTIVES

Philip Glass - The Piano Collection

Peter Broderick - Piano Works, Volume 1

A selection of Philip Glass’s most successful and best-loved pieces for solo Piano, brought together in one collection. These pieces include selections from the BAFTAwinning and 2003 Academy Award® nominated film The Hours. Also included is the Trilogy Sonata for Piano and pieces from the Metamorphosis Suite.

In this, his first volume of sheet music, Peter Broderick collects 20 works for solo piano alongside exclusive new recordings. Taken from his piano-led records such as Docile, Float, How They Are, Partners and Grunewald, some are original solo works while others have been stripped back and arranged for solo piano for the first time. The collection also includes the composer’s performance and repertoire notes.

AM985193 | $48.99

ERASM005 | $51.99

Max Richter - Piano Works

Top 10 Contemporary Classical Pieces

For the first time in print, here are 15 Max Richter Piano Works complete with notes for each, specially written by the composer. This ground-breaking collection represents a unique drawing together of the strands of the gifted composer’s varied output, embracing his work with the London Philharmonic (Memoryhouse), The Blue Notebooks, Royal Balletcommissioned Infra and subsequent highly regarded concept albums.

The Top Ten Contemporary Classical Pieces To Play On Piano is part of a series that has been specially designed to help pianists of all levels to find the repertoire they really want to play. This volume contains 10 of the very best contemporary pieces for solo Piano.

AM1012286 | $25.99

Easy Contemporary Pieces for Solo Piano

CH82764 | $33.99

Featuring works from 19 of the world’s leading composers, Easy Contemporary Pieces reflects the tremendous variety of styles prevalent in contemporary music.

These enjoyable pieces have been selected to be accessible to both the performer and the listener.

Yann Tiersen – Eusa Eusa is a unique collection of 10 original Piano pieces made in direct collaboration with the composer, inspired by his travels around the island he calls home Eusa.

CH85349 | $38.99

CH84227 | $43.99

Twenty-Four Contemporary Pieces For Solo Piano

Hauschka - Solo Pieces for Piano Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnotic compositions, as well as some fantastic illustrations and writings.

BOE7556 | $37.99

Includes a diverse selection of works from 16 of the world’s leading composers. The 24 pieces featured in this collection represent the best of contemporary classical Piano music being composed today. As well as being a compilation of fantastically enjoyable compositions, the book also features interesting notes by each composer to accompany their music.

CH83534 | $38.99

PIANO PERSPECTIVES

21

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If you are experiencing any difficulties obtaining our material, please feel free to email us on our dedicated email for piano teachers: piano@devirra.com or phone 02 8707 3650.

www.devirramusic.com.au

Devirra Music | PO BOX CP67, CONDELL PARK NSW P 02 8707 3600 | F 02 9793 1301 | piano@devirra.com NOT FOR SALE. ©Devirra Group All of the publications featured in this magazine are readily available from our large distribution centre based in Sydney.

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